#I've drawn diagrams

[martianbugsbunny]

this is part anatomy reminders for myself and part trying to explain my headcanon

so basically the gills and the like mouth/nose airways are both connected to the lungs, there's like a sub-skull (?) or at least sub-skin connecting system from the gills to the windpipe and through that to the lungs, those two are basically complimentary systems that can operate independently of each other but use some of the same hardware

and then the really out of left field thing I decided Kit is gonna have is oxygen-absorbing skin. it's the backup system, it's separate from the other two, but in an emergency where neither the gills nor the rest of the respiratory system can provide oxygen the skin can absorb oxygen directly and give it to the cells (for a limited time)

[animoogus]

Just me playing with Simple Rectangles of Fabric.

You will note that it's extremely important to me that Karkat gets to wear a blanket.

[transwalterdecourcey]

or frankenstein i would also love to direct frankenstein but idk what the licensing on that looks like

[supercantaloupe]

so fucking itchy

[bethanythebogwitch]

Wet Beast Wednesday: sea urchins

As I continue the slow grind of covering every living group of echinoderms for this series, it was inevitable that I would eventually encounter the only echinoderm I've actually studied. Sea urchins are among the most iconic of marine invertebrates, but many people just think of them as part of the scenery. I'm here to show you that there's more to these creatures than just being spiny lumps on a rock.

(Image: a purple sea urchin (Strongylocentrotus purpuratus) being held in someone's hand. It is a round, globular animal with a dark purple color. Light purple spines emerge from it all over its body, with the longest being around the middle. End ID)

(image: a long-spined sea urchin (Diadema savignyi). It is a black sea urchin with spines longer than its diameter. End ID)

Urchin is an old-fashioned word for hedgehog, and sea hedgehog is a fitting name for these round, spiny animals. Sea urchins tend to be fairly small, with a diameter of 3 - 10 cm (1 - 4 in), though some species have very long spines that make them seem larger. The main body of an urchin is round and enclosed in a (usually) hard shell called a test made of calcium carbonate. The test is covered with a slayer of skin and muscle that controls the spines and small, pincer-like structures called pedicellaria. Within the test are the internal organs. As with other echinoderms, sea urchins are radially symmetrical as adults, with five segments arranged around the center like pizza slices. The two main body holes are found on the top and bottom of the animals where the segments converge. At the bottom is the mouth and at the top is the anus. Each segment also has a hole near the anus used to release gametes and one will have a larger pore called the madreporite, which is used to control the amount of water within the urchin's body. The mouth is a unique structure known as Aristotle's lantern, consisting of five tooth-like structures (one for each body segment) that interlock together and sharpen themselves. Behind the teeth is a rasping tongue.

(image: a close-up of an urchin's mouth, showing the Aristotle's lantern. It is a hole surrounded by a fleshy lip. Five spade-shaped teeth are emerging from the edge of the hole. End ID)

Internally, most of the body is taken up by the digestive tract and water vascular system. The digestive system lacks a stomach, with the esophagus attaching directly to the small intestine. The digestive tract forms a loop as it passes through the body. The water vascular system uses seawater to form hydrostatic pressure that moves the tube feet. All starfish, urchins, and sea cucumbers have tube feet, small, transparent, tentacle-like structures they use for movement. Tube feet are hollow and retracted into pores on the skin normally. To be used, they have to be inflated with water, which makes them stick out of the body, where they can be controlled with muscles. Tube feet end in suction cups that can be used to grab into structures around them. Seawater drawn in through the madreporite serves as the source of pressure needed for the tube feet to function. In urchins, tube feet cover the body and are used for locomotion, moving food to the mouth, and moving objects on or off the body. The main body cavity is filled with circulatory fluid that uses special cells to move oxygen and nutrients around the body. The nervous system is simple, consisting of a central nerve ring around the esophagus that branches into nerves that connect to the rest of the body. Urchins have no eyes (except for the family Diadematidae, which have eyespots), but are sensitive to light. The gonads are usually small, but during mating season they can swell to fill much of the body cavity.

(Image: a drawn diagram showing a cross-section of a sea urchin, with the different organs and body parts labeled. End ID. Source)

Sea urchins are found in oceans worldwide, from intertidal zones to the deep sea and the tropics to the poles. They are bottom-dwellers who feed primarily on algae, which they scrape up with their teeth. However, they will also take a variety of food, including carrion, aquatic plants, and other slow-moving or sessile animals like sponges, polyps, bivalves, worms, and sea cucumbers. Urchins can play a key role in regulating algae populations through their ecosystems, but they also rely on predators to keep from overeating necessary algae. Famously, California's kelp forests were almost destroyed by urchins eating the kelp after their primary predator, sea otters, were driven to near extinction. Urchin's primary defense against predators is their hard tests and spines. As most of the edible portion of the urchin is within the test, predators have to get through both layers of defense first. The spines are hollow and each can be moved independently of each other, allowing them to be positioned toward a threat. Many species contain venom within their spines as an added layer of defense. This venom is rarely dangerous to humans, but can cause swelling and painful reactions. Another layer of defense is the pedicellaria, which are good at removing small animals and parasites from the skin. The flower urchin, Toxopneustes pileolus, has modified its pedicellaria into flower-like structures that extend beyond the spines and can deliver a sting that can be fatal to humans.

(Image: a flower urchin. It is a pinkish urchin covered with flower-like structures that extend to the length of the spines. It has placed some bits of shells on top of it. End ID)

Sea urchins possess distinct males and females, though the differences are internal, making it impossible to tell which is which based on visual examination. During mating seasons, the gonads swell as they generate gametes. Urchins tend to reproduce in groups at synchronized times (possibly correlated with the phases of the moon in shallow-water species) to maximize the possibility of fertilization. When ready to mate, the gametes are squeezed to empty their contents through the genital pores and into the water column. Sperm must find egg in the water to fertilize it. Most sea urchins provide no parental care, but in some species, the female will retain the eggs in her spines to protect them. The eggs hatch into bilaterally symmetrical larvae called plutei that drift with the plankton. As they develop, a section of the larvae will develop into a radially symmetrical adult rudiment. This piece will eventually break off and become the juvenile urchin while the rest of the larva dies. Because echinoderms start out as bilaterally symmetrical larvae, we can infer that they developed from bilaterally symmetrical ancestors and the radial symmetry of adults is a more recent development.

(image: a series of photos showing the embryological development of a sea urchin from a single cell to a cluster of cells, to a bell-like structure, to growing several arms, to the eventual adult developing and breaking off. End ID. Source)

Fossils show that the oldest sea urchins had large, club-like spines that they walked on, with the modern spines being a later development. Most of those urchins died out with the dinosaurs, leaving the pencil urchins of order Cicaroida as the only living members. All other living urchins are Part of the clade Euechinoidea. Amongst them, there are still some oddballs, known as the irregular urchins of clade Irregularia. These urchins have moved away from radial symmetry, with less symmetrical segments and the anus and mouth moving from being on the top and bottom to being on the sides in the heart urchins. Heart urchins have gone from bilateral symmetry to radial symmetry and are now going back to bilateral symmetry. Heart urchin mouths don't have an Aristotle's lantern. Instead, they use strands of mucus to capture food and cilia to pull the strands back inside. Sand dollars, also known as sea cookies or sea biscuits, are also in this clade. These are flattened urchins with short and very fin spines that resemble velvet. They are burrowers who spend much of their time buried under sand and as such are rarely seen alive. The name sand dollar comes from their tests, which are similar to old dollar coins and can often be found washed up on beaches. While still radially symmetrical, sand dollars also have a secondary form of bilateral symmetry, with a distinct front and back end that often look different. Irregular sea urchins also tend to have fewer gonads and associated pores than regular sea urchins.

(image: a red pencil urchin (Heterocentrotus mamillatus) nestled among coral. Instead of spines, it has a series of long, thick, red clubs. End ID)

(image: a purple heart urchin (Spatangus purpureus). It is an urchin elongated on one direction and with a few rows of long spines amongst short ones. On the surface facing the camera is a large hole that could be the mouth or the anus. End ID)

(image: a group of irregular sand dollars (Dendraster excentricus) partially buried in the sand. They are round, flat animals with a velvety covering of tiny spines. The are sticking out of the sand. End ID)

Sea urchins have been known to humans for as long as people have lived near the ocean. Stings can occur when people step on them and can cause pain and irritation, but are rarely medically significant. That being said, some people can have allergies to the venom, which could be a big problem. Spines left in the wound should be removed, as they can continue injecting venom. Urchins are a food source for people around the world, specifically the gonads, which are the only meaty part of the animal. The gonads are often marketed as roe or corals and can be eaten raw or cooked. Urchins are also used as a model organism in embryology due to the interesting and well-studied nature of their larval development. Urchins are vulnerable to pollution, habitat loss, and over-predation. Ocean acidification due to climate change poses a major threat to them, as it reduces the quality of their tests.

(image: tow sea urchins served as food. They are upside-down with the bottoms removed. The gonads are visible within as five orange, spongy structures that take up most of the body cavity. End ID)

[ilydeku]

teacher izuku has a girlfriend??

Regardless of the joy and spur he expelled towards the students, Izuku knew how to maintain the steady hand of keeping the class under set composure. Nothing but the intent to teach and the will to learn, an equitable relationship between the two—and it was no question. Being the most loved and favored teacher had its perks, and grandiose respect was one of them.

But no matter how mature a student has grown, having fun will always reign somewhere along their focal point. Even if that fun means encouraging their teacher in his love life.

"...-because a good relationship between your teammates makes for optimal communication, conduct, and cooperation," explained Izuku, pointing from one spot on the board to another, well immersed in his lesson. "Now, considering quirk-"

"Speaking of relationships, are you in a relationship, sir?" A student, a frivolous girl, teasingly pipes in sudden interest. Plenty of students amongst the grade claimed a crush on Deku-sensei. Of course they did: he's sweet, very tentative and understanding to all his students individually, and takes his time to really help and engrave the knowledge he possessed for them to become the best future heroes they could be. That, and mostly his physical charms. So wouldn't it be in his best interest to have a girlfriend?

Little did Izuku know that this inquiry marked the beginning of his first uncontrollable havoc.

For a moment, he hesitated, pausing midway on the convoluted diagrams drawn on the whiteboard. A strange question, but he thought nothing much of it. He turned around and crossed his arms, lazily pointing the expo marker to the girl.

"I'm gonna pretend I didn't hear that. Unrelevant, didn't see a hand raised-"

"Aw, but sir!" She draws out, slumping back in her seat. "Are you?"

Some students began to look at each other and exchange a few grins until the room began to slowly increase in volume and erupt into unintelligible chatter.

"Ahem."

The room fell into silence accordingly, but he could clearly read the expression on everyone's faces. The class was still waiting for his answer, the way they stared and leaned over their desks in anticipation. Izuku sighs and turns back to the board.

"...no, I'm not in a relationship. Moving on, the information I've drawn-"

"Really?" The girl cuts in matter of factly with a tilt of her head. "But aren't you and y/n talking??"

A chorus of engrossed 'oohs' echoed across the room and a very subtle, but defined shade of pink dusted his cheeks at the mention of you. He turned around again and attempted to regain composure of the class.

"Everyone settle down-"

"Y/n L/n? Isn't that (hero name)?? I think she's in the top 20's now."

"Yeah! I've seen her drop by the school a couple times during lunch!"

"Now that I think about it, Deku-sensei does have her come in as a guest speaker a lot..."

It was just one after another, the addition of suspicions and theories now bringing the truth to the surface. Izuku swallowed.

A loose black band around Izuku's wrist caught another student's eye and they stood up and pointed in excitement. "Look!! Deku-sensei has hair ties on his wrist!! Hair ties!!"

"Kids, please...-"

"Wow..I've never seen your class this rowdy before, Izuku!!" That voice. His head snapped toward you in surprised, totally flustered about the situation. The entire class went dead silent and turned to you, standing at the entrance of the classroom. You wave at his kids with a smile and stroll over to Izuku's desk, dropping off a bag of some sort. He watches you endearingly.

"You forgot your lunch at home, silly."

"O-Oh did I? Haha, sorry y/n. Thank you. You're on break right now, right?"

The students watched you both like a show, taking in the interaction, the body language, the words. There's no doubt you two were a thing right? Deku-sensei and (hero name)!!

And just then, you confirmed it with simple kiss on his cheek.

"Bye, Izuku! Be nice to the kids, hm?"

"You know I always am!!"

As soon as the classroom door clicked, the class burst into awe.

"WHY DIDN'T YOU TELL US???"

[u3pxx]

ah, dungeon food... delicious in dungeon!

1 | 2 | 3 | one out of three dungeon meshi illustrations i did for a class! 🍲🐲

id in alt text | like this art? it's a print, here! | like what i do? support me on ko-fi!

hi there! this is actually the first illustration i finished out of the three but i decided to post the falin one first because it seemed fitting when the dragon episode came out pftt

and since a while has passed, i'm very happy to say that i got a high grade for the mock covers i did! which i'm really happy for since ngl, the venn diagram of "drawings for school that i got a high grade for" and "drawings for school that i'm actually proud of" is very, very small lmao

to save time, i had to forgo coloring in the lines for this drawing which gives it a fair amount of contrast, while i still enjoy looking at it, i wonder what it would look like if i softened it with colored lineart.

i used a different pen for inking this and i was actually surprised at how quick i was! if you don't know, i love doing lineart but i usually am terribly slow at it, inking this one was a pretty fast ordeal!

i streamed this over on the klapollomb server as i was drawing it and i just distinctly remember that after the flats stage and onto shading it: i paused, pen in my hand, looking at the screen with a blank look before i typed into voice chat in all caps, "I FORGOT HOW I RENDER" ASKSKSK

it's been a while since i've actually drawn anything digital that's like, a fullass piece, so yeah 😭 i can forget sometimes. i've been doing trad art for school for like 2 years straight now so the moment i got the opportunity to do digital art i went all out lol

[bonus-links]

Director's commentary maybe?

HELLO!! lots to say abt this one

i have this diagram with the entire plot of bonus links on it where every plot point is a digital sticky note. anyway the note for this update was just called "loft and wolf talk about being assholes". The original intent was for them to talk a bit more about how they both left their families behind (re: the party update) but the scene ended up taking itself in a different direction, as they so often do. I've saved that dialogue for later tho >:-)

this panel? bane of my existence to color. you would think after 3 years of making these comics I would have learned how to color night time lighting. ANYWAY. i think it's really funny that Wake is the only one managing to get a good night of sleep 😂 good for him

this whole scene was originally also going to be at night but a) i am so tired of night lighting and b) i thought this kind of morning twilight was appropriate for this conversation :-) it turned out a little brighter than intended maybe but I did my best lol

one more thing to keep loft up at night forever

this is directly referenced from this TP screenshot, I think from the mortal draw training. one of the overall themes for this update is, loosely, the ghosts haunting everyone, so. hello hero's shade :D and hi mask

speaking of ghosts haunting everyone, Loft's BG is the pattern I use on Fi's text boxes, and Wolf's is the shattered mirror of twilight

i also set up these shots to kind of parallel each other; wolf and loft coming to an understanding, while slate and champion can't. another parallel being how Fi is silent the way Champion is silent.

I'm not gonna comment too much on Champion and Slate's conversation (or lack thereof lol), but I will say that Champion's role in the story is like. one part literal and one part metaphorical. Champion is not fully the person he was when he was alive. It's the ghost of him in all senses of the word. something to keep in mind

in regards to the fairies, that's actually a total happy accident 😭 i was just sort of coloring them at random, but it really does look like it could be Ciela, Leaf, and Neri 🥺 i'll leave that interpretation up to you guys

omg also if you saw the WIP for the last page on Patreon, I had originally drawn Slate without his tunic. Literally the only reason i changed it was bc I felt like the page needed the pop of green from his tunic lol the dark color of his turtleneck kept getting lost in the bg. so yes I did have to go back and redraw/recolor every panel 😭

that's all for now, thanks for reading!

[meanbossart]

Any tips for new or returning artists?

I’m hoping to discover my own art style this year (from scratch, no references) by just throwing myself into learning anatomy, drawing random characters, and praying I can figure out how to add depth to pieces.

I have very minimal artistic experience and my work has improved significantly from where I started years ago, but not even close to where I’m hoping to be.

I can freehand faces and tweak the anatomy accordingly but I feel limited. Maybe it’s (in part) because I’m using an iPad, apple pen and Procreate? I recently added the paper-feel screen cover and that’s helped significantly with control.

Do you draw on paper to help your muscle memory? Honestly, ANYTHING helps. I watch videos on anatomy and art all of the time — I just don’t know if my brain is absorbing it correctly 😭

Hello! I don't know if I can say anything in particular to the returning aspect of your situation since I've drawn pretty consistently all of my life, but if someone else has had that experience of picking the skill back up after a long break, feel free to share your thoughts in the replies!

I'm not fully sure what you mean by "hoping to discover my own art (...) from scratch, no references", but if it means trying to whip up a style from thin-air and blocking out all outside influence or take any inspiration from existing art that you like... Uh... Don't do that! I don't see the benefit. All art is a derivation of a derivation, I can assure you that by compiling a folder or collage of your favorite works, borrowing and reworking aspects that you like, you WILL land on an original style and have learned so much more about it in the process than if you hadn't done that at all.

Also I can assure you that drawing on procreate/ipad is not a hindrance whatsoever, plenty of professional artists prefer it over display tablets. @wolfskulljack-art comes to mind as someone who has created several incredible tour posters for Metallica, all in her ipad.

I must have drawn on paper a total of 10 times in the last 5 years, I have no idea if that's bad or not... It Probably is, but I'm at peace with it, LOL. Generally when it comes to improving ( and I know that this is a frustrating answer) the secret is to just draw a lot. There is no class that is going to take you from amateur to Caravaggio, it takes time and takes making "bad" art. A lot of bad art. When it comes to learning anatomy, I think the best thing you can do is draw a lot of real-life human bodies from reference while consulting an anatomical diagram or model of some kind. Otherwise you will just making a bunch of lines without ever understanding their purpose.

I don't think you need to be an expert at the human body AT ALL before jumping into stylization and making confident, art, but if you do something like this whenever you draw I think you will end up learning a whole lot. Muscle memory (no pun intended) will come to you naturally!

I also have a lot more tips in my #tutorial and #advice tags that you can look through if you want to, otherwise, I would tell you to just do more drawing and less looking for the perfect tutorial or golden advice. A lot of artists get very boggled down in learning in the most correct and effective way, and while there are pointers that can be given, they tend to be very straightforward🤷 and the rest falls on you to follow through with!

[mooonjin]

Can I request a scenario after the event of the 2nd season of the arcana, a relationship between the reader, Viktor and Jayce, perhaps a statement after everything that happened… the reader discovers that she has magic and with that, she manages to save in the last moments Viktor and Jayce. Now Viktor has his emotions, but remains with his body as a herald of magic? of the machine? (honestly, I was a little confused about how Viktor ended up if he became the Herald of Machines or Herald of Magic) and Jayce was a little wild, unstable and very protective… What will happen next? And with the idea of ​​alternative universes What if the other Viktors and Jayces want the reader, since the reader would be the only variation that didn't die… If possible, there could be yanderes… If you want, remove someone, feel free or add, sorry for the inconvenience.

Mine

Pairing: Jayce and Viktor x f!reader

Warnings/Tags: tin/machine/purple viktor, obsession, kissing, a bit of arguing, brief stalk-like behaviour, possesiveness, magic mentions — tell me if I've missed anything!

The rescue was violent and imperfect. Golden tendrils of the astral plane clung to Viktor and Jayce as you wrenched them free, and in their escape, fragments of the hive mind tethered to all three of you. The fallout was instantaneous.

Viktor collapsed to his knees on the beige brick pavements in front of the science towers, his augmented body glowing faintly with runes that pulsed in time with his ragged breaths. His golden eyes met yours, wide with something like awe. "You...?" he murmured, his voice a broken whisper.

Jayce, on the other hand, was not so composed. His hands trembled as he gripped his hammer, his eyes darting between you and the swirling remnants of the astral plane fading behind you. "What did you do?" he demanded, his voice edged with fear and something darker. "What are you?"

In the days that followed, your life became a whirlwind of confusion. Magic spilled from your hands in spontaneous bursts and machines hummed to life in your presence, drawn to the strange energy that radiated from you. Viktor was first intrigued by this, having dealt with magic a few years back.

You pulled Viktor from the astral plane, his body more machine than ever. He studied your magic with fascination, his hands trembling as he sketched diagrams and theories late into the night.

Jayce was different. He hovered around you like a shadow, his gaze always on you, his words too fervent. Something burned within him, a passion and a sense of thankfulness after the incident.

His eyes, though—those betrayed him the most. They were the colour of burnt brown sugar, rich and intense, with a faint gleam when the light caught them just right. But behind the warmth was something undeniably restless.

"I owe you everything," he said one day, his hands gripping yours tightly, almost too tightly. "I won't let anything happen to you."

And he stood by that.

The days in the shared lab became a blur of concentrated effort and experimentation. You, Jayce, and Viktor worked tirelessly to unravel the mysteries of your powers. The sterile scent of chemicals and the faint hum of machinery became your constant companions.

If anything, he thrived in it. He worked tirelessly in his lab, refining his mechanical enhancements along with assisting in stabilising your powers. You caught him watching you more often than not, his gaze clouded with admiration.

He never said it aloud, but you could feel the unspoken possessiveness radiating from him.

"I could build something for you," he offered one night, the faintest trace of a smile tugging at his lips. "A device to regulate your magic. To protect you."

"We can build it together," You mumbled softly, not wanting to put unnecessary pressure on his shoulders, "I'm capable of controlling myself as of now."

"Still, you must be careful. there are many who would seek to exploit what you are. But with me..." He paused, his voice softening with a silent obsession, "With me, you would never have to worry."

Jayce, on the other hand, isolated himself sometimes during his break, going off to work on a project of his own that he never spoke of—despite being so open about his ideas. He snagged one of the stable hexcore gemstones and surprisingly, nobody had noticed.

"You could give her a bit of breathing room," Viktor would mutter under his breath, something tense lingering. Jayce never wavered.

Unlike Viktor, he didn't try to hide his feelings. His presence was an open wound, raw and visible in every glance, every word, every touch that lingered too long. He rarely left your side, always finding an excuse to stay near you. A habit Viktor seemed to catch onto.

It started off subtle, escorting you through Piltover's bustling streets, insisting on standing guard while you worked. But as the days went on, his behavior grew more... obsessive.

You tried to reassure him, to convince him that you didn't need constant protection, but your words only seemed to heighten his senses. He grew more erratic, more desperate.

It wasn't until he managed to sneak his hidden project—which was a round, blue tracking device using Hextech—into your small carrier bag, that you finally confirmed his obsession.

Initially, you didn't recognise it for what it was. It was sleek and compact, its edges glowing faintly with the soft, blue light of Hextech energy. But when you turned it over in your hands and felt the subtle pulse of power within it, the truth and the tech energy hit you like a wave.

This didn't seem like protectiveness. Between the two of them, you felt as though you were being pulled in opposite directions.

The breaking point came late one evening in Viktor's lab.

You had been working with Viktor, helping him calibrate a device designed to measure the flow of your magic. His hands were gentle, precise, as he adjusted the straps around your wrist.

"Tell me if it's too tight," he murmured, his voice low you could say it was intimate.

Before you could respond, the door slammed open and Jayce stormed in.

"What the hell is this?" he demanded, his voice thunderous as he took in the scene. His eyes zeroed in on Viktor's hand resting lightly on yours, an action he didn't take lightly, "What are you doing to her?"

"It's a simple calibration," Viktor replied evenly, though his grip on your wrist tightened ever so slightly, "Perhaps if you calmed yourself, you would see that."

"Calm myself?" Jayce laughed, but there was no humour in it, "You think I'm going to stand here and watch you use her as one of your experiments?"

You tried to intervene, to defuse the situation, but neither man seemed to hear you, "It's my choice, there's no h—"

"You don't have to choose him," Jayce said as he basically pleads, "You don't have to choose anyone. Just... stay with me. Let me protect you."

"And be trapped?" Viktor interjected, his eyes on yours despite arguing with Jayce.

Your chest rose and fell heavily, magic pulsing faintly through your fingertips as you struggled to steady your mind. These two are... fighting? No, right?

Viktor was the first to break the silence, his tone soft. He stepped toward you carefully, as though approaching a frightened animal. His hand reached out, brushing just beneath your wrist where the faint glow of your magic still lingered.

"You've already endured too much. I only want to help you control this power."

Jayce moved closer as well, his broad frame casting a shadow over both of you. His hand clasped yours, firmer than Viktor's, but with an undeniable warmth.

"You don't need to change who you are or what you are for anyone." His gaze flickered toward Viktor, laced with venom, before softening as he turned back to you, "I just need you safe. That's all I care about. Can't you see that?"

You were caught between them, their touches burning in different ways.

"Stop," you said, barely above a whisper. You tried to pull your hands free, but neither man relented, "This isn't about what either of you want."

Viktor's eyes narrowed slightly, his grip shifting so that his palm cradled your wrist, "This is not about want. Without guidance, your powers will destroy you or worse, they will be taken from you by those who don't care for your well-being."

His thumb brushed the inside of your wrist, lingering over the pulse point and feeling the skin he cherishes.

"They're not another one of your machines to perfect." Jayce let out a sharp, bitter laugh, his fingers tightening around yours.

You took a hesitant step back, your pulse quickening as their hungry gazes bore into you. Viktor reached out, his metal hand brushing against your cheek. Despite its cold surface, the touch was gentle.

"Your powers are so foreign... not even you know how much control you have over me."

His words made your breath hitch and you couldn't deny the way your body betrayed you, leaning ever so slightly into his touch.

Viktor's lips curled into a faint smile. For a moment, you thought he might lean closer, might say something more.

But then Jayce's hand shot out, his grip firm on your arm as he pulled you back toward him. His body was warm, solid against yours. Less... metallic.

"You think you can just talk your way into her head? Into her heart? You don't even know what she needs." The way he towered over you felt less protective and more possessive.

"So you believe you do?" Viktor countered with a confident hum.

You opened your mouth to speak, to try break up this cat fight, but Jayce leaned in, his breath warm against your ear.

"Tell me," he whispered softly, now teasing, "Do you really think Viktor could make you feel the way I do?" His lips brushed against the edge of your ear.

Clearly Jayce was trying to assert dominance. However, Viktor didn't step back and didn't see Jayce as a threat. Instead, he cupped your face, his metallic fingers rough but achingly familiar against your skin.

"Tell me you want me." Viktor's eyes locked onto yours.

"You don't understand how much I need you," Jayce's thumb brushed your cheek, tilting your head so you faced him instead of Viktor.

And without waiting for a response, he dipped his head, capturing your lips in a kiss that was as desperate as it was possessive.

The kiss was hot and insistent against yours mouth. His hands slipped to the back of your neck, tilting your head completely away from Viktor's to deepen the connection.

Jayce kissed you like he was eating you. The kiss wouldn't have lasted more than four seconds before Viktor had yanked you off Jayce.

"You're smothering her," Viktor hissed, his golden eyes sharp with irritation, "Do you think that was a kiss? To be devoured by your desperation?"

"Don't act like you're any different, Viktor. You'd kiss her if you had the chance." Jayce grit his teeth, furious his sensual kiss got interrupted.

Viktor ignored him, his attention turning to you. His expression softened, "You deserve better than this... better than him," he said hypnotically.

This time, it was Viktor's turn to tilt your head away from Jayce's and towards his own. He stepped closer, his metal fingers brushing against your wrist while his other hand cupped your jaw gently. His touch was noticeably colder.

Viktor leaned in, his lips hovering just above yours, "You are everything I've ever dreamed of," he whispered, his breath ghosting over your skin, "...I would give you the world if you'd let me."

Before you could even register the closeness, his lips met yours. His kiss was slow, deliberate, and sensual. He kissed you like he was savouring every second unlike Jayce, whose kiss was hungry.

Your mind spun, caught between the two of them, their touches and kisses blurring together. Jayce's warmth lingered on your lips even as Viktor's coolness claimed them as you pondered.

Jayce couldn't watch any longer. He stepped forward, his strong arms circling your waist and pulling you against his chest to disconnect your lips from Viktor's.

A light string of saliva connecting your lips with his before it broke.

He whispered harshly, "I'm not letting him take you from me. Not now, not ever."

Jayce's hands roamed your back, possessive and firm, while Viktor's fingers remained on your jaw, despite the little distance. The difference was dizzying. You were pressed up against Jayce's warm chest and if Viktor took a step forward, you would be sandwiched between the two.

"You don't have to choose," Viktor said softly, taking the remaining step forward as his hand moved to your waist, resting just above Jayce's, "Let us prove that you are everything."

Jayce growled low in his throat, but he didn't pull away. Instead, he tightened his grip on you, "Fine," he said through gritted teeth, his voice laced with both anger and longing.

The tension between the three of you shifted, becoming something darker, more intimate. You felt their hands, their lips, their breaths, all consuming you in a way that made your knees weak.

Their obsession was dangerous, but it was also intoxicating. In that moment, you were theirs and they were yours.

"Kiss me." Was the last thing you heard before someone's warm lips claimed your own.

Post Notes: theres something about obesssive and possesive and fighting jayvik over reader... hehehehe...

~ ~ ~

@lightupsketchersperson @simpleindividualgirl @consecratedvampire91 @donnie_is_here @erunanethiel25 @luv-urself-first

my taglist form!

[asphodelles]

Hi, I found your work on Twitter last year and I really love and look up to your art. If you have the time, I wanted to as if there are there any study topics, artists or techniques that have significantly influenced you :')

I'm at a bit of a complete loss on what to study presently so I thought I'd ask my favorite artists, thank you for reading and I completely understand if this is too open ended a question

Thank you!

This isn't the first time I have been asked this question and I suspect this won't be the last so I'll just lay everything out here. Go to a cafe or get a blanket or something because this will not be a short read:

Foundational:

Anatomy: A lot of my foundational anatomy and clothing illustration knowledge was gained from taking classes and doing observational drawing. Because of this, I'm not going to have the best book recommendations but top 2 books I can recommend for getting Started started are Andrew Loomis or RockHe Kim's books on anatomy (huge asterisk here: they're good at teaching you Basics basics like muscle groups and turning forms and extremely general proportions but will not help that much with making your figure drawings less stiff or how to draw fat or especially in the latter's case how to draw women not built like stick bug anime girls but uh I heard the Morpho books are pretty good. genuinely everything I know about drawing fat is from observational drawing/studies because at some point I got sick of my school for only hiring skinny models in their 20s-30s). I have some diagrams drawn by my friend who studied the hell out of these guys below:

Clothing: I don't know any books that can really help on this front I apologize if I find any I'll update this post but pretty much all of my knowledge on drawing clothes boils down to the following rules: Where are the tension points, how stiff or soft is the textile, how is the form underneath the section of clothing behaving, and don't make even spaces between fold groups

All of this is kind of moot though if it isn't applied through study or observational drawing though

Design:

I have to be really careful here because I don't want to deal in absolutes, the only absolute I'm confident espousing is that anyone who tells you there is only a small selection of methods you should follow to execute a specific type of design are objectively incorrect and just haven't figured out alternative if not more effective design solutions to a common problem. The only real Worst Thing I think you could do as a designer is create a pinterest mannequin devoid of a story, disconnected from its context in the world, and lacking in a clear purpose/personality but this too could be easily be disputed if maximising a character’s aesthetic appeal serves a purpose in its context, and my opposition to this design approach is my personal bias as a character designer for entertainment where emphasizing a character’s function and their relationship to said function is usually the goal

I think the 5 best pieces of advice I've ever received when it comes to designing characters are the following:

Try and follow the rule of thirds/general gestalt design principles of contrast

Always consider what it is you're trying to communicate with the character

Create believable transitions and reinforcements between points of interest

(Entertainment related) KISS principle/Keep It Simple, Stupid is your friend, the way a character wears or wields what they wear or wield will communicate their role in the world (who are they?), their relationship to their role (do they like their job? are they good at it? are they a part of an organization with the means to provide them things to perform their role more effectively?) effectively enough. Excessive information that bloats and conflicts with the communication objective weakens design (example: My favourite childhood toy for years was a pokemon plushie. Would I as a stay at home digital artist be wearing it as a keychain on my crusty paint stained polyester pajama pants when I'm at my desk working my job? is wearing it relevant to my character as a person who both no longer is invested in pokemon and is in this context focused entirely on comfort and doing my job? (no)). I think Elden Ring is an excellent example of a game that has visually complex designs but pretty expedient storytelling with its characters for worldbuilding

Study things that aren't just character design, to borrow from Lynn Yaeger borrowing from Sally Singer "If you're interested in fashion learn everything except fashion... Politics, art, painting- anything except fashion". Because people in different disciplines who work with different mediums or fields of study approach problems in different angles you may not have considered which can help give new ideas + often times the stuff you like was inspired by stuff that isn't at all what you would expect or enjoy yourself (To pull from a very popular example, Arcane is a League of Legends joint which was highly influenced by Warcraft which was highly influenced by Warhammer which was basically a giant response to western pop culture of the 1960s and the history of European warfare something something coconut tree).

Character design is kind of a hard thing to Get Good at considering how much of the actual process is super psychological/not bound by a *ton* of absolutes and has to account for medium and function (you kind of just have to have The Sauce) so I don't recommend Just studying independently only (possible, just very difficult). If you can and are interested in learning more about the specifics take some classes taught by people whose styles you fw who both know what they're doing and are good at explaining their process. For design for entertainment you can always check out Concept Design Academy or The Workshop Academy and see who's teaching there

As far as artist inspirations are concerned I think looking up the artists who worked on projects you like are a good starting point to figure out how you want to stylize. Going off of that at least currently my favourite designers/illustrators for entertainment with The Sauce are probably Evening Monteiro, Sergey Kolesov, Mindy Lee, Tonci Zonjic, Sasha Tudvaseva, Claire Hummel, and Yoshitaka Amano

My favourite book currently for tackling character design at least from a narrative consideration is probably Talking Threads: Costume Design for Entertainment Art (one of the authors is my friend and an excellent teacher!) and a lot of the stuff they espouse really helps to take into consideration individual and external factors when designing a character/how they can be used as vehicles for both individual storytelling and worldbuilding, gigantic reference point for my most recent casual project

Besides that the only other way I can really recommend studying character design is to just look at art, history, architecture, nature (pretty much Everything) and think about how ideas and concepts from those things can be applied to or communicated through a design or figure out what it was about a design or designs you like made it appealing

uhh tldr this is just how i as one among millions of artists got to where i am today as of January 16th 2025 my word is not gospel the advice I espoused here may very well spell my downfall tomorrow

[the-raven-and-the-tower]

Lucanis's Logbook - All 5 Entries

These were my favorite Codex entries to find, they're a great snapshot of Lucanis and Spite's changing relationship as they grew.

Entry 1

Entry 2

Entry 3

Entry 4

Entry 5

Text of all five below, for your easy reference ♡

Entry 1

Lucanis's Logbook, 1

Dawn:

Exercises

Breakfast

Mid-morning:

Weapon maintenance

Inventory

Midday:

Meeting with Neve and Harding (Solas and blighted gods)

Midday meal

Late afternoon:

Exercises

Meeting with Bellara

Evening:

Supper preparations

Correspondence with Crows

Nearing midnight:

Study

Every hour seems accounted for, but it is difficult to know for certain. There was no day or night in the Ossuary. Now, at this Lighthouse, the sky offers little hint to the true time in the world.

Entry 2

Lucanis's Logbook, 2

Dawn:

Exercises

Breakfast

Mid-morning:

Weapon maintenance

Meeting with Neve, Harding, and Bellara (possible movement from gods)

Midday:

Midday meal

Search library

Late after— (the handwriting abruptly alters:)

a PEACE

cut from the ALL

golden stranded weaves

PROTECTION CAGE

keep them OUT keep me IN

(Drawn below is a decagonal diagram of perfectly even, intersecting geometric lines.)

Entry 3

Lucanis's Logbook, 3

scentsing the BEYOND rememburnings from before when one was infinity not a small shade not a SHARP hooked claw in a gut

takemeouttakemeoutletmeout

riiiiiiiip

(The handwriting abruptly alters:)

When did this start? I drifted off. It was after I spoke to Harding. He can't have been here long. The candle was out, but not much lower than when I lit it. It may still be evening. Or he blew it out and it's been hours.

I'll ask Emmrich of Neve for an estimate of the time.

Entry 4

Lucanis's Logbook, 4

Late afternoon:

Exercises

Discussion with Taash (Crows)

Evening:

Inventory with Bellara

Supper preparations

Bellara has ambitious plans for future meals at the Lighthouse, which she leaves to the two of us. I've been tasked with suggesting substitutions where ingredients are not available. Some of her own suggestions are rather inventive and would create a balanced flavor profile. Viago speaks often on the art of masking certain tastes.

Perhaps I should set up a meeting so they can compare notes; perhaps enemies of House De Riva won't last much longer.

Nearing midnight:

- Reading

If l have lost an hour this night, it is only to Rook. But lost is wrong. It is an hour found. An hour more clear than any other.

Entry 5

Lucanis's Logbook, 5 toes wiggle

when he drinks the brew a small shade and a wounded spirit sitting

there is STILL

we are still

Drawn below is a decagonal diagram of perfectly even, intersecting geometric lines.

Additional lines extend past the central diagram and reach the edges of the page.

there is an INFINITE there is a SHELTER

there is a STORM outside the center

The handwriting abruptly alters:

Spite says he went nowhere and it has only been an hour or two. His measurement of time seem more accurate than the others here. So, to resume...

Late Evening:

- Exercises

[cripplecharacters]

Hello, I hope you are all doing well. I have a question about image descriptions. I’ve seen people say they should be simple and direct to the point, often pointing out that overly detailed or descriptive language defeats the purpose of accessibility, but this advice seems to focus on non-art images. If I am describing art piece, would it be okay to describe things more? — ⚡️

Hello!

In general, the best practices with image descriptions is to describe the most important parts of the image. Of course, what's "important" about an image might differ depending on the type of image and the context.

When describing a diagram of a tow truck, for example, the colour of the tow truck would be irrelevant. The important parts of the image are the labels and the relevant parts of the truck.

For a piece of art, however, that may depend. With art, it can be a bit more difficult because, as they say, beauty is in the eye of the beholder. What one person sees as important may be entirely irrelevant to another person. Generally speaking, however, image descriptions/alt text for art is generally longer and more detailed than for other images.

When describing art, I find that a lot of people will go into great detail about the colour or shape or appearance of the piece of but not mention anything about the techniques of the piece itself. It may just be the arts major in me but I find that describing the feeling of a piece of art is just as important as describing the content of it.

For example, take this description:

A physical painting of a field of sunflowers. There are multiple rows and the flowers are grown tightly together. They are all turning to the back to face the sun. It is a cloudless day.

Now, consider this one:

A physical painting of a field of sunflowers. The painting is drawn with large, loose strokes and has very little detail. There are multiple rows and the flowers are grown tightly together to the point where the paint of their petals blends into each other. They are all turning to the back to face the sun. It is a cloudless day.

Remember that the goal with image descriptions/alt text is always equal access. While a sighted person can see the content of a painting, they can also generally get a feeling of it too. It may just be my personal preference but I find that conveying this feeling is also important.

Of course, context also matters here. If the image of the painting is posted to debate and discuss the craft of it, then yes, you would be expected to go into much more detail about it. If it's posted just to comment on how many people paint sunflowers, then you wouldn't need to go into much detail at all. You could literally just put "A physical painting of a field of sunflowers during the day." and that would be fine.

One thing to keep in mind is that the "right" way to write image descriptions/alt text will vary from person to person. I've seen posts that condemn one way of doing it while other posts say that said way is the only way to do it. It's all just personal preference, really, and the most important thing is that you're helping to make the post more accessible.

Cheers,

~ Mod Icarus

[all-pacas]

What is your opinion on stacy? Personally, i liked her matching house's humour and their dynamic despite how little time she had in the show

I thought she was great, because you can immediately see why she and House were together and why they broke up and what he saw in her. She's so sharp, and she's funny, and she's every bit as driven and perceptive and cynical as House is; S2 has so many painful little moments where she'll say something or make some joke you know House would have found so funny and now simply… can't. At the same time, I don't blame House for breaking up with her, and don't think they can ever get back together; that's half the tragedy. Her betrayal wouldn't be as impactful if she never really loved him or never understood him (as I've seen argued); it hurts because she loved him, because she picked his life over his love and they both know it.

I also think she's fantastic as a missing puzzle piece, you know? You can draw a very interesting venn diagram with her, Cuddy, and Wilson, as sort of — House's type, the sort of people House is drawn to. I think she slots in really well with them, and S2 does a good job implying that (from the way she's on first name basis with them, to the way she and Wilson and she and Cuddy are shown to be friends, or have one been friends) — I think there was a moment where they all were friends, a time where Stacy got together with Cuddy for drinks on the regular, a time where she and House loved to make fun of Wilson and his current wife together, where they were all, almost, functional. And I think there's a lot of room to play in that time, and in the time after — you could make a case that Stacy leaving caused larger reverberations for the group, you know? That her leaving pulled Wilson into her absence, that her leaving pushed Cuddy into the more distant position she has in S1-2, not really friends with House and Wilson in the same way she grows to be. I kind of hate the phrase haunts the narrative, but Stacy haunts the narrative. She's felt by her absence. She's a reminder of a better time, and because she is, House will always, inevitably, hate her. We're told again and again that House changed after his leg, became a different person (a cynic, one who is cynical about and afraid of love). I'm not discounting the fact that his disability and chronic pain is part of that, but Stacy is part of that too. She changed him. Her absence is a part of him. Love her or hate her, she's a huge part of what makes House, House.

[ejoym]

Continuing on the last ask about learning to start drawing OCs, do you have any tips on developing styles? I find it really difficult to “let go” of the need for things to be proportional or physically accurate, but I really want to start developing a more cartoon style.

Hi! In reference to this last post. I'm going to site a lot of stuff from a book called Understanding Comics: The Invisible Art by Scott McCloud. It's a great resource for anyone interested in cartooning, visual art, and comics as a unique storytelling art form.

Cartooning, whether it’s for comics or animation, is a very utilitarian art form. Cartooning skills and an artist's style are often forged in the hellfire of a deadline. For example, what my art style looks like when I've drawn an 80-panel comic in one week looks very different from a single illustration I’ve done in that same time frame.

Cartoonists simplify for the function of needing to draw everything by hand over and over and over again. But we also simplify for the emotional universality of the cartoon image! As stated by McCloud in the following three images.

Technically all 2D art is a form of caricature because we are reducing our 3D reality onto a 2D plane - which inherently abstracts form. Anytime someone sits down to draw (or write), they're engaging with a level of representation within pictorial space.

As an artist, we inevitably work in all modes at some point or another. But I think most artists will show a preference towards different corners of this diagram and that influences their style!

Ask yourself: where would you place the style you're seeking to achieve on this triangle? There's a more detailed version below with many cartoonists and styles for more examples.

I like this diagram especially because it shows the wide variety of cartoonist's styles. That's why this ask has been particularly tricky for me to answer. It's hard to give advice on becoming more cartoony without knowing what that specifically means for you, anon!

That said, I can still give some general good practice tips that hopefully anyone can utilize in their cartooning journey!

Figure drawing. Short poses (1-5 minutes). Figure drawing from life is ideal because life very rarely sits still. If you don't have any figure drawing studios in your area then go to libraries and coffee shops. You can also ask friends or family to sit for you. And finally there are figure drawing resources online that often include timers. Tip: Try drawing only with ink so you can’t erase. You won't have to do this forever but it's a great way to live with the "happy accidents" and then move on to the next drawing!

2. Gesture lines and S-curves. The gesture line captures the initial motion of the pose and will often follow the direction of the spine! S-curves are the alternating "S" shaped curves that represent the distribution of weight across the body. Exaggerating the S-curves is how cartoonists and animators often push the expressive form of the figure. When drawing the figure try to find the gesture line first and then build the weight of the pose on top of that!

3. Give yourself a deadline. Set a timer. Stick to it! Even if all you manage is a quick line gesture. Just move on to the next pose!

Finally, I really recommend reading Understanding Comics by Scott McCloud! It's a wonderful resource that anyone interested in the visual arts could benefit from reading. I first read it 17 years ago, back in my high school film class.

Phew! That's a long one. Hopefully, there's some useful info in there for you. But do feel free to ask any follow-up questions. And good luck on your cartooning journey! 🖤

(There's also another ask in my inbox about drawing cartoonish expressions. I'm working on a response but it may take a little bit. But don't worry, I'll have a detailed answer to that in the coming weeks!)

[periprose]

Ps5 Peter Parker x reader inspired by this?

It's one of my favorite MerDer moments on Grey's anatomy 🙈😭

Peter explains something about physics or an idea for a gagdet...

🤣 this image really cracked me up lol thanks for the ask!! I've set the fic to take place in the first game, Peter and Reader are Otto's assistants at Octavius Industries. Please ignore the science mumbo jumbo in this fic.

/

Otto's lab was really cold this time of year. He barely had the funds to make rent in Manhattan, let alone provide optimal heating and other luxuries.

Still, you shiver, searching through your locker for your comfy, oversized jumper. You're just pulling it on when Peter pops up from behind you.

"Hey."

"Jesus!" You flinch and then rub your eyes. "Hey, Peter. How do you get behind me so fast? That's the third time this month I didn't even see you come in."

"Uh... I just have good reflexes, I think." Peter's mouth twists a little, as he tries not to laugh at your jumper. "Are you sure that's up to lab standards? Where's your lab coat?"

"Ah, Otto doesn't mind. He knows I'm cold." You explain, and Peter sighs.

"Well, he never gives me special treatment."

"Probably because you're not as cute as I am." You joke, but Peter nods and you feel a callous level of attraction towards him for being so nonchalant in terms of flirting.

You never really know where you stand with the guy. He's a naturally witty person and you refuse to read into anything any deeper, just for self preservation.

"Hey, I can't disagree with that." Peter laughs that quiet, soft laugh that makes you smile on your own. "Here, I got you a cup of coffee. That should help warm you up."

You look down and see, sure enough, Peter's holding a coffee cup tray, loaded with three cups, surely your usual orders- for you, extra black espresso to stay awake, for Peter, usually some kind of healthy tea hybrid, and for Otto, a large, creamy Italian coffee blend that's particularly expensive (Peter always jokes that Otto wastes funding on things like this).

"Oh, I'll pay you back." You reach back into your locker for your wallet, but Peter stops you with a raise of his hand.

"It's free of charge. No worries." He hands you the cup gently, and your hand skirts across his. You think for a moment.

"Nothing is ever really 'free of charge', Peter." You give him a side glance. In the last couple of months you've known this guy, you've figured out when he has an ulterior motive.

"... Alright, alright. You got me." Peter starts pulling you along by the hand, towards one of Otto's offices filled with white-boards and desks and equipment. You take a sip of your coffee and notice that it's still quite hot- Peter must've been really fast to make it so.

Not that you're complaining, and now that you're warmer you do feel more inclined to listen to him.

"Okay. You know how Otto's neural interface for the experimental arms have been glitching out?" Peter's got a firm look on his face, as you sit and listen.

"Yeah. It's a poor prototype, I think he asked us to leave it alone? He said he'd deal with it." You shrug. "I've moved on to his requests for a tighter, stronger arm. You know I deal with hardware."

"Yes, but even so, the neural interface problem still persists. Otto's lying." Peter looks at the whiteboard, and sees that half of it is covered all over with erratically drawn diagrams and equations. It's fine, he knows he can write what he needs in that space.

"Okay, look." Peter begins drawing a diagram of the neural interface's circuitry. "See how the voltage is really high?"

"Yeah- but isn't that what Doc wanted?" You grimace. "Last time I brought up the voltage issue, he told me to mind my business and continue with soldering. He wants so much power for some reason."

"Right, that's what I'm talking about. Notice how Otto keeps having those outbursts?" Peter sighs, a deeply upsetting look overtaking him. "He's getting a bit aggressive as of late, and I think it's because he can't figure this out."

"You're telling me. Just yesterday he chewed me out for clocking in a bit late." You sniff. "Okay, I was fifteen minutes late, but still."

"I've been there, you don't even have to justify it." Peter laughs, and begins drawing squiggly lines. You can't help but notice how his strangely muscular arms are tense and visible through his lab coat as he scrawls, and you take a sip of your coffee, savoring the view. Looking isn't illegal, you try to rationalize, but you quickly banish these thoughts as Peter looks back with a sly glance, to make sure you're paying attention.

"This is the electricity flow... and it should be heading this way, but the neural interface is made incorrectly and the flow of energy is heading back this way... towards the-"

"The battery of the arms, not the interface." You suddenly realize, and take a scrap piece of paper off the desk, scribbling down notes. "Hmm... maybe the wiring used for the arms is absorbing too much energy? Or the batteries are too big?"

"Maybe, but neural interfaces are tricky business." Peter winces as Otto yells at something in the background of the lab. "I told Otto not to get too involved with it- it's far too easy to accidentally mess with your brain, and then suddenly you've got anger issues or worse-"

"Dementia." You finish his sentence with an equally grim expression. "Okay. I hear you, but how are we supposed to fix it, exactly? I can only think of using different, smaller wires, or a less cost heavy battery- but then it won't move at the speed Otto wants it to."

"Yeah." Peter's shoulders slump a little, and you feel bad. He's always just one dude trying to take on the entire world's problems.

"Peter, it's not your problem, really. You can only do so much- the man has made up his mind, he's going to have to take the brunt of the problem." You try to console him, but Peter has that determined Parker Pride you've seen far too often, and you know he's not going to let it go.

"Wait, wait. Okay..." Peter starts frantically drawing on the board, and seeing that he's running out of space, without missing a beat, begins to draw on the wall.

"Peter! You're drawing on the wall!" You admonish him, and to your shock and utter horror, but not to your surprise, he keeps going. "Now you've completely lost it- it'll take two seconds to erase the board-"

But Peter isn't listening, in that overly stubborn, inventor way that you know you've done before. He's too lost in his own thoughts, and you know that spark will disappear if he takes a moment to stop drawing.

"I'll clean it. It's fine. We got to get a move on." Peter points to the new diagram on the wall. "Look at this."

Peter's drawn a rudimentary depiction of the robotic arm prototypes you've built for Otto, but the battery pack has been split up into several, smaller batteries that extend over the course of the arms. Something about the way the arms move in Peter's drawings look a lot more... smooth, silky, like a cephalopod.

An octopus.

But you are amazed at Peter's capabilities, either way. "Using multiple different batteries, so the energy isn't drawn away from the neural interface in a great capacity?" You blink, a bit amused at Peter's eager expression. "It would work, I think, but only if Otto is willing for a slight decrease in power."

"Ah, but that's where you're wrong. We don't need to sacrifice power at all." Peter draws a set of gears, interlocking through the squiddy looking arm, and you clap your hands, clambering up out of your seat, finally enthused by his idea.

"Peter Parker, you genius!" You shake his arm excitedly, and he turns a bit pinker as he watches you, grinning. "Otto wanted the arm to be almost entirely synthetic material- but if it has rotating gears, the less it will jerk around. It'll be faster, smoother-"

"Thus requiring less power anyways, and less power will be redirected into his neural interface. And, hypothetically, no more angry Otto." Peter grins, and you smile up at him. "I mean, it'll still take some tinkering to figure out, but incremental improvements are still improvements, right?"

"Definitely. Plus we can always try to convince him about solar power again." You joke as Peter snickers.

Peter opens his mouth, about to say something to you, but he stares for a moment too long and hesitates, especially because in the nerdy excitement, he had gotten so close to you, and he was a liar if he said he had never checked out his cute co-worker. Any second now, you should be teasing as you usually do- but your eyes are wide and Peter gets the sense you've been swept up in this too.

He's never been so... close. He can make out individual eyelashes, tiny scars, imperceptible to normal people, but not to him.

And his phone buzzes with some kind of alert. He looks it over with bright, concerned eyes, while you take a moment to step back, much to Peter's mild irritation.

"Ah... must be MJ?" You ask, trying so very hard not to sound like a jealous girlfriend, just a curious colleague. You have nothing against MJ- you just feel that she and Peter are so meant for each other, and this is exactly why you've been trying to protect yourself.

Who are you kidding? You and Peter are both so busy- you'd never have time to be his doting, adoring girlfriend. You just have to remember him as a friend.

Already you feel the walls coming into place, your expression turning neutral, your heart becoming steely, when Peter looks at you again, surprised.

He can tell you're holding yourself back- and he doesn't like that. He wants you to come back to him, to be close with him again, and it drives him nuts that it has to be your choice, but he respects that.

"Not MJ. We broke up a while ago." Peter swallows, hoping he's saying the right things. "Uh... I don't think we're going to get back together. She's dating someone else now."

"Oh." You squeeze Peter's shoulder as comfortingly as you can. "Peter, I'm sorry. I would've been less of an ass if I'd known."

"No, don't be." Peter fixes a firm, kindhearted glance at you, taking your hands, the warmth of his own making you feel especially treasured. "You're great."

There's a teeny bit of hope working it's way into you, into your silly, girly heart despite all the steel around it, and Peter has a soft smile reserved just for you- you know that smile, you've seen it before when he comforts you when an experiment goes poorly, or when you've had a Eureka moment.

He rubs your hands. "Jeez, you're cold! I know women are usually freezing in the workplace- different body temperatures on average and all that- but I'm going to have to talk to Otto about making it warmer in here."

"Lest I die of hypothermia, right." You snort, and Peter snickers, but he still stays close, as if he's using this as an excuse. "Well, at least I have your hands."

Peter's phone buzzes again, another alert, which he apologetically takes a moment to read after letting go of you. Something about Fisk's thugs making their way through Grand Central Station- he shouldn't leave right now, but he can see your curiosity is piqued.

"Just a news alert. Nothing big." Peter lies, and you don't quite buy it, but you don't want to pry at this moment after he's complimented you and been so nice to warm up your hands.

Otto bursts through the entrance of the room, sighing.

"Will you two lovebirds stop canoodling with each other and test out the circuitry? You know, like I'm paying you to do so with very limited funds?" He barks, and then inhales. "Sorry. Just... try to stay on task. And I know you're young and all... but stop drawing on the walls!"

He leaves, grumbling about youth being too romantic and wishing they would understand sensibility.

You're about to refute whatever Otto said, so Peter doesn't feel uncomfortable, when he speaks first.

"I take it he isn't a romantic." Peter jokes as he grabs some paper towels, and you laugh, feeling that Peter's flirting was more genuine than you thought.