#What is a clean coloring process

[collophora]

@devinsisland apocalypse AUs, but it's just chill gardening between two raids outside to scavenge seeds

[zephyrine-gale]

kazuscara | acting on impulse

[alternianavenues]

Did some Jejrik warmups for the start of the day, FEAST. You should totally respond with screenshots of your favorites <3

[thedrotter]

been watching mlp lately ... watching colorful horses on little adventures soothes the soul ... some rarity cuz she's adorable :33

[wtl-archive]

Any time I'm forced to explain anything about the actual script of this AU I feel like the creator of Cruelty Squad when Pyro was interviewing him

[volfoss]

actually crying and shaking at the news of finding raws for tokyo babylon... i can only hope theyre less yucky

[outeremissary]

💕 self-love time! talk about which ones of YOUR creations (edits, artworks, fanfics) you like the most then send to other creators to do the same 💕

(this got terribly ramble-y. apologies.)

Ah, this is difficult. Putting self-deprecation aside, I've accomplished a lot in the past year that's been significant improvement for me in terms of visual art. I guess that I really like the Valentine's art? Which is good since due to a series of mishaps it wound up framed next to my desk (realized I had no safe storage for it that wouldn't smudge it to hell and back) so it would be very sad if I wound up hating it.

I really loved the Crystalhue art I never finished as well. The sketch was really cute and it had the most complex composition of any large scene I'd done at the time (and probably since).

And it's silly, but I did really enjoy the letter I wrote back to you. I always struggle with Balthazar's voice. It was a helpful exercise even if it turned out messy. I'm sorry for not continuing the chain better. But thank you for the opportunity despite my unsociability. Lately I've been doing other art that I really liked too, so I'm surrounded by cute expressions right now. There's a beautiful smile to my left and some terrible (affectionate) smirks to right. Hopefully I can finish things in a reasonable time this week to share :) It's been a long while since I last did sequential art, so I'm always excited even when it's simple.

Ah, and recently there was a lot of really good art with Vio (@mountainashfae's character, as always), so that's lovely. This was messy (and color made it messier) but I still like it because 1) it's cute and 2) I challenged myself a lot to try things I always wanted to draw but avoided because I just thought I couldn't do them well. Well, the omnipresent mistake hiding eraser speaks to the imperfection, but I'm still happy.

I'm seldom satisfied with what I make, but I try to see it as a good thing. I'm always growing, perhaps. My therapist thinks it's like living with a curse though. ^^;;

[dingusships]

what's your favorite way to draw

Digital is what I do most + is most convenient BUT I'm a traditional pencil or charcoal gal at my core!! It's what I started with and am most comfortable with. Ideas seem to come to me easier on paper for some reason & the tactile-ness of smudging drawing etc feels way more at home to me than digital

My background is solidly in realism & it wasn't until about 7 years ago that I started dabbling into stylization / fun stuff so my "default" style vs what I typically post here is..... Uh off balance atm LMAO

^ a still life I did for a class. As u can see my toon skills in comparison have A Ways to go LMAO

I love Prismacolors too when I wanna do something colored but those are kinda pricey & run out quickly. So I have to plan carefully what exactly I'm gonna use them for before I do it

[beemovieerotica]

struggling with how to word this, but putting it out there anyway:

i can fully understand the posts on here from a lot of americans being tired of "vote blue no matter who" posts when the #1 thing that people are constantly (and sometimes only?) addressing is how the republican party is going treat trans/queer people if elected.

it's part of an unfortunate pattern of prioritizing the effects on a demographic that includes white + upper class people, when people of color and those in the global south are actively and currently being killed or relegated to circumstances in which their survival is very unlikely

it is genuinely exhausting to witness this, and i was also on the fence about even participating in voting because i a) felt like it didn't matter and b) every time i voiced being frustrated with the current state of the country, white queer people would immediately step in with "but what about trans people!" -> (i am mixed race trans man)

and i say this with unending patience toward people who do this, because i know that it's not something they actively think about. but everyone already knows how the republican party is going to treat queer people. you are probably talking to another queer person when you bring up project 2025. the issue is that, for those of us who aren't white, or for those of us who are but who are conscious of ongoing struggles for people of color worldwide, the safety of people around the world feels more urgent than our own. that is the calculation that's being made.

you're not going to win votes for the democratic party by dismissing or minimizing these realities and by continually centering (white) queer people.

very few people on here and twitter are actually talking about issues beyond queer rights that concern people of color, or how the two administrations differ on these issues instead of constantly circling back to single-issue politics. this isn't an exhaustive list. but these are the issues that have actually altered my perspective and motivated me to the point of committing to casting a vote

the biden administration has been engaged in a years-long fight to allow new applicants to DACA (Deferred Action for Childhood Arrivals, the program that allows undocumented individuals who arrived as children to remain in the country) after the Trump administration attempted to terminate it. the program is in limbo currently because of the actions of Trump-backed judges, with those who applied before the ruling being allowed to stay, but no new applications are being processed. Trump has repeatedly toyed with the idea of just deporting the 1.8 million people, but he continues to change his mind depending on whatever the fuck goes on in his head. he cannot be relied on to be sympathetic toward people of hispanic descent or to guarantee that DREAMers will be allowed stay in the country. biden + a democratic controlled congress will allow legal challenges to the DACA moratorium to gain ground.

the biden administration is open to returning and protecting portions of culturally important indigenous land in a way that the trump administration absolutely does not give a fuck. as of may 2024, they have established seven national monuments with plans to expand the San Gabriel Monument where the Gabrielino, Kizh / Tongva, the Chumash, Kitanemuk, Serrano, and Tataviam reside. the Berryessa Snow Mountain is also on the list, as a sacred region to the Patwin.

i'm recognizing that the US's plans for clean energy have often come into conflict with tribal sovereignty, and the biden administration could absolutely do better in navigating this. but the unfortunate dichotomy is that there would be zero commitment or investment in clean energy under a trump-led government, which poses an astounding existential threat and destabilizing force to the global south beyond any human-to-human conflict. climate change has caused and will continue to cause resource shortages, greater natural disasters, and near-lethal living conditions for those in the tropics - and the actions of the highest energy consumers (US) are to blame. biden has funneled billions of dollars into climate change mitigation and clean energy generation - trump does not believe that any of it matters.

i may circle back to this and add more as it comes up, but i'm hoping that those who are skeptical / discouraged / tired of the white queer-centric discourse on tumblr and twitter can at least process some of this. please feel free to add more articles + points but i'm asking for the sake of this post to please focus on issues that affect people of color.

[atigrado]

i might have flopped with that luka drawing i fear.......

[zosanbrainrot]

part 06!! and the end of Act 1

01 02 03 04 05 06

OK SO THAT'S THAT

I don't have anything else storyboarded right now, I have the dialogues for Act 3 written down, but for the 2nd Act I'm gonna have to rewatch parts of WCI. I'm also thinking of a different approach, more like a series of illustrations not a comic, but idk yet, I'll have to rewatch and see!

It's not like I'm actually using a 3 Act structure as in 'a method of writing a story', I don't know how to and I haven't tried learning that (YET). I just think its neat and reflects how I divided my artistic process. I've always seen this story in my head as 3 parts.

And before I delve into part 06, I can't stop myself from saying that....... part 05 really needed another closeup on Sanji's face. If I ever try and repost it to another site then maybe I'll add it (between the panels of Ichiji & Zoro and the closeup on the spear, it would help the rythym but also strengthen the emotional connection, before Sanji shuts himself off)

Anyhow part 06

Most panels were a breeze, but the last two, my god, I just couldn't get them right for the longest time. In the end my favourite panels are the closeups of Luffy and Nami, I should really draw them more.

Here's how this panel in particular went:

I did like how the pose was looking in my first rough pass, the face is scrunched, the shoulders are high with tension, the direction is consistent

Couldn't execute it though... I think in the first rough sketch the camera is looking at Luffy slightly from above? Like he's leaning into it. That's why the shoulders can be so high up, but I didn't realize what it was when trying to clean it. So when cleaning the sketch I drew the head on the same level as the camera which made the whole pose look flat, also in this weird angle, like it's not fully 3/4, but it's not facing forwards either.

I didn't know what wasn't working, so I doubled down and tried with the lineart, but it didn't magically help. It just looks like he's slouching.

4. so I tried to rethink the pose and commit to a 3/4 view. I like that more of the neck is visible now, you can feel that he's leaning forward with the scream, but I think I could have pushed it a bit more still

5. with linework I made some small changes, like a bit shorter hair, smaller nose and the eyes pushed back a bit. I also added the scratches and filled in the black parts

6. added flat colors & shading!

Last panel with Sanji was even harder to draw hehe

so I thought this would be easy bcs I wanted to basically redraw the panel from the anime

that's why my rough sketch was extremely rough, I didn't think about it much

and then I had so much trouble with it lmao You'd think that it would be easier when you're covering the character's face, but I was in this undecided space of on one hand wanting to show the pain on Sanji's face and staying truthful to the anime scene on the other. I also found it super diffucult to show the emotions without the eyes

4. The pose in 3. also wasn't working so I tried to make him more slouched, like he's curling in on himself more, it was definitely a better direction. I tried going into lineart from here but I didn't like how the fingers were turning out

5. So I decided to get a new ref and took a picture of how I'd make this gesture myself. With this pose I also changed the position and angle of the face slightly, bcs it would have created a very small space between the hand and the nose and I wanted the two shapes to connect

6. I really liked the hand, but was having trouble with the hair, it felt too short, still couldn't get the face right either

7. so I elongated the hair and worked on the face some more and was finally happy with what I had!

8. added colors! At first I had it colored like the other panels, color just on Sanji then gradient on the bottom helping it fade to black, but it wasn't sitting well with me. Maybe because the space above his head was too big and I didn't want to have a background here and also wasn't adding the little floating pieces to the carriage scene (these were reserved for the grass battlefield)

9. SO! I made Sanji's figure darker and also added a darker shade to the whole scene and I think it ended up working really nice. Like he's drowning in the darkness, the only element piercing through it are Luffy's words. It also just fills up the space better lmao, feels less empty visually

Its gonna be A WHILE, before I have updates for this, I'm gonna have to start with the rewatch anyway. Right now I'm gonna have to focus on finishing my extra pieces for the @rdtriozine !! If any of you read this far you may as well check it out lmao I have a full illustration spread there and gonna have spots for a fic too ❤️ I just need to draw them!!! AGHHHH

[h00f]

T4TM (Theseus4TheMinotaur)

lost wax cast bronze, patina & paste wax

2023

(process photos & info under cut <3)

my minotaur boy!! pls click on the photos for higher res! my thesis is focusing on trans men and creatures (how original ik) and this was last semester's final. i spent a lot of time looking at sculptures of the theseus/minotaur story, and yknow? a LOT of them are erotic! i'm pretty sure i saw some of them on tumblr a decade ago, and that's led to this now!

as you'll notice, the minotaur has a big t-dick! i wanted to give him breasts and an enlarged clitoris to present a very masculine trans figure. the boy on the bottom is also trans because i say so . the piece is about looking up to older, bigger, hairier trans men and seeing something awe-inspiring and beautiful. the minotaur was locked up by a cruel father for being different, and i think modern adaptations tend towards a sympathetic asterion (his name in one version)

making this piece was. so much effort. it took me about 3 months to get it all together - from clay model (plasticine) to 3D print to silicone mold to wax cast, and finally bronze pour into the shell mold. and then a TON of filing, sanding, dremel-ing, and various other metalworking techniques that probably took years off my life.

i started with sketches and made theeeeeee ugliest model ever:

then used a 3D scanner to get it digital, then spent a goooood month or two making him pretty in blender! then i spent an agonizing few weeks trying to get it print-ready, and fiiiiiinally did

^^^ an early resin printed draft of the model - you can see in the final that i added lots to theseus after some feedback, but sadly the nosering broke off every time i cast it so i just. let that be <3

then came the moldmaking, and then the wax dipping!! the yellow stuff is shell mold (ground up ceramic bits and algae soup, sticks to the wax, then silica sand in varying sizes on top) which gets the wax melted out, and bronze poured in!

then it's all metalworking, cutting stuff off, and working with hot metal. they don't tell you about all the bronze dust and how annoying it gets wearing a respirator AND goggles. but it is for me health, me boy. here's him all cleaned up before the patina:

and then i spray him down with various chemicals to make it "patina" (aka rust) in pretty colors. wait a few days, then apply paste wax to seal it and give it that shine!

then we get what you see above!!! the blue was actually unintentional, and i'm still not super sure why it looks that way.. but it's pretty so idc <3

thanks for reading!! if you ever have any bronze/casting questions, don't hesitate to message me! <3

[azrielsrealmate]

never just a best friend

azriel x reader

summary: your best friends offers a massage after a stressing day, only that his hands end up slipping to dangerous places.

warnings: smut

word count: 2k

Your feet ached, your head throbbed, and your skin itched in places you couldn’t reach to scratch. And your back—God, your back hurt.

You just needed a break. A break longer than the eight hours of sleep you rarely had time to get.

Azriel’s gaze from where he sat at the edge of your bed made the back of your neck burn. So you hurried to pull your shirt over your head, and the feeling disappeared, knowing he’d look anywhere but at you while you changed. You almost sighed in relief, almost rubbed the space between your brows. But instead, you unclasped your bra and slipped into a shirt several sizes larger than what you usually wore.

You hadn’t deliberately chosen Azriel’s shirt to breathe in the comforting scent of cedar and mist instead of the tobacco and beer your idiot ex had left lingering everywhere. You really hadn’t. But it was a relief you hadn’t known you needed.

“What happened?”

A simple question, but spoken in that voice, deep yet so soft, like silk brushing against clean skin, it almost made you sob.

What happened wasn’t the question; the question was why you felt so easily overwhelmed. You turned to look at him, and the caramel color of his eyes softened as he read how overstimulated you felt. He stood up, and even from the distance between you, you could clearly see how tall he was.

He crossed the space in mere seconds, and his scarred palm found your cheek, cradling it tenderly. Your eyes closed involuntarily. The warmth of his hand melted your mind, sending the hot liquid of it out of your body in the form of a sigh.

“What happened?” he repeated again.

You sighed.

“Adrik.” You said the name of your ex, not needing to open your eyes to know that Azriel’s features had hardened.

You spent so much time watching him that you’d almost memorized his micro-expressions.

“I ran into him at the café next door, and…” your best friend’s thumb stroked your cheek, encouraging you to continue. “Well, obviously, it didn’t end well.”

“What did he do?” Azriel asked, his voice rough. So different from how he’d asked what happened earlier. You could hear the sharp undertone clearly.

You’d been through this before.

You shook your head and moved his hand away from your cheek, your thumb tracing a small caress on his skin before letting go. You took off your pants, because you slept with little clothes, and you sighed heavily, walking toward your side of the bed.

“He just stuck to me like the worm he is.” You didn’t even want to imagine what would happen to the poor drunk Adrik if you let go of the weakening reins on Azriel. The muscles under your skin tingled pleasantly just thinking about it. Adrik had treated you so poorly, and it would be so easy to let Azriel handle him…

But, no. No. You weren’t doing this.

You sat on the bed, feeling your body tense slightly under his gaze. He studied you as if he wanted to squeeze out that feeling he knew existed in you, the one you worked so hard to push down, to extract and stretch it so he could examine it.

“What do you mean by…” his brows furrowed, finally processing your words.

You didn’t let him finish.

“Damn it, Azriel, he left after two minutes. Please, just lie down, I’ve had the worst day ever,” you pleaded, feeling a cramp run down your back. “And to top it all off, my back hurts,” you complained.

You heard Azriel exhale. It took him a fraction of a second to speak.

“I can see the tension in your muscles from here,” he said.

You rolled your shoulders, as if that would bring relief.

“It’s not that bad.”

He didn’t pay you the slightest attention.

“Where did you leave the oil from last time?” The last time he’d worked a wonderful massage on your back, you could swear it could have made you finish faster than Adrik ever had.

The silence in the room grew thicker as Azriel waited for your response. You knew he wouldn’t move until you told him. Not because he was pressuring you, but because he wanted to take care of you. As he always did.

“It’s in the nightstand, top drawer,” you replied, trying to sound casual, even though you knew exactly what it meant once he put his hands on you.

Azriel walked over to the nightstand, pulled out the small bottle of oil, and held it in his hand for a moment, assessing your state. His eyes met yours, and something in his gaze made your breath quicken slightly. It wasn’t the first time he’d offered you a massage, but this time, there was a tension between you that you couldn’t ignore, not when it made anticipation itch in your skin.

“Take off your shirt,” he instructed, his voice soft but firm. Your heart skipped a beat, and you hesitated for a moment, but seeing the calm in his eyes, you made up your mind. Slowly, you removed your shirt, revealing your body covered only by a tiny black thong.

Azriel swallowed, his eyes darkening slightly as they roamed over your figure. You felt a warmth spread across your skin under his intense gaze, but you remained still, waiting for his next move.

He approached, leaned in, and his large, warm hands grabbed your hips, quickly dragging you until you were sitting where he could rest his hands on your shoulders first, beginning with a light pressure. His touch was firm but gentle, and he began working on your tense muscles, gliding down your back with expertise. The oil, warm against your skin, made it easier for his hands to move as he focused on relaxing you.

A sigh escaped your lips as you felt a knot dissolve under his fingers. He leaned in closer, his breath brushing against your ear.

“Let go of all that tension,” he murmured, his voice rough with concentration as his hands traveled down your back to the curve of your waist, his thumbs pressing gently at the base of your spine.

A low moan escaped you, and you closed your eyes, allowing the pleasure of the massage to envelop you completely. Azriel continued, his hands moving confidently, exploring every inch of your lower back, dangerously close to the edge of your thong. His touch was addictive, and though you tried to stay calm, you felt your body reacting to every caress, every calculated pressure.

“You have no idea how beautiful you look,” Azriel whispered, his voice vibrating against your skin as his hands paused for a moment, just above the line of your thong. The heat in his voice made you shiver.

Opening your eyes, you turned your head slightly to look at him, finding his face close to yours, his eyes locked on yours. The tension in the room became almost palpable, and in that instant, you knew you had crossed a line.

Azriel lowered his hands, sliding them down your hips to the edge of your thong, slowly—too slowly.

He stopped in the curve of your hips, squeezed the flesh, in his hands, feeling and appreciating them. And slowly, he guided one hand toward your abdomen, the other toward your ribs.

You whimpered slightly, needily, your breath heavy.

“Be patient,” he murmured against your ear, your eyes fluttering closed. You felt the warmth of his hand move up to cup one of your breasts, relishing its size. Your brows arched. “Az…” you sighed.

His other hand slid down to slip under the fabric of your black thong, finding there a wetness that made him hum in satisfaction.

“So wet, all this for me?” You moaned again, struggling to keep your eyes open.

His scarred fingers explored your wetness, tracing a line from your entrance to your clitoris, spreading all your arousal. He drew a circle on your clit, torturously slow, tentative, you might have said if your brain weren’t mush.

Your back arched again. “Azriel,” you moaned his name, and he, in turn, growled in your ear.

“Do you like that?” he asked, and you realized he wanted an answer when he stopped his fingers.

“Yes, yes!” you pleaded, almost desperately.

Azriel let out a low sound, almost a growl, upon hearing your response, satisfied with the power he had over you in that moment. His hand remained still, his fingers barely brushing your clit, enough to keep you on edge, but not enough to give you the relief you so desperately craved. The tension in the room was palpable, each passing second seemed to stretch time, amplifying the desire that wrapped around you.

“If you enjoy it so much,” he murmured against your neck, his hot breath sending a shiver down your spine, “then you’re going to wait a little longer.”

The sweet agony of anticipation spread through your body as Azriel maintained that light, frustrating touch that made every fiber of your being burn with desire. You tried to move, seeking more of him, more of that contact that promised so much, but his hands became firm, holding you in place.

“Don’t move,” he ordered gently, and there was an authority in his voice that made you obey without hesitation. There was something about the way Azriel controlled you, how he handled your body with such precision, that made you feel vulnerable and at the same time completely safe. You felt the heat of his body against your back, his hardness pressed against you as his scarred fingers moved again, this time applying more pressure on your clit. The pleasure that blossomed from that simple touch was overwhelming, and you couldn't help but moan, arching your back to get closer to him.

"Good girl," Azriel whispered, his tone laden with satisfaction as he increased the rhythm of his caresses. You felt his other hand slide up your abdomen, moving up to caress your breasts, squeezing them with a possessiveness that made your breath catch in your throat. His lips pressed against your neck, sending waves of pleasure through your body as his fingers continued to play with your wetness.

“I want you to come for me,” he growled against your ear, his voice a comman. And with that, his movements became more intense, more urgent. The sweet torture he’d imposed on you faded into a wave of pleasure so overwhelming that it left you trembling, your moans turning into cries of pleasure as you approached the edge. His fingertips skilfully working on your clit.

Azriel’s fingers worked with expert precision, pushing you closer and closer to the precipice of an orgasm, until you finally exploded in a wave of pure pleasure, your body trembling as you were suddenly blind and deaf from pleasure. You let out a long, satisfied moan as Azriel’s name escaped your lips in a sigh, your whole being consumed by the heat of that moment.

And even as the pleasure began to fade, Azriel didn’t stop. His hands continued to explore your body, his lips still pressed against your neck, leaving wet kisses that sent delicious shivers through your spine. The sensation of his touch, so skilled and confident, combined with the residual pleasure of your orgasm, left you breathless, utterly spent in his arms.

When you finally came down from that blissful high, you turned to look at him, finding a possessive gleam in his eyes, as if he couldn't get enough of you.

Well, you had never considered him just your best friend.

"I hope your back doesn’t hurt anymore.”

[phas3d]

Hi there! I’m not sure if your still taking requests, but I would love to know your thoughts on how Lorenzo, Theo, Draco, Mattheo, and Tom would react to their s/o wearing their hoodie/sweater. I was thinking headcanons or a Drabble but anything would be great! I really love writing and hope you feel inspired to write even more soon!

Wearing Their Clothes | Slytherin Boys

type :: fluff

tw/cw :: calling theo a man whore, calling enzo a twink,

contains :: draco, tom, mattheo, theodore, lorenzo

notes :: inspired by uhh, nothing really - this prompt has been in my draft for ages and i finallyyyy finished it - THANK YOU to everyone who sends requests, I'm finally getting to them

DRACO MALFOY

When you complained about being cold, he instantly started lecturing you

"I told you it would get cold but your little pea brain didn't process that"

But while he's lecturing you, he's taking off his jumper and handing it to you

It smells like him and it's super soft

He only buys the best material for his clothes, because duhhh

He lets you wear it until you're somewhere warm

Although he loves you, he loves his jumper more

But he does sacrifice some of his jumpers by letting you wear them because, he hates to admit it, but you look super cute in his clothes

TOM RIDDLE

He watches you shiver for a few minutes until he decides to offer his jacket

You could literally be turning blue but he won't offer his jacket until he feels like it

He sighs, as if you asked for his jacket, and drapes his jacket around your shoulders

And guess what,,, he even ZIPS IT UP FOR YOU

AHHHH

Even though he's a dickhead at times, he's still a gentleman

When you put on his jacket, he slightly smirks at how big it is on you

Not cause you're cute, but because it makes him feel powerful to know he's bigger

MATTHEO RIDDLE

Is so so happy when he sees you out in the cold during his quidditch match

He's beaming and passes by you in the bleachers for a quick second as he throws his spare jersey in your arms

When you put it on, you smell his sweat and musk

Which would smell disgusting to some but to you, that's your boy :)

During his game, he glances over at you and smiles when he sees you wearing it

It helps push him to win even more

THEODORE NOTT

Sadly, Theo is a man-whore

Meaning he is always serving cunt,,, meaning he rarely wears jackets or sweaters

So if you're cold,,, so is he

Buttt on the lucky chance he is actually wearing a jacket and hiding his muscles, he doesn't hesitate to give you his jacket

And his jackets are 10 times better because not only is it always great material, clean, but it's also stylish

He always takes pictures of you when you wear his jacket, it makes him feel so happy and giddy

It kinda inspires him to try and style outfits for you to wear

Possibly plans matching outfits, that way if you get cold and he needs to give you his jacket - it will match both of you :)

This man is a THINKER!!! mwah

LORENZO BERKSHIRE

This man is a twig, twink, pocket sized

He will fly away in the wind like a napkin

BUT luckily, he loves getting massively oversized hoodies

It smells like the woods, a hint of lavender, but mostly fresh grass and sunlight is his scent

He loves to cool and comfy looks it gives - always gets a cool ass design on it as well

When you borrow his hoodies, he gets so giddy

He loves it so much since it's like he's claiming you in a way

Similar to how you leave hair ties, claw clips, and extra lip glosses all over his room

Definitely stacks up on big hoodies, that way you have a bunch of options to choose from

Even gets you guys matching designs in different colors

[peachedtvs]

ALASTOR TENDING TO LICKING YOUR WOUNDS ft!Alastor

✧ After an accidental paper cut, Alastor loses control momentarily and licks up your blood. 0.9wc

Imagine you and Alastor are staying up late one night, trying to decorate the hotel as a celebration for surviving the recent extermination.

All of this was your idea, Alastor simply tagging along as he was intrigued by how you were planning to decorate the hotel with mere ribbons and colored paper in a single night. The new renovations have expanded the hotel extensively, almost doubling its size—intriguing him on how your little passionate project could even be possible when done alone. If you were successful, Alastor could be content by the way Charlie's face would light up in the morning. If you failed, Alastor could soak up your disappointment! It was a win-win for him.

You furrowed your brows, hunched over a coffee table in the hotel reception, kneeling on the floor as Alastor sat reading not too far from you. You were focused on delicately carving the page before you, fingers delicately wrapped around a sharp paper-knife.

Outside, the rain was pouring. You never were a fan of thunderstorms, the booming sounds from outside snapping you out of your deep concentration every couple of minutes—some of the blaring clashes pairing with a bright flicker of light that made you flinch. Alastor found you amusing, being so passionate in something no one had asked you for, in something that would be unnecessary and also unnecessarily difficult for you to be done alone. The fact that you were pulling an all-nighter for this endeavor was even more entertaining, as you'd become all cranky once the next afternoon would come.

You let out a harsh sigh, your chest falling so far it seems as though you deflated. You regained your composure, holding your two hands close together as you pressed the page down into the table below—holding it in place as you carved a particularly intricate piece in the page when a shockingly loud crash thundered from outside. You flinched much too harshly this time, your wrist slipping and the paper-knife nicking the side of your index finger. You hiss, dropping the bloodied paper knife onto the table as it stained the pure white page below.

Alastor swore the air became heavier.

He didn't know what had so severely caught his instincts, but his wide eyes immediately darted to you before he could even process the situation—eyes locked onto the deep red trickling down your index. You hadn't even begun to notice him yet, hadn't noticed the way the air in the reception hall seemed to shift at the scent of your blood, how the light momentarily flickered.

You had such a sweet aroma.

An aroma that threatened Alastor's sanity.

Alastor's breath hitched sharply, snapping the book closed by the spine as he laid it as gently as he could upon the side table by his seat. Before he could even process it, your wrist was gripped into the palm of his hand—held firmly as you looked up to him.

The blood from your index trailed down the appendage, dipping down to the joint of your thumb as you looked up to him—startled by how quickly he had moved without you even noticing.

"Ala—"

"It would be wise to be more careful with that knife of yours, my Dear." He brought your wrist closer, his eyes locked on your hand. "Your clumsiness has put me in quite a difficult position." You looked at him intently, still sitting on the ground while Alastor was bent at the waist, holding your wrist up to meet his lips—when his tongue gently ran up the side of your palm before cleaning the blood smoothly. The moment he had your taste on his tongue, he felt his sanity slip away.

This wasn't like his usual respectful self, but he was unable to concentrate. Your flesh was euphoric. The kind he'd savor for weeks, the kind he wouldn't even need to cook or prepare beforehand. Fresh off the bone sort kind of sweet, a sickeningly addictive taste paired with a perfectly prominent metallic tang that had him wanting more.

Although, he was much too fond of you to rip you apart.

And so, Alastor vouched for slipping your finger into his mouth. His long tongue wrapped around the digit, a sting from his saliva sinking into the wound had you wince—your face looked beautiful in pain.

Alastor knew you trusted him, explaining why you hadn't pulled away. Instead, looking at him with a shocked and confused expression—ignoring your pain in his favor, just like the kind little soul you are.

Alastor pulled away, plucking a handkerchief from his pocket to clean your hand completely.

"My apologies, mon cher. I hope you didn't mind my little midnight snack." Alastor smiled to you, clearing his throat in an attempt to regain his lost composure. Although, he couldn't hide the lack of light in his eyes, and he couldn't suppress the wretched thoughts that clouded his head. He wanted to sink his teeth into your neck, to hear your pilant sounds of pain as he carved his bite into your flesh. He wouldn't tear into you, no. Simply mark you, border on the edge of savouring you in his mind completely and staying the gentleman he was raised to be.

In his own strange way, Alastor cared for you.

He wanted to wrap you into his embrace, overwhelm you as you'd tried to shrink away with nowhere to escape from him. He wanted to engrave your taste deep into his memory, to dig into your arms as he'd hold you scarily still.

For now, the only desire he could fulfill now laid upon his desk. A thin tendril of his shadows had swiped both the blood-soiled page and paper knife from the coffee table behind you and delivered it to his bedroom.

Alastor was no sentimental man, but he'd treasure a memory of your flesh to the grave.

You're watching...

© Peached TVs 2024

[fuckyeahgoodomens]

Good Omens graphic novel update: June 2024

Welcome to the June update. A lot of behind the scenes work at the moment but we're grabbing the travel sweets, popping in the Bentley and hitting the road. More on that below.

Admin

Ongoing reminder that the project FAQ can be found here. 

I pledged using my Apple ID, or no longer use the address my pledge is attached to, or I cannot work out what email address my pledge is connected to. What should I do? Please contact us via your Kickstarter account where the pledge is connected; we will be able to see on our system which address it is. If it's one you have access to, great! The FAQ has information on how to resend your invite link to access the PledgeManager. If it's one you are not able to access, then you can let us know which email is preferred and we can update this on the system, which will automatically send a new invite.

Events

We've had a lot of queries about when the Good Omens team will be attending events more formally, after some Aziraphale and Crowley spotting at conventions we'd been to previously. Well, we're excited to confirm the first: Good Omens HQ will be at ACME Comic Con in Glasgow, Scotland this September.

We'll be bringing the actual-real-life-home-to-Crowley-and-his-plants Bentley from Season 2 of Good Omens, the first time the car has been made available publicly for fans to come see and get photos with, ahead of its journey back to the set and the start of Season 3 filming.

We also see Quelin Sepulveda, aka Muriel, has been announced for the event for some additional ineffable joy.

You can get your tickets for ACME Comic Con here. We hope to see some of you there.

While we won't be rocking up with the Bentley to this next one, we want to let you know about Ineffable Con which, though sold out in person, is also taking place virtually in July. The fan-run event hosts great panels, auctions and more, with money raised going to Alzheimer’s Research UK, in memory of Sir Terry Pratchett.

Where next? We have - not an exaggeration - a list of about 200 events somewhere from when we asked fans this on Instagram and while we can't promise quite that amount of convention attendance, we're certainly looking to do some more things in future with Good Omens at large. Watch this space.  

Good Omens items...

This month has largely seen prototypes and samples for the wider Good Omens merch store arriving, and while we can't share those yet, we are certainly excited to see more fan product suggestions coming to life. That does, however, leave our public item updates a little slim on the ground.

To make up for that, here's some new panels from Colleen:

Also known as, "What could possibly go wrong?" And:

Also known as, "Well why don't you ▇▇▇ ▇▇▇▇▇▇ ▇▇▇ ▇▇!@#▇" or words to that effect, we'd imagine.  

Update from Colleen

Following such a positive response to Colleen's piece last month, bringing you behind the scenes into making the Good Omens graphic novel, we are delighted to say that she has agreed to write something for our updates going forward! For June, she's going more in depth into the process of flatting and the technicalities of colouring on screen vs print. Over to you, Colleen.

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I mentioned the other month that I use a flatter to help me with technical work on GOOD OMENS, and here is a great example.

This is my original, hand drawn line art.

And this is the flatting file which was created using the MultiFill computer program.

It will put your eyes out.

The raw image above demonstrates how the color art lines up solidly under the line art. If it doesn't do that, you get a weird phenomenon in print called ghosting, a tiny little line of white around each segment of color. I had this issue on one major project and ended up redoing every single color file after I got a look at the first printing. Nearly two weeks of work.

The same image with the line art on top.

The layer order looks like this.

Background copy is the clean, line art layer.

I scan the art at 600 dpi, then make the blacks pure black, the whites pure white. Then I convert back to greyscale, then RGB, then duplicate the layer. Then I delete the white on the upper layer so the line art layer is transparent but the blacks on that layer are not.

If you have blacks on a layer that has been multiplied, you can see slight color through those blacks. You want pure black.

The lower layer is where I use the MultiFill program to create the digital flats. First you use MultiFill to drop in the random colors, then the companion plug-in Flatter Pro to make those colors seal under the black lines.

This probably sounds like a silly thing to worry about, but if the flat colors don’t line up perfectly under the black line art, you get the dreaded ghosting I mentioned. You can see it below in this image. It’s a tiny little white line that will appear around the black lines and color areas.

This drives me nuts and is an absolute nightmare to fix.

It’s a very common problem, especially for people who work for web and don’t anticipate the problems going from web to print.

What looks great on your computer can cause big problems in print.

From here, my flatter Jul Mae Kristoffer, who is way over in the Philippines, does flatting that is more in keeping with the areas of color I want to isolate. As you see on Layer 1.

But again, this is still pretty ugly, and not what I would use for final color. Flatting is a technical issue, not a creative one, though in some cases a flatter will make choices you may use. Most of the time they don't.

Here is my final color page.

Sometimes my MultiFill flats are so wonky I have a hard time getting my brain to snap out of what I see before me. If I get stuck, it's a good idea to just pick at it and come back to it later.

If it really, really bothers me, I’ll take the MultiFill flatter layer and desaturate the color so it doesn’t poke my eyes out.

Here’s an example. The digital flat file.

The desaturated flat file that doesn’t make me want to poke my eyes out.

And the final color.

Sometimes I just put in a solid white layer so I don’t see the flats at all. Flatting is there to allow you to easily pick spots to color in, and doesn’t usually appear in the final work.

Sometimes I want to create my colors using transparent color over a white ground, which is more delicate in the final.

Here’s an example from Neil Gaiman’s American Gods. I also selected all black line art here and converted it to sepia to give it a vintage look. Except for the fairies. They’re green.

A colorist must also consider color settings.

Different clients can have different requirements. I find these color settings, which I got from the Hi-Fi Studio, to be pretty solid. I use them as my default for all my projects unless otherwise requested. If your publisher has other settings, they’ll usually send you a csf file which you can upload to Photoshop. The program will save your files and you can just switch between them as you need them.

This tells the printer things about the paper and the spread of the ink you will use. That’s what dot gain means - it makes printed color look darker than intended, so you set up your files to account for it.

When you hover your pointer over each box, it will tell you what each setting is supposed to accomplish.

Another really important thing to consider when coloring comics is color range.

I’m coloring this book in RGB range, but for print you use CMYK.

I’m about to confuse the heck out of some people with this post, I’m afraid. But here we go.

Here is this shot in RGB color setting.

And here is the same page calibrated for print in CMYK.

The biggest shift is in the reds. Print cannot match those reds.

You may not see much difference here, but it’s the sort of thing that drives artists crazy.

A computer should be perfect for conveying exactly what you want, right? It's all just 0's and 1's, binary information, and that information should be the same from one computer to the next?

Nope. Not even close.

First off, computer monitors must be calibrated. You can use a computer program or a tool that measures the color on your computer screen and then adjusts the color to an industry standard.

Have you ever been in an electronics shop where a bunch of TV shows were on display, all of them playing the same show, and have you noticed how different the color was from one TV to the next?

It's like that.

I freely admit I don't pay a whole lot of attention to calibration, but if I were a professional photographer I would. I'd have a little spectrometer attached to my screen and software would adjust my monitor to the best possible standard range. As it is, I just use the default setting on my computer and hope for the best.

If your monitor is properly calibrated and your art is shown on another monitor that is properly calibrated, the art will look almost identical from one monitor to the next.

YAY!

But from one monitor to the next, that's about where the resemblance ends.

Colors are calibrated to something called RGB, or Red, Green, Blue.

All colors come from a mix of red green and blue. At their greatest intensity, all the colors in the spectrum together become pure white light.

This is why RGB is called ADDITIVE color, because you ADD colors from the spectrum to get ALL colors, and all colors create the entirety of the rainbow, and pure white light.

Your computer monitor, your phone, your television, all images are created via light using RGB, a gamut that covers all possible colors that can be created.

That's a lot.

And that's why some of the colors you see on your TV or phone are so deep and intense.

For the widest possible range of color and intensity, you use RGB.

Unfortunately, there is what you can create with light, and then there is what you can create with pigment or ink. And that is why printing what you see on your computer almost never looks exactly like what you see in a book.

For printing, you must use a color setting known as CMYK. This stands for Cyan, Magenta, Yellow and Key/Black.

In printing, the pure blue is actually Cyan and the pure red is actually Magenta.

CMYK color range is not created by addition, but by SUBTRACTION. In order to get the color you want, you reduce the percentage of one of the four colors for ink mixing. Mixing all colors, instead of giving you white, gives you black.

The gamut of CMYK is limited to what can be created with ink.

You've probably heard the term four color press? This is what that means. Four colors, with each color of ink run over the paper on rollers which, combined in varying layers of opacity, create all the printing colors you see.

But remember, what you see on your computer monitor and what CMYK gamut can handle are two different things.

Now, I’ve been really careful with the color settings on Good Omens, so there haven’t been any big surprises, but let me show you a snippet of a project I did for the French fashion house Balmain.

The RGB version:

And then this shot after it was converted to a CMYK file for print.

That's a pretty big difference.

Now, you see this shift mostly with vibrant colors, such as that pink there. But other colors hardly changed at all, right?

That's because this issue is about range of color. CMYK and RGB occupy a shared range which you can see demonstrated by this graphic I got from Wikipedia.

The graphic shows the RGB ranges supported by various digital formats. SWOP CMYK is the most common range my publishers use. Note that the bounding box line shared by the RGB and SWOP CMYK formats shares about half the range space. So whatever RGB colors you use that are outside that range will be digitally converted to the smaller SWOP CMYK range.

And you may not like what you end up with.

As you can see, some of the most ethereal and intense colors get lost outside of the SWOP CMYK boundary.

A look at the Dark Horse Comics color settings in Photoshop. Theoretically, this information should prevent your art from looking like mud on publication.

Now, after I just told you the dangers of coloring in RGB then converting to CMYK for print, I tell you I am coloring Good Omens in RGB anyway. There’s a couple of reasons for this.

Remember, RGB give you a greater range of color, so it can be to your advantage to preserve your original files using a format that gives you the greatest range.

Again, here is the unaltered file.

You can see what the CMYK result will be simply by clicking the Proof Colors button here. This will show you how the art will convert.

And the Gamut Warning will show you which colors are out of gamut range for print.

The intensity of that magenta and that purple in the top right are not going to print true.

This is how it will look in final.

So even if you do what you think is perfect color on screen, there is no way it can perfectly convert to print. Almost everything will involve a little bit of compromise.

Even though you have to consider the color shift issues, preserving your files in RGB gives you greater wiggle room, especially if you get lucky someday and get to work with a printer who can print in 6 colors. Or maybe some technology you don’t know about will pop up and make printing super glorious. Who knows.

Regardless, you should keep an eye on that gamut and color for CMYK print, while preserving your master files in RGB.

Until next time.