#anatomy and perspective? who needs that!

[windowz]

Does anyone remember this trend?

Well, here’s Hartmy as that one image.

[gibbearish]

a weird little thing abt me is i will definitely mock shitty ai art but it never feels right doing it about the hands simply by virtue of the fact that a lot of them look indistinguishable from the hands i was doing years ago when i first got a drawing tablet

[abra-ka-dammit]

i wish the ppl posting CSP brushes in the assets store would give more demonstration of how the brush actually works in practice rather than here is what a stroke looks like on a white background and here is a fully rendered and finished piece that i used this brush in somewhere

like....how did you use it to accomplish what you did? whats the point of giving us a tool with no instructions on using it? am i just needy???? are we just supposed to pick up on it? are we just supposed to futz around with it and hopefully produce something we like despite probably never figuring out how to use it as the original creator intended??? is that how art is?

[butch-reidentified]

nobody has ever been forced to stay in a menstrual hut because they had a cramp and got moody.

do you hear yourself when you threaten to violently torture and murder people (women, mainly feminists, let's be honest - those are often the people telling you "transfem periods" aren't a thing) in order to silence them about having a biological function they're violently oppressed for appropriated by the oppressor class? women and girls all over the world face horrors beyond your privileged imagination because the bleeding is seen as unclean.

women and girls who don't menstruate, such as my adoptive mother who was born without a uterus, don't pretend to have periods. so why do you? why is it that women and girls like my mother are able to comprehend that no uterus = no period, and able to recognize that those who DO have a uterus often face acts of violent oppression over the shedding of its lining, but you do not share that understanding? why is it only "transfems" who need to make this about themselves and silence women who object to the absurd audacity of appropriating sex-based oppression? if you are indeed a woman with no uterus, like my mother, where does this entitlement and violence come from?

you post depraved, graphically violent threats - the sort that have never crossed my mind even at my most furious - designed to silence an oppressed group (female human beings) about an aspect of their oppression, and then wonder why feminists are increasingly butting heads with your ideology? you can't show a modicum of understanding of the issues we face, but we are expected to cater to your feelings at every turn. and this is different from traditional sexism how?

I am asking genuinely and in good faith, despite the unsettling vitriol of your original post, why you think this is an acceptable and not wildly misogynistic thing to say. why does it warrant fantasies/threats of brutal homicide to state that a period requires a uterus from which to shed the lining? how is it hateful or bigoted to recognize the life-or-death consequences of ignoring this fact when it's still a massive aspect of female oppression globally?

hey, whoever tells you transfem periods aren't a thing is a dirty liar and i'll gut them and feed them their own intestines

[the-ancient-dragons]

How to Spot a Dragon Before it Spots You!

(Written by a human for humans in the Wings of fire universe).

Transcriptions of my chicken scratch and closeups of each tribe can be found here (two separate posts)!

Otherwise, next week I begin Overcomplicating the Pantala tribes. See you then!

I was inspired by a bird of prey identification poster at my sister's school. It had a very similar layout. I really loved the coloured poses and the multiple silhouettes and thought it would work so well for the Wings of Fire dragons. I'd seen another artist experiment with their wings shapes and wanted to give it a try myself. This is the result! I hope you enjoy it as much as I do.

All the designs you see here are not final - I drew these without properly planning their full bodies, but the final versions I will try to keep as similar as possible. The only change I might make is the position of their wings. I also won't go back and change this because it doesn't need it. They look good enough like this and, who knows, the changes I make might not be enough that the final designs would be any different. I will be doing a lot of muscle and skeletal anatomy, possibly written in the perspective of a NightWing since they seem like the type to explore the insides of a dragon for science.

This, however, is written in the perspective of a very lucky human who saw these dragons and lived to tell the tale. Or maybe it was a collaborative effort between multiple people adding their own wisdoms, like the Dragon Manual in HTTYD 1. I haven't read Dragonslayer but I think they refer to the dragons as '[element] dragon' (not [Element]Wing at least). I also think that they're not sure RainWings exist (at least according to the 'Here Be Dragons?' over the rainforest, but I didn't want to exclude them from this piece).

The main purpose this guide would serve in-universe would be to help humans identify dragons, preferably before ever being seen. That's why I used a lot of auditory and movement descriptions unique to each tribe, ways that a person could identify a dragon without needing to be close.

I'll be splitting the closeups into 3 and 4 tribes each following this post so you're not scrolling for 10 years (you still will be but I'll try to keep it brief. Will I succeed? No!

Stay tuned next week for the beginning of Overcomplicating the Pantalan Tribes: SilkWings!!!

[squiddy-god]

HSR men and manhandling

Manhandling HCS pt one?

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Ok so this is actually just because i have lust in my heart lmao- this came to me in a dream so buckle up, i am definitely willing to do more characters because i have thoughts- reminder that i often write smut from an afab perspective but that its gn! Because i am a trans man so ftm reader you guys are my faves <3 this is for everyone tho. These are lowkey long-

♥︎REQUEST ARE OPEN ♥︎

ARGENTI, BOOTHILL, DR RATIO, JING YUAN 

Cw: smut, suggestive content to just straight smut, man handling,dom!/top characters. Established relationship, biting, no pronouns (afab anatomy), implied chubby/bigger reader, PDA, slight exhibitionism, mentions of bath sex,mentions of oral (m & f receiving)  Description of touching hair (no texture described), aftercare is given even if not fully described  i have so many thoughts 

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Argenti 

Ok hear me out-

He doesn't do it on purpose, argenti to his core is a gentle lover

But he's a knight of beauty and quite strong, throwing around a huge spear as if it was nothing, effortlessly defeating monsters in his pursuit of beauty

And until you, he traveled alone, you are truly a blessing from Idrila and who is he to refuse such a blessing. 

Argenti naturally just waxes poetry to everyone and everything, it ramps up with you, it's more tender and loving. The other thing is that he's more physical, kissing a lock of your hair, the back of your hands, embracing you, dancing with you etc. this is where the problems is (its not a problem i NEED this man)

Argenti doesn't often show physical affection with anyone besides his beloved (you) so he sometimes forgets his strength, and while he could NEVER dream of handling you in any way except with tender care and the touch of a gentleman 

He ends up manhandling you. 

Argenti also loves you with everything, sex is special, its connection, it is devotion 

And he is DEVOTED 

Gently grasping your hand and waist to pull you into his embrace simply so he can admire you? The force is enough to (literally) almost sweep you off your feet

Drawing your body close to his, the music drowning out the noise you make as he moves you to dance with him. 

It's like you weigh nothing to him, he can simply move you however he wants.

Often sweeps you off your feet because he forgets that most can't just sweep you into one arm while the other cradles your face. 

What's hot about it is that he is literally manhandling you with such a tender expression you almost forget the way his hands grip your hips as if argenti is trying to commit the feeling of your plush body to his memory (he is) 

Argenti is a giver in the bedroom, but the manhandling continues 

Asks before he does literally anything- can he move your hips up? Can he kiss you? What do you need from him? 

But once he has your consent on permission THIS MAN FOLD YOU IN HALF

If he's giving you head/eating you out? Consider your legs PINNED DOWN, once you tell him that he can finally have a taste he is dragging you across the soft sheets of his bed and DIVORCING your legs. 

His favorite position for eating you out is him sitting on the bed with your legs slung over his shoulders and a bruising grip on your hips and thighs holding you up like its nothing, he likes it because it makes it so easy for you to look up at him while he maintains the most loving eye contact you have ever received. 

Back to Argenti folding you in half- he will be balls deep in you panting and huffing while he's practically slamming into you, his hands grabbing at any part of you he can reach, tummy, thighs, love handles- anything. He let out a breathy moan asking to move you “just a bit” and when you nod your head with a whine he's dragging you closer and throwing one leg over shoulder before leaning down to ask for a kiss, practically pressing your knee to your shoulder. 

Always is so shocked at how sore you are despite the fact he was bending and folding you like origami- he truly doesn't realize just how much he throws you around.  

Boothill

It wasn't intentional…at first

Once he realizes just how much he man handles you (and how hot and bothered it gets you) it is 100% intentional 

He is a menace and is unashamed of anything

His metal body is a lot stronger than a human body is so there is a lot more that he can do

Boothill is unashamed, he dosn’t give a fuge who sees, in fact- a more possessive side of him is very happy to see the the stares he garners with his hands around your waist practically dragging you along with his long strides

Boothill’s two favorite activities include pulling you towards him by the waist, and holding you there when you try to squirm away as he bites and nibbles your cheeks

Traveling with boothill is dangerous so shootouts with ipc and any other bounties he's hunting aren't uncommon, neither are hasty escapes where he hoists you up and slings you over his shoulder like a bag of potatoes

Honestly him throwing you over his shoulder isn't uncommon even if it's not for a hasty escape

Oh the cyborg sees you talking to someone he thinks is getting a little too friendly? He doesn't care how much you protest he is dragging you away 

Back to the shootouts, if he sees your gonna get punched, shot or otherwise harmed he is pulling and pushing you all over the place like a ragdoll after all his reflexes are a lot quicker than yours so 

Another one who likes to dance (did you see those moves) and he’s not even sorry as he pulls you against him to dance, laughing as he moves you. 

The more boothill knows you like being manhandled the more he does it- sometimes it's really just to tease you

Pinning you down in your cair before letting you get up, all while hes laughing at how flustered you get

Boothill’s manhandling isn't so much about folding you in half but more so keeping you there- 

He loves to throw you onto the bed- after he's hauled you off from a far to friendly chap, or a gunfight he will throw you onto the bed as you bounce slightly 

This mostly happens once you are both safe from a bounty or gunfight- artificial adrenaline pumping through the tubes he calls veins and it has him itching to have you 

Pinning your hands above your head and kissing you with a little too much teeth

Dirty lip biter

He bites his lips when he's pissed off (often) and when he kisses you (also often) so you should both invest in chapstick because your lips are bit to high hell by the time boothill pulls away

Big big fan of fucking you against a wall- might as well put this metal bod to work in his opinion, and what a better way to use it than to grab fistfulls of thigh and ass while your legs rest on his cold hips? 

Its perfect because he only needs one arm to hold you up, the other free to roam and pinch where he wants 

Chronic ass slapper

If he sees an opportunity to smack your ass he. Is. taking. It. 

You alway know because you hear the clink of his boots and the accessories against him and the loud wolf whistle he lets out.

Dr.ratio 

The good doctor is somewhat oblivious 

He acknowledges that sometimes he dose move you in a way that would be considered manhandling but is mostly unaware of the effect it has on you

The difference with ratio is that so much of  his manhandling is in a domestic way, 

Oh he needs a mug for his tea and you are doing something in front of the counter where the cabinet is? Prepare for a stong hand on you waist and he moves you to the side like you are little to no obstacle

Oh you are getting swept up in the crowd? Fear not for veritas places a hand on the small of your back to guide you with him as he practically cuts through the crowds. Really its more of pushing you but really whos complaining?

Personally i am a fan of men who are closet/secret FREAKS and veritas ratio is a freak

I think hes rather possessive in the sense that while he is wholly confident and secure in himself and you- afterall why would you leave him for some idiot 

It is a small irrational feeling that plays into the fact he is quick to annoyance and anger 

The temper of the dr is well know tho very rarely directed at you 

It is moment like this that hes more hands, his hand a death grip on your shoulder or the plush softness of your waist as his words cut harshly to the person getting to friendly 

You are HIS idiot (affectionate) 

One of the best (read: hottest) things to watch him do is sculpt. I hc that beyond stone and marble ratio also dables in clay and pottery (im bias)

Watching this man wedge clay is an ✨experience ✨, his thick toned arms that flex with earth movement, the way his back is pulled taught and his palms press the clay against the surface.

Hes practically leaning over it and grunting (wedging clay is an arm workout) . I mean how could you not watch that slack jawed wondering when it's your turn? (i'm gonna write suggestive ration on the wheel) 

IN THe BATH?? Not enough ratio bath sex in my life tbh but this man is aughhhhhh

Ratio likes his baths, warm relaxing water and a good book? Perfect 100 points. Having you with your back pressed against his chest? Extra credit 

Dr ratios love languages are info dumping and acts of service change my mind. He likes to be useful, a deep seeded need to help people, and especially you. He likes to wash you in the bath, from washing your hair to scrubbing you clean he wants to help so just relax into putty in his arms 

He doesn't hesitate to turn and maneuver you however he needs to scrub and clean you and he manhandles you because you're a bit slippery. His grip is more firm (when is it not?) 

One thing he does slightly unintentionally is turning your face/head to face him/look him in the eyes. His hands grab your jaw or squish your cheeks as he turns you to look at him making sure you are paying 100% attention 

Same with kisses, a firm hand at the nape of the neck pressing you further into him. 

Guess what? Its your turn because this touch starved man is grabby it isnt a want he needs to be grabign at anything he can rach his hands practically kneading your soft flesh while you get flipped and folded. 

This man is a dr…he knows all the angles that make you writhe and he intends to exploit them even if he has to pull out and fold you in half before pushing himself back in 

Big fan of pressing down while kneading your stomach right where he knows his cock is so deep inside you 

Jing yuan 

The lazy general 100% dose it on purpose, hiding behind that warm grin despite his actions 

Most of the time he is very gentle, but there are times when his work becomes rather taxing and he needs a small break 

The small break being waiting for you to walk close enough only for his strong arms to wrap around you and pull you down into his lap where you will NOT be leaving 

This is his main form of man handling, pulling you into his lap and holding you in his iron grip

Big fan of naps and he will often pull you into the optimal sleeping/cuddle position whenever he gets the chance to

Oh your arm is falling asleep? Don't worry he just picks you up and maneuvers you to basically lay on top of him

He lights the weight of your body, his very own weighted and heated blanket 

He plays the fool but there is a distinct twinkle in his golden eyes when he sees the way you grow flustered whining about how your in his office and-

But it doesn't matter to him because he needs this- so just stay in his lap a little longer 

He's even worse in bed- his work keeps him busy so he feel that he needs to compensate by absolutely rocking your world

Really it depends on the time of day- ironically you get manhandled more in the mornings when he wakes up hard and absolutely aching for you

In the mornings when you are both still sleepy he drags you closer to him, kissing up your shoulder and neck until he has you begging for him in that morning voice he finds so irresistible, 

Wastes no time spooning you, letting out a groan as he slides inside you and rocks you against him- his hands have a firm bruising grip on your hips as he rocks you against him with force 

One hand remains on your hip to keep up the punishing pace while the other holds your jaw so you twist to kiss him- and he cant get enough, he slams you back against him rougher and rougher until you are both satisfied and he is all but forced out of your shared bed. 

The second is at night when he has you on top of him, riding him while his hands grab your ass and thighs, throwing your weight around while he looks up at you with the same lazy grin he always has

As if he isn't bouncing you along his length just waiting for you to stutter from the burn in your legs- all an excuse to pick you up and pin you back against the bed under him- 

All an excuse to be able to leave open mouth kisses against your skin while he has his fill of your pillowy softness 

In summary he knows exactly what he's doing and he knows exactly how riled up you get when he uses just a little of his strength on you. 

Don't let the drowsy grin on his face fool you. Menace through and though 

[krysmcscience]

It’s finally done, guys – five whole pages of Narilamb AU comic AND MORE be upon you! (If you have trouble reading any of the text, view the full-size! These pages are huge!)

Yeesh, this took forever. <:)

There’s probably a ton of inconsistencies and anatomy/perspective wonkeries, but this was mostly just comic practice, so Oh Hekkin Well, Lol <:D

(Yes, I am aware the Gateway’s door isn’t present in the Afterlife, and the actual way in is just a pentagram portal. Yes, I put the door in there anyway because Artistic License, i.e. it felt more impactful for there to be a prison door of sorts to walk through to freedom, rather than just a bland boring portal on the ground. 😠)

anyway, i hate backgrounds so much lmao

Alternate ending and a buttload of bonus art under the cut, followed by goofy AU rambles and headcanon stuff:

I’m calling it the Revival AU. It’s not all that creative a title, and someone else has probably used it already, but I am too lazy to really care, LOL

Alternate ending page, which you will Definitely need to view the full-size for, Whoopsie Daisy:

The alternate ending was actually the first ending I finished things off with, because I had a brief badbrain moment where I forgot the emotional beat I initially wanted the comic to end on, and I tend to write comedy, anyway. I later remembered and drew out the proper ending, but I preserved and finished this one, too, because it still makes me giggle.

They had to go back for the followers off-screen in the AU’s real ending. And by ‘they’ I mean just the Lamb, because they weren’t about to ask three newly freed cats to go back into what used to be their prison. The Lamb DID spend some time watching Narinder and the bois enjoying the outdoors first, though:

In other news, here’s the Lamb and me making fun of my anatomy-drawing ‘skills’:

Meanwhile, if you’re wondering why the Lamb is just a-okay with how things went down vis a vis Their Murder, this bonus comic should answer at least some of your questions:

Ah, yes, also this is how they get engaged outside of the alternate ending. Forgot to mention that bit. XD (I already refuse to believe that Narinder is capable of flirting normally, so why would his initial marriage proposal be any better???)

Oh, and before any of them get a chance to actually head back to the cult grounds, there is one potential problem:

And by ‘problem’ I mean something Narinder intends to ignore for At Minimum a thousand years. Cuz he’s a petty bitch like that. :D

what do you mean i drew the lamb too tall compared to the background? clearly they’re standing on top of baal and aym lmao, why else would you think those two aren’t in this one??? (aym and baal got way too excited about finally being outside, you see, and their silly modes are nothing to sneeze at)

And, speaking of heading back to the cult grounds, I’m sure y’all would love to know how the Lamb’s followers felt about the brand new change in management:

It all went better than expected. <:D Tiny ramble now, feel free to skip down to the next comic.

Before you ask, no, the Lamb does not have any actual powers anymore, other than the immortality Narinder definitely grants them. The Red Crown just thinks it’s funny to suggest otherwise, and Narinder does nothing to discourage this. Also, the Lamb and Narinder aren’t actually married here yet, but, uh. Pretty safe to say that particular ritual directly follows the events of this comic. XD

Given how quickly he mellows out in canon, Narinder probably chills out a lot in this AU once he’s in charge of the cult, too, if only because 1.) He’s finally free, and 2.) He’s equally smitten with and distracted by the Lamb. He’s definitely in charge at least 95% of the time, though, because the Lamb never actually wanted to be a cult leader and, now that their time as a vessel is done, they just want to be a normal(ish) sheep who’s wholly devoted to their hot new divine husband.

Some followers do still have some valid concerns about these two being together, though, which I’m sure at least a few of you might share…

Unfortunately for any such concerns, the Lamb is a bonafide masochist in this AU. :D

They’re also 100% a sub, obviously

Anyone at all: Your relationship is problematic and potentially toxic

The Lamb: fuck yeah it is, it’s so hot~ OuO

Here’s just the last panel, made transparent for whatever nefarious purposes y’all might have for it:

Additional exchange Narinder and the Lamb have at some point, probably after the Lamb does a fatal whoopsie while out on a mission trip or in response to things getting a little too sadistic in the bedroom, ahaha:

Look, there is a very important distinction between life and death, and if you don’t understand that, then you’re probably not worthy of being the God of Death, anyway. (At least, according to Narinder, and ONLY Narinder.)

Last but not least, have these shittens:

~Such creative naming conventions I have utilized, lololol~ :D Anyway, there's a few deets on them in the rambles down below.

The rest is all ramble, so before I get to that, I’ll just say – likes and especially reblogs are very much appreciated!!! :D If you happen to really really REALLY like my stuff, meanwhile, I do have a link in my bio to my ko-fi page, where I’m accepting commissions and donations if you’re especially generous… ÓuÒ

Now, BE FREE IF YOU AIN’T DOWN FOR READING MY GOOFY RAMBLES

First ramble is re: Baal’s question of ‘Did it really work?’, since I didn’t feel like expanding on it in the comic proper, and it’s arguably pretty vague? He doesn’t ask because he doubts Narinder or his capabilities, exactly, but because neither Baal nor Aym have ever actually seen their god at full power before (he’s still technically not at full power here, either). It’s not expressly stated how soon the brothers were brought to Narinder after his imprisonment, but whether it was early on or after a length of time for Shamura to (somewhat) recover from his attack, he must have already been weakened, since I have no doubts that there was a huge battle that accompanied the Bishops working together to trap him. So, between that fight with all four of his siblings, sharing his power with a variety of vessels over time, and being chained immobile for a thousand years, he must have been severely weakened by the time he lent the Red Crown out to the Lamb, which would have only weakened him further.

I like to think this is how the Lamb is able to defeat him if they refuse to be sacrificed, despite how it took all four Bishops working together to subdue and chain Narinder in the first place.

All that aside, the three cats have been trapped in the Afterlife for so long that Baal also wanted verbal reassurance that they are all, indeed, actually able to leave it now – something that I headcanon isn’t possible without a significant amount of power (i.e. the Red Crown’s cooperation with its bearer/vessel).

(On a semi-related note, I don’t headcanon Aym and Baal as twins. I like sweetheart big bro Baal and snarky little goth bro Aym too much to have them be that close in age.)

Ah, teeny thing: If you noticed I switched up the art style for Narinder on the second page, that was intentional. It's sort of a visual indicator that there has been a Big Change for him - that being, how much power he has after sacrificing the Lamb. As for why I changed up his arms in the grass rollin' pic, I don't really subscribe to the notion that his arms are spooky bones because they're horrifically injured (beyond chain-chafing scars, that is), but rather just because he's the Bishop of Death, so he can change how normal-to-spooky they look at will. At some point I might doodle out how I imagine his appearance to range between least to most eldritch... 🤔

Next ramble, regarding Narinder’s feelings towards the Lamb...he was initially too focused on being freed from his imprisonment to form any real attachment to them. They were a tool for his use, first and foremost, but he did notice their intense devotion towards him. It was impossible not to notice, because the Lamb was always very happy to see him, even if it was because they died during a crusade (yet again). He wasn’t originally planning to revive them once he was freed, either, because he saw no real point to it – after all, they were already dead when they first met him, just as any other mortal would be when meeting him in the Afterlife, so death has very little real consequence in his eyes. But, once the chains were off, and it really sank in that he stood to lose the most devoted follower he’s ever had, he decided…why put their soul to rest for good or leave them stuck in the Afterlife when he could just as easily revive them again? And why not reward them for their hard work, anyway? Not only would it cost him nothing by comparison, but the future devotion that could come of it would surely make up for his (bare minimum) effort in reviving them.

He wasn’t expecting to get a full dose of that devotion and a smiling face so soon after killing them, though~ :3c (because the Lamb is a bonafide freak, and not-so-secretly into the fucked up power dynamics going on here, lol)

I should mention here that I am firmly of the belief that any non-god/vessel who crosses through the Gateway and into the Afterlife just straight up dies. So, Aym and Baal? Also straight up dead, from the second Shamura brought them through. Their souls were just never put to rest so that Narinder could have some company – if only according to Shamura. Narinder kept the two around mostly out of bewilderment, because honestly, who are these kittens, and what is Shamura’s game here, anyway??? They never even explained anything, they just tossed these kittens into the Afterlife and LEFT!!! At any rate, Aym and Baal being dead is how I explain why their souls apparently become lost in the void if they’re killed, along with the added complications required to revive the two because of it.

So, with those deets in mind, and given a bit of time, if Narinder hadn’t chosen to revive the Lamb, and also hadn’t chosen to put their soul to rest, they still would have woken up at some point, despite being as straight up dead as Aym and Baal. Who, don’t worry, were also properly revived while Narinder was waiting for the Lamb to wake up. Because I am also firmly of the belief that, first, the dead cannot leave the Afterlife without the use of a ritual/relic (and can't stay in the living world for long regardless), and second, dead followers’ devotion isn’t anywhere near as potent as that of the living, given how much more the living stand to lose.

Final ramble, regarding the Lamb’s feelings towards Narinder, and why they’re so devoted to him…

Well, you don’t spend most of your life on the run with your steadily-dwindling herd, trying to evade the ongoing genocide of your species, without becoming a little fucked up in the head. Maybe a lot fucked up in the head. Life is suffering, so might as well have fun with it, right? Maybe start finding death and pain to be kind of hilarious, even a little bit hot, once everyone you know and love is dead and gone, leaving you all alone? And maybe after that, there’s something comforting in how, despite the cold, cruel uncertainties of life, at least you can always count on the inevitability of death, patiently waiting for you until your very last breath? Who knows. Either way, as soon as the Lamb was killed, and they learned that the literal God of Death was offering them a second chance at life and vengeance via effective immortality, they were 100% ride-or-die-devoted all at once. Turns out death is kinder than life – go figure. (Of course, it helps that Narinder is 100% their type.)

They weren’t put off by Narinder’s thinly-veiled sadism or manipulations, either – they’re not too different in those regards, albeit opting for vastly different methods. It’s a very ‘two sides of the same coin’ sort of deal. In order to stay alive once they were made the last of their kind, the Lamb had no qualms with using others to their advantage, and that did not change once they were revived and expected to run a cult. They didn’t care for the position of authority, though – being a sheep and all, they’re much more of a follower than a leader, and thus greatly appreciated Narinder’s need for control. With how they had to keep on their toes for so long, the Lamb was also pretty good at reading people by the time they died, so they could recognize that a lot of Narinder’s posturing was just that – posturing. Dude’s 95% bluster and only 5% bite. He could obviously be vicious when he wanted or needed to (the Bishops' injuries were clear proof of that), but underneath his outer layer of cruelty was a generous layer of tsundere, and underneath all THAT was a soft squishy middle sibling velcro cat in desperate need of attention and affection.

(Which, for the record, he Did Not feel comfortable getting from Aym and Baal – Narinder still has no idea why the fuck Shamura sent them to him, beyond acting as keepers at best or trying to sabotage his attempts to escape at worst. Which, he thought HE sabotaged in turn, by guiding the kittens into being his devoted disciples instead. He thought he was very clever for it. ‘I outsmarted Shamura!’ he thought, despite that there was never anything there to outsmart. ‘What do you mean, Shamura sent your kittens to me for company?’ he demands of Forneus later. It may or may not lead him to pull Shamura out of Purgatory just so he can shake them and scream about how they should have Fucking Explained that!!!)

But, getting back on track as to why the Lamb was so willing to be sacrificed, I cannot stress this enough – if you pay even a minimal amount of attention to what he’s saying, Narinder is REALLY NOT SUBTLE about his intentions. ‘Death is of little consequence.’ ‘Followers are for you to use to your advantage.’ ‘Sacrifice a follower to absorb more power.’ So, yeah, the Lamb knew exactly what would be expected of them once the other Bishops were dead. They knew Narinder would expect them to die for him one last time. But, after all, death is of little consequence (not to mention hot), so when the time came, they wanted to see him freed, even if it meant oblivion for them in the end.

He’d given them a second life, and the ability to avenge their kin, and they felt indebted to him for that – so, while they were still pretty glum about the possibility that they might not get to see him free of his chains, nothing beyond their devotion and debt to him mattered. They never wanted all the drama and expectations that came with the Red Crown’s power, anyway, so, better for Narinder to have it back so that he could deal with it. What he did with the Lamb afterward would be up to him, and seeing as he was their god, they’d accept his decision gladly.

Were they in love with him by that point? Oh, obsessively so, but only in the devotional sense – romance was nowhere on their mind nor radar. That is, until he unexpectedly revived them again, told them he still needed them, and then offered down his hand to help them up.

The Lamb fell HARD for him in that moment. :3c

And now, a tiny shitten ramble. Lu and Li are twins, because sheep tend to have those a lot, and are conceived not long after the Lamb and Narinder’s marriage ceremony. Lu is the minutes older one, but Li is much more mature. I have put no further thought into these two, other than that they are utter menaces, birthed by the Lamb, cling hard to both their parents but especially Narinder (who spoils them rotten), and they are both genderfluid, using whichever pronouns/names they feel like at any given time. They are also both intersex, same as the Lamb, who was initially infertile up until Something Something Vague Magic, which I have also put no further thought into ¯\_(シ)_/¯

oh, and before anyone tries to suggest i headcanon this AU’s lamb as trending more female due to them giving birth or whatever, no, no, a thousand times no, they might have a vag, but they've also got a dick, and even if it's not as big as they'd like, they still know how to use it

Finally, the very tentative name for the Lamb in this AU is Yazdi, which is really just another name for the Baluchi breed of sheep XD (Not that the Lamb is this specific breed, I just didn’t like any of the other sheep-related names I found, ahaha...)

THAT’S ALL FOR NOW (collapses into an exhausted pile of goopy limbs)

[insertdisc5]

Do you have any tips for aspiring artists? Like, people who haven't gotten formal training in art, but want to start learning?

the answer i should give: ummm LEARN FROM THE MASTERS???? learn about perspective??? about anatomy??? go and draw some real life models??? if you cant name every single muscle in the human body you need to go back to school

the real answer: copy from stuff you like. i dont recommend tracing because you'll learn much slower, but just look at art you like and try to replicate it. copy this nose. copy this cool way to color. copy everything, and everything you copy will become part of your style. the formal training can come later, once you feel like you need it!!! hell im only TRULY learning about anatomy now lmao

[lani-heart]

|| series masterlist || next // previously ||

genre(s) -> angst, fluff, smut, non-idol, hybrid au, poly au paring(s) -> yeowoosan x reader warning(s) -> smut, foursome, marking, unprotected sex hybrid anatomy ( knotting ), creampies, double-penetration, etc. words -> 1.1K

abstract -> What could go wrong when Yeosang pushed Wooyoung to his heat and now San was starting to get possessive?

y/n's perspective

Yeosang’s heat is lasting a lot longer than I expected he would. It's been way longer than Wooyoung or San's heat. I think it's because of his higher sex drive than the other two… however, he’s starting to push Wooyoung into his own heat. 

Yeosang hasn’t been the nicest of them either with his teasing of the other canine hybrid which means the three of us have been at it for a while now without the panther hybrid since he refused. 

“Why don’t you just join?” Wooyoung said as San pouted, annoyed as he chose to play another video game on the TV while ignoring his question. “San doesn’t want to compete with me~,” Yeosang noted, making the panther growl. 

“Yeah right” he muttered and Yeosang chuckled as he pulled me to him and put his hands on the hem of my skirt… “Come on, San~ Didn’t you say we were all mates? Isn’t that why you told me to confess to her?” Yeosang teased and San scoffed.

“What a pretty girl… look at how wet she is already,” Yeosang said as he lifted my skirt up to show the other two boys… San looked for a second before going back to his game.

“Wooyoung ready for another round?” Yeosang asked and Wooyoung nodded and got closer. 

“San I didn’t think you’d be so nice to them. You must've really spoiled them, Wooyoung is a bit of a brat” Yeosang said as the hybrid laughed before concentrating on the TV again…

“No, I’m not–” “Yes you are,” San interrupted, making the fox pout. “I’m not right y/n?!” he said and before I could answer–

“Angel, you wanna be good right?” Yeosang said and I nodded. “Then tell Woo the truth,” Yeosang said “I don’t think he’s a brat,” I said honestly and he chuckled. “You see!!” Wooyoung yelled and the two hybrids scoffed… “y/n… I’m disappointed” Yeosang pouted and moved away from me…

“Come on” he said as he sat down next to San and pointed on his lap… I listened and straddled his lap where he kissed me. I knew it was to agitate the two hybrids, especially San… I felt him start thrusting up making me whine at the friction. 

“Yeosang…” Wooyoung whined making the Doberman chuckle… he gestured that Wooyoung came closer while I looked over at San who was now staring at us. He offered a slight smile when we met each other’s eyes

“Take her shirt off for us won’t you?” Yeosang asked and I felt Wooyoung’s hands from behind me take off my shirt and bra… 

“Because she defended you I’ll let you fuck her first,” Yeosang said as he grabbed my hands and put them on his shoulder I felt San lift up my skirt and move aside my panties… Wooyoung listened as I felt him enter me, making me moan at the sudden stretch, bottoming out completely.

Usually Yeosang would do a bunch of foreplay but I'm starting to think this is gonna be a long day…

I soon felt a hand on my clit rubbing it in circles making me moan louder. I was leaning into Yeosang when I felt a hand on my chin as San pulled me to kiss me. I moaned into our kiss at the sudden stimulation everywhere…

I broke it up when I needed to catch up my breath to say – “I’m gonna cum” I breathily moaned out and Wooyoung must’ve taken that as his sign to cum into me and knot me… 

“What a pretty sight, right San?” Yeosnag asked as the panther chuckled.

“I still don’t like how the both of you tie her,” he said and Yeosang scoffed. “Shut up, it’ll be your turn soon,” Yeosang said as he moved out from under me and stood up.

“Come on, doll you think you can cum for us one more time?” Yeosang asked and I nodded. “Good kitty,” San said and I felt my mind start to haze at the pleasure and praise. 

“I wanna try something new, okay doll?” Yeosang asked and I nodded. Wooyoung pulled out of me. “Climb on top of San would you?” Yeosnag asked and I felt San’s hands on my hips as he pulled me to his lap… I whined as I felt Wooyoung’s cum drip out of me.

“Wah… making a mess, kitty” he said and I felt my cheeks heat up, almost embarrassed at their wandering eyes. 

“San fuck her” Yeosnag commanded making the hybrid glare… “You don’t tell me what to do” San said and I heard Yeosang scoff “If you don’t want to then I will–” Yeosang got interrupted by San’s growl as he quickly went into me easily with Wooyoung’s cum… “Fuck you’re a mess” San let out as he guided my hips up and down his cock… I soon felt Yeosang from behind collecting Wooyoung’s cum to finger my ass… I whined not knowing what he was planning until he penetrated my other hole making me grip San tightly. 

A string of curse words and moans soon came out as Yeosang stretched me out making me feel so full… I felt tears start to form when I see San laughing…

“Such a pretty view, right Wooyoung?” San grinned as I looked over to see Wooyoung now jerking himself off… “Let's continue giving him a show then~,” Yeosang said as he started moving and I felt so overwhelmed by the two.

Wooyoung had the least stamina when it came to sex whilst these two could compete for hours… I lost count of how many times I came before Yeosang knotted me and I was cockwarming San…

The three gave me many praises as I felt myself lean tiredly against San. “What a pretty kitty… are you okay?” he asked with a soft tone and I nodded with a satisfied smile. 

Yeosang pulled out and so did San when I felt cum start to pour out of me…

“I think we need a new couch, angel,” he said as I looked down to see the stained couch… “That’s not gonna come out” San said and I whined… “Maybe we should get a leather one instead?” Wooyoung suggested. I soon felt the three continue their praises as Yeosang cleaned me up. He carried me to my room when I felt the three bodies climb on my bed…

“We should also order a bigger bed, the night isn't over yet”

@wonuangel @danirael @angelsaway @krissroo @minkysmilk @mayonnaise-on-toast @robertsbbygirl @superbbananananana @hyukssunflower @kitty4hwa @justconniez @senpai-of-doom @kibs-and-bits @caityelise99 @ilovekinny @ateezennie23 @wooahaelemons @purplelady85 @watamotee33@chidess97 @littlelostdemonofthelight @maliamaiden @burntarm1n @spooo00oky @eastleighsblog @momo-peachy @kitstar1117 @quartzpirate @sunnyhokyu @iwishiwasrichasfuck @theginger543210 @pandolinka @ddaeing @kpopnightingale @slid3er @kekdo-520 @puppyminnnie @sparklinghwa222 @calicanbeevil @itsvxlentine @atinism @loumin908 @smally97 @rxnexxi @acetruepunk @majesticbeluga @namjooncrabs @tashizxy @itstheghostofmypast @smilefordongil @teeziny @totallynotlyntv @kyeos4ng @prodsh00ky @acescavern

please don't be a silent reader !! reblog, comment, and like <3

[artfromsaturn]

Collection of Free Art Tutorials

I don't usually make text post on this blog, but a nice artist I know was asking for tutorials a while back and I forgot to send some to them while in school. So here's a post on it since it's easiest to grab and go this way. :)

This list focuses on the basics. I'm focusing on the foundations of art, so medium is generally irrelevant and you can use physical or digital with these. You'll have to google more specific tutorials on things like character design and such.

One of the biggest pieces of advice I can give to you is strangely, introduce things to yourself one at a time. In art class, we took whole topics week by week. For high school, we did a few exercises then spent a week drawing/painting and doing your piece(s). For basic art 1 & 2 in college, we did 1-2 exercises and then did 1-2 drawings, followed by HW (which we turned in next week) and sketchbook practice (which she'd check at midpoints). For basic art lessons with a tutor, we did practice then our own art. You can see the pattern here - the point is don't be distressed if you don't get everything at once, or the lesson in 2 weeks, or the lesson in 3 years - we practice and do a lot over time, and you'll pick up on things you need to improve naturally and through help with others. Take time to be proud of your art in mini steps too, even if it's not the best! You tried and attempting to climb an obstacle over and over again before finally leapfrogging it is still progress to it.

Overall tutorials:

DrawABox.com is a site that's dedicated to art exercises and practicing when you can. They talk about the basics of art as well as how practice is important. It can get tough at times and it's ok to stop and do a balance of say those practices and doodles if you choose to try and do all of it's stuff - but you don't have to either. It's just a nice basic education done by some art nerds who like going hard.

Ethering Brothers - these guys are famous for their 40billion tutorials. If you need help on a specific idea, search their gallery and you'll likely find something.

Thundercluck's Art Fundamentals - She did a good huge ass tutorials on how things work, and it's the least overwhelming of the 3 I got in this section, so I suggest it as one of the first to look at for digital stuff.

Art Instructions Blog - Another good & simpler website that goes great into fundamentals. They focus more on traditional art but if you're digital, you can replicate most of the techniques - art fundamentals and subjects cover all mediums. Very important

Drawsh - Particularly notes on Construction: construction is the basics of building an illusion of a 3D image on a page. Figuring out how to build shape gives depth to your work, and learning how to see in 3D lets you be able to draw an item then move it around in your head (sometimes, when you're good enough, don't be afraid to pull out a reference or use live subjects). Construction is how to figure out the foundation of your drawing, and good planning = better picture! This link starts at the back, hit newer post to go forward.

There's a lot on anatomy and other nitty gritty details for when you want to practice those as well.

Griz and Norm's Assorted tips - Long time artist talk about various tips and tricks they use in art and how to avoid certain pitfalls. It's eclectic but great to look through.

James Gurney's Blog - He's got a lot of thoughts, a lot of tips, and a lot of adventures he catalogues. It's the least organized out of these but fortunately he has plenty of tags and most post have something neat going on. He's fantastic!🥰

BEFORE ALL OTHER BASICS….

How to Make Your Art Look Nice: Mindset

There's a lot of artist with different perspectives on how to approach art and your mindset while doing it, but the general consensus is that it's a process and sometimes you have to remind yourself to enjoy art!

Line

How to draw straight lines without a ruler. …but for the love of all that's good do NOT feel bad about using one! This talks about how to hold your pencil and how to do some good freehand stuff, some good practice.

5 grips for holding a Pencil for Drawing - This goes for pencil, pen, tablet, etc.. Get comfortable and figure out what's right for you and your pictures. I'd like to note that paintbrush holding will overlap, but some will differ.

A few line drawing exercises that help with line confidence.

Types of line drawings & what they are.

Contour Line & exercises with Mrs. Cook - Contour lines are one of the first art exercises I do in all the drawing classes I've taken. The good news is that they're surprisingly fun & look neat, even the blind contours!

Good deep thoughts on lines and how to use them.

Line Weight Tutorial

Lineart Weight Tips!

How to show variation in your line art: part 1 & part 2.

Some teacher's Drawing 1 & 2 lessons put online.

Light, Shadow, & Value

An introduction to tonal values.

Why values are important. The main reasons are that they give depth to a piece, and values literally shape our world.

Tonal Values: Everything you need to know

How does light work & the basics on Light

Light & Shadow in Art - much more in depth of the above! Highly recommended if you have time to spare.

Understanding grayscale/monochrome art. Great for shading & planning.

A guide to Cross Hatching (and hatching in general) - As a side note, crosshatching is one of the early things taught as it marries Line + Value into a nice neat package and helps add form with just a pen.

Crosshatching for Comics

Learn more about coloring by working in grayscale

How to Make Your Art Look Nice - Contrast!

Using lighting to make your art look nice.

Some light & shadow classifications.

Edges - notes on how they work in shading.

Color

A side note - color theory doesn't differ much, but color MIXING will change between mediums. If you're doing traditional colored pencil, you're overlapping 2 or more pigments on top of each other. If you're doing traditional paint, you're mixing & creating a solution/emulsion (depends on the pigment and binding) of pigments with the particles reflecting light in different ways. In digital, overlapping colors & blending colors depend on how the program you use calculates it if you're not just putting 2 color side by side. This just means you have to adjust your mixing when you switch between them. :)

Slawek Fedorczuk's Light & Color Tips - also shows how to guide through a scene.

The Color Tutorial Part 1 & 2 by Sashas - A personal favorite.

Color Studies 1-6 by Sheri Doty Amazingly nice breakdown on how color works in simple terms.

Sarah Culture's Tips on Color

The value of underpainting

A few notes on reflective light.

Experimental color techniques with Alai Ganuza: first post, second, & third.

Color zones of the face charts

Composition

Good Tips on Composition

Here's an example of how you can search the Etherington Brothers' stuff and get like 10 tutorials and tips on one subject. Composition & Cover Design, Shadow Composition, Two Line Composition - plus more.

How to make your art look nice: Thumbnailing!

And don't be afraid to make silly thumbnails or sketches.

Composition Examples - charts like these are great when you can't think of something yourself. There's no shame in using them.

Flow and Rhythm

Formulas for landscape composition.

Perspective

Perspective Drawing Tutorial by Julie Duell

Linear & Atmospheric Perspective Guide

One Point Perspective City Tut by Swingerzetta

Niso Explains Perspective - these are great for drawing figures in perspective!

Putting characters into scenes and drawing backgrounds

Backgrounds that make your character stand out!

Using background detail to guide the eye.

Odds and Ends

I shit you not, probably 1/3rd of my color, value, & structure knowledge comes from pixel art since I've done so much of it and it is all about challenging yourself to do the most you can with limitations. Check out lospec's tutorial database for fun and see how it compares to art techniques you're doing - even if you never try a medium, it's always interesting to see how it works. :D

How to Make Your Art Look Nice: Reference Images & Style, Pushing Proportions, and developing style.

Foervraengd talks about how he expanded his comfort zone with concept art & landscape drawing.

Luna Art talks about what they're thinking when doing concept art.

Repeating visual motifs in character design looks cool.

Eric's Thoughts on Drawing Backgrounds and Props.

Show vs. Tell: Why Visual is Not Optional in comics.

The Lost Vocabulary of Visual Story Telling Day 1, Day 2, Day 3, & Day 4.

Traditional Animation's 2 Digital Library books, The Know-How of Cartooning by Ken Hultgren & Advanced Animation by Preston Blair are two books from the golden age of animation they have up on their site for free viewing!

Animation resources dot org has a lot of cool stuff. Here's Nat Falk's How to Make Animated Cartoons (part 1). Their pages on Instruction & Theory are a good start.

Books

Good news: the internet archive has a TON of resources. Make sure to check around and toggle filters, it's a bit weird with organization. For example, a book can be under art or drawing - techniques, depending on who catalogues it.

Andrew Loomis is someone artist tend to die-hard reccomend. His work is collected here & here on the internet archive (one is Andrew Loomis, the other is Loomis, Andrew - thanks). I own Figure Drawing for All It's Worth and I recommend checking all of his stuff out, especially if you're having trouble with bodies and hands.

The Animator's Survival Guide by Richard Williams is mandatory in animation classes for good reason - it's fantastic!

Perspective for Comic Book Artist by David Chelsea is great for any type of artist. So is Extreme Perspective & Perspective in Action.

Scott McCloud's Understanding Comics, Reinventing Comics, & Making Comics. The first one is on the internet archive, the second two are likely avaliable at your library or at a bookstore as they're pretty popular.

Speaking of comics, Drawing Comics the Marvel Way has been a favorite of comic artist for years no matter what comic book companies and artist you like, it's a good introduction.

Anything by or endorsed by James Gurney, Color and Light: A Guide for the Realistic Painter is one of my favorites (this is his official page but you can get them elsewhere for cheaper too).

Art resource blogs with good tagging systems: @artist-refs , @help-me-draw , @helpfulharrie , @art-res , @drawingden , & @how-to-art

Lastly, I suggest if you find something you like online for free, SAVE IT! Whether it is through the Wayback Machine, screenshotting a whole webpage, reblogging/retweeting something, or putting it on pinterest, digital media is fickle and tends to go up in smoke when you least expect it. I have a partially organized Pinterest board that helped me find most of the stuff I wanted to keep. Figure out what works for you and save what you can.

[twst-hottest-takes]

Tweel Anatomy discussion!

Part 1.

(Ask and ye shall recieve! This will be split up into a couple of parts because this could get long and it's easy enough to break up into pieces. [I definitely wasn't putting this off until the cards officially released.])

For starters I have to say again that I just love the twins and their merforms are so cool. I just want an excuse to gush about them. A lot of this discussiom will involve headcanons and hypotheticals and estimations, so there is your warning to not take anything in this post as law. This post, like pretty much all the others is very opinionated. Some of the fun bits about contemplating the anatomy of a fantasy creature involves drawing the imaginary lines between where the fish parts end and the human parts begin, and where the two become a blur and turn into something completely new. I like to think I strike a balance with my hypotheses, but perhaps others might not feel the same way. This is a post meant to start a discussion, not a fight. So let's see how far down the rabbit hole we can go . . .

Starting with a classic: How big are these guys?

Let's answer Ace's question. (While laughing like middle-schoolers about how that question was phrased.)

Now there is no canon answer to my knowledge so I can only give my best estimation. (Corrections welcome!) I firmly believe that they do not change "size" between their land and sea forms. For all intents and purposes, the twins are being treated as though their heads, arms, torsoes, and pelvic regions are the same size between human and merforms.

BECAUSE EVEN WITHOUT CHANGING SIZE THESE GUYS ARE ABSOLUTE MONSTERS IN THEIR MERFORMS.

I have no real proof of my theory. I simply compared the sprites and scaled the chibis until they had the same head size. Forgive me for not having a better method of measurement. I am not going to try and unravel the live 2D mermodels and I think trying to measure their shadows from their intro scene would be even less reliable. The length of the tail is approximately 75% the length of the rest of the body after where his feet theoretically end.

I didn't do the same with Floyd because I feel that it's safe to assume that he's probably a few cm longer (3-5 cm max) due to his 1 cm height difference when they are in human form. I hazard a guess that only the two of them actually care about that difference in length.

332 cm. (Or around 11 ft for those of us stateside.)

We know they're huge, but tying a number to the length REALLY puts things into perspective. Like it's actually a little scary.

Next: Gill placement.

I am a big fan of the gill slits being around the ribs! Not only do they look cool, but I like that it can be read as a combination of human and eel anatomy in their merforms.

Since they have a humanoid chest cavity, it makes sense that even though they don't have lungs, they may have a muscular structure similar to a diaphragm. By having a muscular system that works passively/sympathetically they could have a "breathing" motion similar to humans; but, instead of taking air in, it simply keeps water moving across the gills to maintain gas exchange.

Benefits of this system include: Being able to sleep (as I would assume merfolk do), and being able to stay in one place (most fish need to be moving constantly to keep their gills working). The ability to be stationary isn't necessary for fish, but for merfolk who have social conventions, even being able to sit still to have a conversation is a boon (unless the world of mermen is built around the idea that no one ever sits still, but I feel like the photograph from Book 3 proves otherwise).

Furthermore, having the gills on the ribs as opposed to somewhere farther up--for example, on the neck--the twins can reasonably stick their heads out of the water without fear of limiting their breathing ability. Though these new card illustrations show that they don't seem to have any problem with having their gills exposed to the air (at least as far as being photogenic is concerned), I can see it being convenient for merfolk to be able to poke their head and shoulders above the water and still be able to breath regularly (which definitely doesn't have anything to do with luring unwary travelers to their deaths. . .nope. . .not at all).

I have seen people say they don't like the choice and that the gills should be on their necks. If that's coming from a place of personal preference and is purely aesthetic I guess I can see it. But if anyone tries to tell me that it's not "eel-like" enough and they need to have the gills closer to the mouth, I will fight you. From a design and functionality standpoint the rib gills are fantastic!

For the last bit of this entry, let's talk about the elephant in the room: THE EEL ABS!

I'd say "don't get me started on this one" but I'm already here and we're already too deep in, so here we go.

Things are about to get spicy!

~They're fine.

Like, as a choice, the inclusion of these muscles is likely just for fanservice points, but it's not an anatomically strange thing.

Come here and I will explain to you a thing:

MERFOLK DO NOT SWIM WITH THE SAME MUSCLE GROUPS AS HUMANS DO!

Once upon a time, (this is going somewhere, just stick with me!) people complained that Ariel, the Little Mermaid herself, was too skinny and not built like a swimmer. People insisted that she not have such a tiny waist and her arms should be bigger. Now I, here and now, should not have to tell the reader why this is so ridiculous to say, but I'm going to anyway~ ARIEL DOES NOT USE HER ARMS TO SWIM! Those who have watched the movie may have observed that she swims like an aquatic mammal. All of her momentum comes from the verticle motion of her tail, and to some extent her abdomen, not her arms. When she turns human, Ariel does not even know how she can use her arms to help her swim upwards and out of the ocean. She struggled without her tail so much Sebastian and Flounder basically carried her to the surface.

In this way, merfolk do not need to have the same type of body as a human swimmer because they are functionally different and some people seem to get stuck on that.

Now returning to Jade and Floyd, again, their arms are not "built like a swimmer's." Once again THEY DON'T HAVE TO BE. There is nothing in all of Twisted Wonderland that suggests they swim with their arms at all. These boys have 5 foot long tails that are probably primarily muscle to propel themselves through the water. The arms are not for propulsion. The tails do the grand majority of the work, but this conversation was started about abdominal muscles so we'll circle back to that now. Unlike other merfolk (as exemplified by Ariel) who swim with verticle motions of their tails, eel-based mermen would swim by making horizontal motions, also primarily with their tails. I do say primarily because the idea occurs to me that there may be situations where the limits of their ability to move might be tested. If a merman built like this wanted to go significantly faster than whatever is "normal" for them, muscle groups higher in the body would get used. Essentially, given Jade and Floyd as characters, I don't find it hard to believe that, at the speeds they swim, they would be using their very human-shaped abdomens to increase their speed. That's a workout, especially for the obliques.

So, in conclusion, I don't think the abs are weird. Gratuitous? Absolutely. But they aren't the anatomical monstrosity some people seem to think they are.

Let me say once more, if you simply don't like how it looks, or the fish abs squick you out and you like to headcanon they don't exist--that's fine. But don't argue with me on the basis that it's not realistic. Mermaids are, after all, fictional creatures and depictions of them tend to be fanciful. The tough conversation comes about when we choose to draw the lines with how realistic we actually want them to be, HENCE THIS ENTIRE POST!

(Laughs like a maniac before signing off.)

Thank you for coming to the first part of my rambling. What should I talk about in the next part?

Other than the throat teeth. We've got a miniature essay about the throat teeth just about ready to go.

Also, apologies if there aren't enough visual guides. I really wanted to get this posted, so if anyone wants me to I can doodle up some more stuff to help with things like the image of the breathing aparatus and swimming motions. I have just not had much time this week.

(Going to fall asleep thinking about how sparkly these boys are.)

[insipid-drivel]

Warhorses: Which horses are actually good candidates, anyway?

This post is in honor of @warrioreowynofrohan, who asked the question in the comments under my guide, "Horses: Since There Seems To Be A Knowledge Gap". Their question, "Given what you said about too much weight breaking a horse’s spine, how did that work with knights in plate armour?" is one I'm going to try to answer here, since the answer can be very nuanced depending on where and when you're talking about.

Also, while I was a stable hand for years as well as a rider, I never had the opportunity to directly learn more ancient styles of tacking, horse training, and combat, so I don't have any direct experience to draw from with regard to horses used for military purposes. I'm still gonna do my best here with what I know, and research what I don't.

As I've covered in the past, large horses (draft horses) make less-than-ideal warhorses, and so do carriage horses like the elegant and dramatic Friesians.

Let's begin by addressing this from the perspective of creative writing. For you writers and content creators out there, an essential part to the continuity of any historically-themed work you do involving horses will be depicting breeds of horses that didn't exist before a certain time in history. I'm going to approach this question from the stance of, "Medieval-type era warhorses". Horses were used in warfare as late was World War II, but actual horses you ride into battle with knights and archers and bannermen? We actually have to drop the subject of specific modern breeds altogether aside from using them for comparisons.

When discussing warhorses, various cultures have approached them differently. Some cultures will value a specific type of horse above all others, such as the Mongolian Steppe Horse or the American Mustang. Other cultures, which may be from biomes and territories where multiple types of horses are needed for different forms of warfare and tactics, value whichever horses can get their jobs done without their riders getting killed.

Carrying vs. Pulling:

Horses have been used in warfare since as far back as 4000 BC, but their first applications were more as chariot horses. Humans have been riding and working with horses since before we even had stirrups to more easily ride them with! As archaeologists and anthropologists make more discoveries, the more we learn that we humans have been working closely with horses since before we had specialized tools to ride them with. The very first warhorses pulled chariots or carts, which is much easier for a horse's anatomy to handle compared to carrying a heavy weight like an armored rider on their backs, which puts stress directly on their spines where they have very little supporting muscle for supporting a lot of heavy downward weight.

Warhorse Size Categories:

Really, any breed of horse can apply to a niche in warfare if it's needed enough. Even very small, delicate horses have had their place in the history of human combat! Before I continue, it's important to know that there's a unique unit of measuring a horse's height. Rather than measuring a horse's height in centimeters or inches, they're measured in units called "hands". A single "hand" = ~4 inches/10.16cm, and a horse's height is measured based upon the distance between the bottom of their hoof to the tallest part of their shoulders, just at the base of the back of their necks. We don't actually include neck length/head height in a horse's measurements with traditional measuring.

Another rule of thumb: The average horse cannot safely carry anything heavier than about 30% of their total body weight. This is a serious factor to take into mind when deciding on a type of or breed of horse for a mounted warrior of any kind: You need to factor in the OC's starting body weight, and then add on the weight of armor, weapons, and any armor the horse itself may wear along with the weight of its tack.

Light-Weight Horses:

A few examples of lightweight horse breeds whose ancestors have historically been used in combat are Arabians, Barber Horses, and the magnificent Akhal-Teke. Lightweight and delicately-boned horses like those are best applied for military maneuvers that require precision, speed, and endurance, and the rider themselves should specialize in some form of combat or reconnaissance that doesn't require them to wear heavy metal or laminated armors. Archers are good candidates for riding smaller horses, or lightly-armored swordsmen like an Ottoman Janissary.

Central-Asian and North African horses also benefit from having a higher tolerance for hot climates. They can absolutely suffer from heatstroke and cardiac arrest from being forced to run and work in extreme temperatures and should always be provided with the same protective measures in a heatwave as any other horse, but they have a little bit of an edge over horses descended from freezing and temperate climates.

Medium-Weight Horses:

Medium-weight horses started showing up in the archaeological record around about the Iron Age, where chariot warfare was becoming an increasingly utilized form of mobile combat, and people needed bigger, stronger horses capable of pulling heavier loads - such as a chariot with two passengers rather than just one. As cultures began to develop heavier-duty armors made of metals and laminated materials, it also became important to breed horses that were tall and stocky (muscular and with relatively short spines compared to their height), and therefore more capable of carrying riders in increasingly heavy armor. Medium-weight horses were also essential at the dawn of the gunpowder age when the cannon came into use in siege warfare for pulling the heavy, iron cannons into position.

Medium-weight horses are really where we see the beginnings of knights and other warrior classes on horseback come into the forefront of warfare. When you have a horse that's big and strong enough to carry heavier armor and heavier weapons along with a rider wielding them, you have a much deadlier force at your disposal. Strikes from a sword or spear from the back of a galloping horse basically results in a sword capable of cutting through enemy soldiers like a hot knife through butter.

Important Note: Traditionally, cavalrymen wield blunt swords when attacking from a charging horse's back. When a horse is charging at full speed, the sharpness of a blade becomes less important than the blade's ability to stay in one piece when it impacts hard armor and bone. A blunted edge basically turns a cavalryman's sword into a thin club that's better at holding up against smashing through multiple layers of armor and bone compared to a thinner, more delicate sharpened edge that can shatter from a high-speed impact.

Heavy-Weight Horses:

The direct ancestors of modern draft horses, such as the Shire Horse, only began to appear around about the beginning of the European Medieval Era, and were far and away not even close to the enormous sizes of the draft horses we have today. Any horse counts as a "Heavy-weight" classed horse if its weight exceeds 1500lbs/680kgs.

Heavy-weight horses were really more bred for pulling enormous weights rather than carrying knights. While yeah, there is some evidence that suggests that heavy-weight horses were used by heavily-armored knights, historians argue a lot about whether it was a rule or an exception (such as with Henry VIII, who continued to ride well after he had begun to weigh more than 350lbs/158kgs, and even went to war in France in his final years on horseback). Generally speaking, medium-weight horses tend to be the right balance of agile and strong for carrying someone that's going to actively be fighting. Heavy-weight horses were bred to be a lot more tolerant to the chaos and frightening stimulation of the sounds of battle, but medium-weighted horses generally tended to be more suited to moving efficiently through dense packs of soldiers and weaving around other horses.

Ponies:

While actually being the smallest class of warhorse, ponies were essential when it came to carrying cargo and working as pack-horses. In certain forms of terrain, such as mountains, large horses pulling big carts full of supplies or soldiers could often be extremely impractical. In situations where an army needed to move on foot and form a narrow line in order to travel, ponies were able to traverse much narrower and rougher terrain while carrying smaller loads to their destination, when heavier horses would struggle more under their own weight and dexterity.

Europe-Specific Terminologies:

If you're a writer reading this and writing a piece set in the European Medieval age, there are specific terms used for the different classes I listed of warhorses above that I'm gonna list:

Destriers: The Destrier was a universal term for the iconic knight-carrying, jousting horse. They were also sometimes referred to as "Great Horses" due to their reputations in combat settings. Destriers could have just about any appearance, but were rarely taller than 15.2 hands, or 62inches/157cm. They were capable of carrying heavily-armored knights (although knights in full plate mail rarely rode into battle and stayed on the horse the entire time - they tended to specialize at grouping up and killing a lot of footsoldiers swarming them at once and preventing breaks in defenses from being overwhelmed by an oncoming army; in the case of Edward the Black Prince, we have substantial evidence in the form of his surviving brigandine that a mounted soldier or knight was more likely to wear chainmail and brigandine with a tabard on their body with their arms, feet, and heads the most heavily armored in plate when they intended to fight on horseback, making them a little lighter and more maneuverable, but I may be waaay off base there because I'm thinking of more of Italian soldiers who used full plate and how they applied it in battle more than any other example) and wearing armor themselves.

Interestingly, the sex of a destrier was often chosen strategically. Stallions (horses that haven't been neutered) are more aggressive, and could both act as combatants on their own if their knight was dismounted or killed, but could give away an army's location if they were attempting to move stealthily. Stallions whinny and shriek a lot when they're horny or arguing with each other, which is most of the time.

Mares were often chosen by Muslim armies for being much less vocal, and therefore much more capable of stealth. Geldings (neutered males) were the preferred mounts of the Teutonic Knights, a Catholic military group, since they couldn't be stolen and used to breed more horses for the enemy army.

Coursers:

Coursers were the most common Medieval European warhorse. It's important to remember that in Medieval Europe, most armies were almost entirely comprised of common men - serfs subject to the will of their landlords, not far removed from slaves in many ways - who couldn't afford the highly-prized and expensive Destriers. Coursers were usually a bit lighter than Destriers, but were still strong enough to carry someone wearing armor. Coursers were also a little more utilitarian, because they were also sometimes used in hunting as well as warfare, so they had a valuable use outside of warfare that the owner could benefit from.

Rouncey:

A rouncey was an all-purpose horse that could be used for leisure and travel-riding as well as be trained for war. They were a lot more likely to be found on the farm of a serf or independent farmer of some kind, as they could fill a lot of different roles depending on what they were needed for. Their sizes weren't really important as much as their ability to get the job done.

It's also critical to remember that, when talking about warhorses, we're usually talking about eras long past. In general, thanks to resource availability and incredible advances in medicine, modern humans are significantly taller, and therefore heavier, than people from the European Medieval era and prior. While fatness was valued in many cultures for its suggestion of wealth, most working-class and serf-class people worked intensely physically-demanding daily lives just to maintain their own homes. They were a few inches shorter on average than we are today, had greater fluctuations in body fat distribution depending on how harsh or bountiful the harvest season had been and the season in which a war was taking place (the average person's weight would swing by 30lbs or more on average every year prior to the industrial era), and cavalry were usually chosen based upon skill in the saddle as well as physical size when considering the application of medium or heavy armor being placed on the horse's back and body.

[the-s1lly-corner]

could I request creepypasta x reader who can take their head off

Various crps x reader who can take their head off

pretending that i didnt tear up the roof of my mouth while eating my dinner shhhshhhh ignoring that my bottom front teeth rest on the roof of my mouth right where its all torn up thus making me hyperaware and by extension making me clench and grind subconsciously characters: jeff the killer, laughing jack, ticci toby, eyeless jack notes: reader is gn, reader isnt really human but theyre written to look human, focusing on first reactions cws: none unless you found taking ones head off as body horror? does it count? im not sure tbh.. mentions of anatomy and stuff in ejs part.. canon typical violence

LAUGHING JACK

finds it so cool, entertaining even... i like to think that he has "clown physics" to him, but im unsure if being able to dethatch limbs would be one... if he cant take his own head off hes going to be a tad bit jealous of you

sometimes yoinks your head and holds it up to his height so you can "see the world from his perspective", this is more likely if youre significantly shorter than him

if you allow it hes going to juggle your head or even "go bowling" with it... you... may get dizzy though, so agree with caution

if your head is loose and has a habit of falling off hes going to take it as a win if it falls as you laugh at one of his jokes

EYELESS JACK

honestly? not all that phased by your little party trick, at least hes not grossed out by the clear view of your necks insides- hes seen those plenty of times... both in the form of images as well as in person when hes needed to silence someone

that said looking at in tact neat remains is different than seeing it all messed up or in a diagram, so if you dont mind he would like to take a look at least once... totally not making notes for future reference

not many questions otherwise, surprisingly... i mean hes a man eating demon of sorts who mostly gets nutrients from eating the organs of humans- he doesnt have much place to ask you what you are exactly or what caused this sort of thing to happen

doesnt ask you to show off your trick, finds no interest in asking you to take your head off and goof off with it unlike some of the others

TICCI TOBY

oh! thats his partner taking off their head.... OH! THATS HIS PARTNER TAKING OFF THEIR HEAD- he... genuinely needs a second to process what hes looking at because it catches him so off guard, you only told him you had a party trick to show him

lots of questions, main one being how and why- were you not a living human this whole time? a little betrayed that you didnt tell him sooner, actually- and even if you did, why didnt you show him this sooner?

traces his fingers along your neck where it separates, after you put your head back on- even more impressed if theres no mark left behind

like jeff, hes going to try to get you to play some jokes on people- though its likely hes going to pull them on masky and/or hoodie

sometimes carries your head around with him while hes working- ignore how morbid of a sight thatd be..! he just wants some company without making it too obvious!

JEFF THE KILLER

stares wide eyed for a few seconds... ignoring that he doesnt have his eye lids anymore so hes always looking at you wide eyed-- thinks he may have actually lost it for a second before cracking up

probably one of the last things hes expected you to do but hey, he thinks its pretty wicked!

oh hes definitely going to try to get you to use your quirk to scare some unsuspecting people who are walking around- perhaps do it late at night for some added effect? and if they lash out he can always swoop in and come to your aid

will push your head off of your neck if youre being a smartass or generally lightly getting onto his nerves- not a hard push, but enough to knock your head loose

[mclalan]

What art program do you use? sorry if you already answered something like this but im so mesmerized by the techniques you use in your art.

Thank you. No need to apologise; I don't mind answering this question because it's an excuse to walk through my latest image!

The concept for this piece is based on being perceived online through interpretations of posts and artwork, yet how artificial this can be. The relationship the viewer forms is more with the narrative of the work, and any insight into the artist through this feels highly awkward to me, which is precisely what I want to explore with this piece.

In this example, I wanted an attractive sitter to look like someone out of a new romantics music video or like an Enya video, because this genre and era of media is very aesthetically pleasing and nostalgic for me. I hold it as an unobtainable ideal— a hauntology. So, as wonderful as it is, it equally feels shameful and perverse because it's an aesthetic object of desire that I am contriving.

The sitter is holding one of my cartoon characters, Lauren Ipson, the protagonist of my Ersatz world project. A trope in writing is when a character acts as a self-insert of the author, and I'm conscious to try and avoid that with Lauren. I try to write Lauren as dry and sardonic yet also fun, dramatic, and friendly. I don't think of these as personal qualities of my own, but I imagine personal qualities bleeding into fictional characters is inevitable.

Yet Lauren Ipson feels much more alive a character to me compared to any attempt at self-portraiture or self-expression that I've done, which is very little because I'm not interested in constructing a perceivable identity. (I'm aware this text itself can be interpreted as self-expression; however, to me this is just another construct.)

So Is the sitter meant to be me, controlling Lauren? I'm definitely baiting the viewer to think this, and you can interpret it that way if you want, but really I don't think of the sitter as me at all. My intention is to show how it's all a facarde. The sitter is basically just as much a doll, a puppet, a mannequin as Lauren Ipson is, if anything more so.

There's a deliberate irony between Lauren's cartoon rendering and the sitter, who I wanted to render with more detail and evoke a modernist style. I'm inspired by Hans Bellmer and Dorothea Tanning with their work with dolls. However, despite that implied visual hierarchy, the more detailed sitter shares a similar, stilted vector construct to Lauren. They're both born from vector drawing after all. And it's further undermined with the way Lauren the doll looks directly at the viewer, as if she's alive, while the sitter looks to the side with a blank, almost dead-in-the-eyes expression.

Anyway, with that in mind, almost all of my work starts as a thumbnail sketch. Although I often draft digitally and am fine with doing that, I feel more confident doing it freehand on paper. Digital rendering feels more like a refinement process to me. Funnily enough, although I often prefer to sketch with physical materials, I'm anxious of refining or rendering with them.

I like my designs to be very direct and conceivable, so a solid silhouette, pose, negative space etc. I often create a quick digital sketch with this in mind, either by tracing or referencing the thumbnail, although sometimes I skip this step and go straight to the rendered drawing. The aim is to establish a visual guide, dividing the drawing into various shapes for digital airbrush rendering later on.

With this composition, I made a second draft with more attention to details such as the face, hands and feet. Sometimes I'll use photo references if I'm struggling with posing or anatomy. These drafts are often blue because it's easier to render the black linework over a transparent blue sketch.

The chair took some time but was relatively simple to render. It uses the line tool set to magnetic anchor point, following two-point perspective vanishing points. I like two-point perspective because it feels sort of digitally native to me to have these impossibly perfect vertical lines. I also know the horizon line should be at eye level or something, but I just like the idea of the top of the chair to be perfectly horizontal.

Here I'm drawing the final rendered form. I use the stroke tool with it set as smooth as possible. Often I'll redraw lines over and over if it means getting certain curves to look right. Once the lines are drawn, I'll fill them in and remove the stroke, leaving just the solid vector shape. The shade of grey I use is done to simply denote the shape. It does not represent any kind of shading or anything; in fact, when I bring it into Photoshop, all these shapes are set to the same shade, but if I had that here in Animate as I'm drawing, it would be impossible to see what I'm doing. The red background is just for clarity.

Once it's all drawn, I'll make sure every shape is clean, overlapping nicely, and divided into its own layer. A composition can often be comprised of hundreds of separate shapes.

Each shape will be its own layer in Photoshop, which will operate as a clipping mask. The clipping masks act like masking tape or shielded off areas for soft brush opacity rendering, similar to the soft atomised rendering from an airbrush, just done digitally.

I follow very rudimentary painting techniques of simple shading, lighting, and bounce-back highlights. I follow a simplified Grisaille technique, focusing on strong values in greyscale before adding a wash of colour with a color gradient map set to layer style color. Sometimes my values can be a little off, but as long as the values are all consistently acting together, I can correct them with transparent washes or color curves. If the greyscale looks harmonious with all the forms clear, colour will likely work.

Proper digital painters will say this is an amateur process, with results that look mechanical and stiff, as colours in the real world all bounce together off different surfaces, resulting in colour harmonies. However, I don't mind the inharmonious nature of the colours, as I find the values give the composition enough harmony. I'm working digitally, so why go to all the effort to make it not look digital? It's interesting to me to have the red chair look blindingly red, the green skirt look blindingly green.

Colours can look boring without some form of harmony though, so I will add in blue-greens with the darker areas, more turquoise greens towards the highlights.

Skin tones are far more complex, however, as it's something that's more informed by realism. This is why kigurumi dolls with their plastic flesh look so artificial to the eye, because we're familiar with how light passes through flesh and skin and all the subtleties of colour that it picks up. This piece is the first time I've explored flesh tones, as typically I avoid all this by rendering skin as grey porcelain.

I needed to really up the contrast, with shaded areas becoming purples and highlights verging on washed out. Areas with more blood, like feet and cheeks, appear more orange and red. Areas closer to bone and cartilage, like the bridge of the nose, can look almost blue and green. Exploring these colour values and tints in the aim of natural tones was fun to do, and ironic given how blank the face is.

Although in the moment I feel very much like I'm rendering a realistic reality, when I step back, I'm reminded how stylised and unrealistic the painting actually is. It looks kind of insane, like everything is so uniform and overtly saturated. It doesn't feel present in a real space, despite the shadow and form implies one. But I'm not consciously thinking of these things, of style, as I'm working. To me, it's a process of world-building and problem-solving.

[heph]

TLDR: Got any drawing exercises to recommend?

I’m in loooove with the way you use lines, shapes and colors/shading to show form in your art. The way you draw bodies shows a lot of understanding of the shapes that go into them, and that’s something I often personally struggle with. I’m familiar with the shapes of a face, but when it comes to connecting them to the shapes of the body and so on, I get frustrated that it’s jumbled instead of cohesive.

I was wondering, when you’re looking to practice, whether that’s anatomy, line-making, still life shapes or whatever, do you have any exercises you’ve done and would be willing to share? I’ve been trying to crawl out of the no-art-depression-hole for a bit and want to start with things that don’t take much willpower but help me improve

I might be the worst person to ask this! My relationship with art is not typical and I do not practice mindfully! (I just draw whatever I want and that's my practice, y'know?

Anyways, here's my progress of how I learnt to draw :3

Step 1 is proportions - breaking up the human body into manageable blocks and pieces. And step 2 is learning the muscles that build up the body, and from there you can simplify as needed... Or do that thing anime art kids do and skip directly to the simplified bit! (You probably shouldn't do that but if it's a hobby who cares!)

For specific tutorials, I find that proko is probably the best mix of entertaining/educational content you can find, but aside from that I watch a lot of speedpaints.

As a sort of get rich quick scheme, I think the absolute easiest way to get stupidly good at art is studying perspective - but you at least need a basic understanding of proportions and anatomy before you can draw someone in a funky perspective.

Everything in life is in perspective, and every piece of work you will ever make will have perspective in it. Perspective is sort of like an all-encompassing thing in our reality that you don't realise is there, and maybe even not realise is missing in your work (just that something feels... Wrong) AND LIKE NOBODY EVER TALKS ABOUT IT! WHAT THE FLIP!!!

I don't really have a specific source for learning perspective, because I've been on-and-off trying to wrap my head around it for a few years (I'm still awful at it but I'm getting there...!) here's a video!

I do think that drawing with progression in mind might help, but I think with art (as a hobby) the most important thing is probably love for a special guy and joy of creation. You have to love what you're drawing and the simple act of creating, or it just won't work out. If you're in a depression hole maybe just try creating for the sake of it, and don't give yourself too many expectations :)

[entiqua]

I love your artstyle!! Do you have any tips for drawing?

thank you so much! i'm really happy you like it!!💗 as for tips, what i would say would change drastically depending on what kind you're looking for, but some very general ones:

draw what you love and want to see most, regardless of whether anyone else wants to see it. if you don't enjoy what you're drawing it'll never come out as good or genuine as something your whole heart and soul is in. i mean you'd think this would be a no-brainer but sometimes i've had to sit back and ask myself 'if no one was ever going to see this except me, would i actually spend time drawing this?' and i was surprised by the answer

that said, it is also completely valid if your motivation for drawing is to draw for other people! there have been plenty of times where i was too artblocked to draw my own ideas but was still able to draw commissions or gifts and enjoyed it simply because making other people happy with my art makes me happy.

don't get too caught up in having a consistent art style. in my experience this 1000% hinders you

having your sense of anatomy degrade over time without you noticing because you keep drawing the same types of characters is a very real thing! if this is a concern to you be sure to draw a variety

follow a billion artists that you like the art of and you will have endless inspiration injected directly into your brain every time you open social media

my favourite practical tip for those who draw at a desk: keep a small mirror next to you at all times. absolute game changer for quickly referencing hands

if you're drawing digitally, make the canvas huge! in my experience this lets you draw messier/faster and you can't tell at all when you zoom out. if you tend to get stuck spending unnecessary amounts of time micromanaging pixels (me💀) keep it zoomed out while drawing

related to the above point, messy drawings can have far more expressiveness in them than neat and polished drawings. nowadays i never do lineart and go straight from 'barebones stickman pose' to 'varying-levels-of-coherent sketch' and use that as my lineart. sweet freedom from the sketch-looks-better-than-the-lineart phenomenon

if your goal is to improve, then you really do have to scrutinize your art, figure out what you're not satisfied with, and commit the time to focusing on it. 'practice makes perfect' kinda rubs me the wrong way because of how much i've seen it interpreted as 'just draw everyday and you'll magically improve' but genuinely it won't get you very far if you don't actively think hard about what you're trying to improve and take the steps to do it. is this a hot take idk. also hand in hand with this, not every artist is trying to improve and you shouldn't feel bad for this! maybe you just wanna make a little headshot doodle of your fave blorbo and that's your only drawing goal ever. awesome. maybe you know your art has flaws but it's passable enough to convey what you want and you're perfectly satisfied with that. (this is the stage i'm usually at). also awesome!

don't hesitate to draw something because you think it's out of your skill level. the worst that can happen if you draw it is that it comes out terribly but you learned something and can always redraw it better in the future. the worst that WILL happen if you don't draw it is that you'll never draw it. and then it will sit in the back of your brain haunting you for years. it's not like i'm speaking from experience or anything aha

look up 'hand stretches for artists' and do them if you draw a lot unless you wish to summon the wrath of the carpal tunnel demons

of course, these may not necessarily work for you, and most importantly(!) these are coming from the perspective of someone who is primarily a hobbyist. some of this won't be practical for people who need to build an audience, maintain a consistent style for work, etc. these are just things that have personally helped me over many years of drawing :)