#and my effect layers- those are always a lot of fun

[booty-uprooter]

some tips on how to make bosses easier if youre feeling theyre too hard:

play a ranged physical dps class. that way you can hang back to keep an eye on the arena and what the boss is doing without having to worry about needing to stand still long enough to complete an induction

on that note, inductions are considered finished before the bar is full. you can usually move right before it fills and still have it go off, but it takes some trial and error to figure out how close you can cut it

move your ui around. my own life was made immeasurably easier when i put the target right above my hotbar so i wouldnt have to pay attention to both the top and bottom of the screen at the same time, but try stuff out and see what works best for you

the best time to mitigate an attack is right before the boss finishes casting it. the second best time is as soon as the mit becomes available, every time it becomes available

use addle and feint. you almost never see these used in casual content and it's a waste because they really are extremely useful skills at any level

use arm's length and surecast. there are some knockbacks they dont work on but those are rare. if you know youre gonna get pushed, use these and you probably won't get pushed

take advantage of duty support. the npcs know the mechanics. watch them and let them teach you

particle effects cant hurt you (usually). with the exception of puddles that stay on the ground for a while or layered stacks like akh morn, as long as youre not standing on the marker when it disappears (or are if it's a stack), you're in the clear. feel free to move through the animation if necessary. more and more mechanics require you to do so to be in position for the next one in time

it's usually fine to let spread markers overlap. just, yknow, make sure another person isnt in yours (though its the responsibility of anyone without a spread to keep themselves out of harms way)

when in doubt, ask your party members. it's extremely rare to match with a group of randos and have everyone be a first-timer. most players are happy to help, and the ones that know the mechanics but are bad at explaining them will usually just stick a marker on themselves (usually a triangle) for you to follow

read your tool tips. boss fights are as much a test of how well you know your class as they are your ability to read and react to mechanics. unless youre playing a healer or paladin, youre going to use your entire kit, so make sure you know what everything does

on that note, freecure is a scam. once you get cure ii/benefic ii, you will never need cure or benefic again. keep them on your hotbar for when you get synced content if you wish, but otherwise you do not need them. do not use them

if you play multiple classes, try to keep skills that do the same/similar things at the same spot on your hotbar. this isn't always possible bc despite what some may claim, not all classes of the same type are actually identical, but it will save you a lot of headaches

entirely new and unique mechanics are rare to the point of being nigh nonexistent. everything is a remix of something else and practicing in lower level content can actually be a big help

look up guides. the internet is full of them in pretty much whatever form works best for you (though they can be of admittedly variable quality)

turn down party effects. theyre on one of the tabs under character configuration > controls. if you put them on minimum you can still see heals and such but you wont have your screen constantly full of explosions

turn on target health percentage. this one is under character configuration > ui. it lets you better see how close the boss is to going down

make summons smaller. we all love titan's ass but not when it's the only thing you can see. "/petsize all small" will make this problem go away

relax and have fun. panicking leads to mistakes, which can lead to worse mistakes. if you need to take a second to breathe, do so. your party members probably wont mind waiting a minute or two between pulls

[spockandawe]

Here we go! I have some smaller books to share as well, but I've been absolutely VIBRATING with excitement to share a BIG one, and I'm going to indulge myself and post that today, then figure out words for the rest. Because I bound a new cnovel. Check it out, guys, I bound jwqs/clear and muddy loss of love :D

Let me indulge myself and backtrack a little! First, these are quarto books, so they're short. But I think these average a little under 500 pages each, and jwqs is a LONG book (my beloved), and this adds up to a total eleven inches of lesbians. More like twelve once they're in their cases. It's over a million characters in Chinese and I think the English translation comes in somewhere around 890k, it's HUGE

Making these books was SO FUN, I hadn't read jwqs and still haven't, and will probably read on my phone when I do. I don't have any exciting photos of the typesetting, but I knew this was an imperial succession story, and that made me nervous, those stories don't always click for me. Well, the process of typesetting and adding footnotes for this beast definitely confirmed that I'm going to have a good time with this thing when I have the time to read it, but there was also so much going on that only the vaguest of spoilers sank in. I went into an absolute FRENZY of typesetting, and after I printed, cut and folded it, well. That was one afternoon of sewing. You're looking at the reason I'm scrambling to make up a few hours of missed work, hahaha

After that, I needed cases. At the very beginning of march, I received a shipment of some FASCINATING bookcloth. It's called Duo, and it's made by layering a thin gauzy fabric of one color over paper of a different color. Depending on the combos, you get a really cool range of color-shifting effects. And they've gone out of production! But I was part of a group order to get some of the goods, and hadn't yet finished a new project. Reader, I went for it.

That purple and green is bananas!!!! It's so hard to photograph, this midnight picture of a few cases is one of my most successful attempts to capture the full range up close. Originally I'd been thinking of trying to evoke imperial gold, but I figured this was still the kind of drama and luxury suited the book, and also something something the hidden colors suited Qi Yan's character. I tied it back a little to the imperial gold with the endpapers, then titled them in silver foil, since the endpapers had silver in them.

But once the books were made, I felt like it wanted something... more. Something like a BOX!

And me, I chase novelty. A set this large would be tricky for anything clamshell, but a slipcase for all seven would leave books tipping all over if it was wide open, but putting walls between slots would be demanding in terms of precision and would risk similarly-sized books getting stuck in the wrong slots. Then I remembered learning about slipcases where you could put in a little insert to support the weight of the text block, and the concept SNAPPED into place.

Colors aren't going to photograph well at midnight, but I made the supports using the scraps and off-cuts from my endpapers, to tie it back into the bindings. The back of the case is lined in more of the duo, and the walls are lined with a faux leather bookcloth I like a lot, it feels buttery smooth and seemed like a good neutral material to tie the papers and bookcloth together. I listened to some of the DEEPEST layers from the nine-hour conspiracy theory iceberg video while I was working on this, haha, it was a TRIP.

And in the end, each of the supports is sized to comfortably sit in the smallest of the volumes, and evenly spaced, so I believe it will take the books in any order with no problems. It's easy to grab the books without having to cut notches into the walls to grab them from. And even though weight is less of an issue for quarto sizing, the books in here have their weight supported no matter what angle the box is at! I'm so, so pleased with how this concept worked out and definitely plan to do more with it in the future.

So there we are! Jing Wei Qing Shang! I had such a fabulous time with this project, and I'm so excited to get to share it with all of you. The story was fun to work with, the bindings and box were fun to make, and everything here came together just as well as I could possibly have hoped. I'm so proud of this, and incredibly, incredibly excited to show it to you!

[ohno-the-sun]

Oh uh forgot to ask in the previous ask (the one with the digital piece of candy and scurrying and stuff)

How do you draw art so good

Like

Is there a method you use or is that just the style you've gotten over time?

you've activated my trap card

I'm just gonna preface that this tutorial is from someone who was not professionally trained and didn't have a lot of free time for art, so a lot of the tips I have is short cuts I use to get the best results quickly

If you genuinely want to get better at art then please look at references and practice that is always the best

However if you are like me and only really do art for fun but want to go faster then these are for you pfppt

Overall I'd say my style is influenced by speedpaints I would watch when I was younger, I like analyzing how people do things and what makes something look "good" to me

I always recommend watching them because they will often have techniques you've never seen before or do things a certain way that you can try out yourself

I consume good art, it feeds me

but seriously it can be super helpful when developing your own methodology, or just generally trying something new

Usually it starts with me pulling some references from artists I really admire and sort of sketching out how they do the things I like

For example 8um8le has like super good anatomy and poses so I focused on trying to replicate how they do that

venemous-qwille is super good at color and pulling focus so that's what I focused on in my study of them

In general I'd say my process is sketch -> silhouette -> color -> shading -> render

I really don't like doing lineart lol

I'd say for the sketch the most important part is using references and just kind of fudging it until it looks correct anatomically/physically

General rule of thumb is spend time on areas of interest, and keep non important areas light (like the stitching on his pants)

I don't do lineart because I think its unnecessary for most paintings I do

I naturally tend to put more time and focus on areas of interest (like hands and feet) and if you use a brush with opacity for the sketch, those areas are naturally going to be darker in the final sketch

Of course this is gonna be different for everyone but it's what works for me

Sometimes I do a really really sketchy layer underneath my sketch/lineart, just so I know where everything is going

Use thumbnails! They are great to help figure out the general layout of things and what pose I wanna do

Next is what I call the "silhouette" layer

This is super important for me cause it helps me refine the figure and make sure the pose/anatomy looks correct, also depending on what color I choose for the silhouette helps guide what colors I'm going to use on top

This piece is a good example of how it works. The silhouette shows me how the figure interacts with the background, how the pose looks and if its any good

The silhouette layer doesn't have to be super clean, as long as it follows the sketch decently well and shows where the figure is then its fine

I also sometimes make the silhouette layer multiple colors to help guide shading and vibe

Next is the coloring layer. I usually make this a clipping layer on top of the silhouette layer, or I change the silhouette layer to alpha lock, either way it saves me time on coloring everything in

Sometimes I am super rough with the coloring too, using like an airbrush or my fav watercolor brush just to generically block in color where I want it

Works out cause most objects have like a bounce light to them from surrounding objects, so this is sort of a cheat I use to get that effect without all the work lol

Also don't be afraid to have the lower silhouette layer shining through, having multiple colors sort of subtly shining through the piece helps lots

Next is the shading layer, this is usually another clipping layer, usually set to "multiply"

The colors I pick here is usually within this range, any color works, just depends on the piece and vibes.

Since this piece is set in a sunset forest I choose a more desaturated orange for the shading layer

I know there's a whole thing about multiply layer being a crutch (and it kind of it) but it is a useful tool when you just want some darker values across the piece but don't want to go through the process of color picking every single darker shade

Also in my opinion it looks better than picking a darker color and setting it to a lower opacity, idk I just think the color has more "depth"

Next is the hardest to explain, sort of the vibes layer

Usually its just a layer of more concentrated color on top of the normal color and I fudge with the settings and values until I get a result I like

Next is the longest step, is the "extra" or the render stage.

Usually I add a background before this step so that if I need to merge the figure better with the background I can

If I render with a white background but he's supposed to be in a dark forest, its going to mess with the lighting severely

Also this is when I add more "vibe" layers on top to get the figure to match the background better

Backgrounds in general I recommend checking out @/derekdomnicdsouza on instagram he's got lots of great tutorials for breaking down backgrounds simply

I'd say general rule for the rendering layer is to focus on the areas of interest and spend less time on areas you don't care about

I even blur stuff out on the edges I don't want people to see, partially to save time on fixing mistakes in areas I dont care about (oop), but mainly to help draw the eye to the areas I do want people to focus on

Theoretically parts of the background should like mesh with the characters, parrallel lines are a no no unless they are directing a viewer to look somewhere, things that are perpendicular help bring things together

tbh I'm still not the best at layout and probably need more practice, but overall this is what I like doing

Overall this is what my layer set up ends up being

Sort of a sandwich with the lineart/sketch as the "meat" lol

Color and basic shading below the sketch, clean-up and rendering on top

I like this method cause it's super flexible if I ever want to try something different or try to replicate someone's style

I can make each step less or more messy depending on the end result and can add a lineart layer if need be. Also if there's a part that is straight up not working or needs to be removed its super easy to do cause I can just paint over it on the "extras" layer, color picking from the surrounding area to get the same vibe

Generally rule of thumb for my style is: get the initial layout of colors, form and shading to look good, then the rendering should be smooth sailing

Really the best advice I can give to get better at art is to enjoy what you're doing and become very very obsessed with drawing a silly little guy

You'll eventually get very good at drawing them pfptpf

[fantasy-anatomy-analyst]

My knee-jerk reaction to seeing winged humanoid anatomy is I always feel like the wings coming before the human arms or over the top would mess up the mobility of both the arms(not being able to go up) and the wings(having something obstructing downward movement and less room for muscle attachment as there needs to be a hole for the human arms) and that the wings should go beneath the human arms instead to fix those issues, but is that actually anatomically correct or am I crazy?

there are definitely a lot of factors to consider with the addition of wings to a humanoid figure! unfortunately we don't have any real world animals with a similar six limbed body structure to rely on for reference, so a lot of the design inevitably relies on "well, I think it looks functional, so I guess that will do"

this post I reblogged a while back does a good job of showing potential musculature:

now, personally I put the "human" arm much farther forward on the side of the body, while that post leaves it towards the back. but it does show off the way muscles layer over each other, and it gets the wing muscles accurate to real birds! so no, I don't think having a "hole" between the muscles for the arm is a problem, really. there are just a lot of layers in there.

as for placement, as I said I prefer the arm to be more on the side of the body, forward and a little bit down, almost like the foreleg of a quadrupedal animal. it gives a lot more space for the wing to move without bumping the arm so much. putting the wings lower than the arms would necessitate having one's arms stretched over the head every single time they needed to fly, which is fine if you're going for that superman pose!

but in practice I think it would be tiring, so having the arms below the wings and placed forward on the body is, to me, a better option. that way, the arms can just relax into a folded pose, like how birds hold their legs in flight. classic "raptor hands", if you will. loosely folded, hands by the chest. no extra muscle strain interrupting the wing motion.

(image description: sketches of two winged humanoids. the first is "arms above wings" showing a figure with their arms stretched overhead so the wings lower down can flap freely. the second figure is "wings above arms", with the arms lower and more forward on the body, being held with the hands curled by the chest while the wings flap. end description.)

obviously you get more flashy poses when the arms are above the wings and stretched out like that, so they're fun to draw. but the arms being all curled up and situated below the wings feels a little more natural to me, and certainly more effective for long distance flight. the more the limbs just openly dangle in the air, the more drag they create and the heavier they can feel. so it makes sense to me that the arms would just be held closer to the body, which works better when they're below the wings.

[riinkun-art-stuff]

Howdy ho! I'm very excited to finally be able to share this illustration I worked on as part of this year's @bumblebybigbang for @tahnex's lovely and super fun fic (with no pain attached whatsoever), "Of Dragons and Panthers," which you can read here! As soon as I read the original notes on it this scene captured me so much I had to do something dramatic for it. It's been such a pleasure watching the whole collab come together, tysm for having me!

First time joining an event like this, and I'd love to again if the opportunity comes around hehe. Still a few postings to go on this one, the pieces before us this year have knocked it out of the park and I'm super excited to see the rest once they come around!

Made a few process cuts just for fun, which I left under the cut!

I did do a few sketches roughly before I started out, especially based on other parts of the chapter, but this particular composition was so fixed in my mind that I ended up just sticking with it. In retrospect, I would've loved to go back and do some more thorough exploration for it. Here are a few of the sketches I managed to fish back up:

I also was thinking of trying a few other doodles/another big piece, but ended up not really having the time between other obligations :')

And the sketch I finally settled on:

Inking was SUCH a fun process on this piece in particular. I'm a huge fan of how dragon!Yang's mane turned out, especially, and all the detailing on the head and around Blake's fur and such. Feel like I'm really satisfied w the particular way the line weight variations came out, and it's where the piece shines the most imo.

Panther!Blake, too. Oh gosh. I feel like it took me a lot of reworking to get her structure to a point where she felt very leopard-like, rather than any other type of big cat- especially around the head.

Colours were such a challenging part. There was a big feeling I had for that glow coming off dragon!Yang in the middle of the heavy rain- I love seeing that sort of effect in real life so that's something I'm really hoping to work to capture better as I practice. Trying to get dragon!Yang's slight iridescence in there and to balance out the lighting on panther!Blake's fur each took a long time, too- I'm only a pinch sad that a good chunk of it is covered by other lighting effects XD

Blake's rosettes were SO fun. Augguhugg.

In terms of backgrounds. HOO boy I was going through a strange patch in life while working on the background and final polish for this piece, which is why (at least I feel like) it looks kinda rushed. I have been practicing natural landscapes and doing some observational studies but still struggling to get those rock shapes quite right, which I think is a big make or break point of something like this. I did really enjoy toying around with inking on the foliage and foreground layers of the ground, though! And in the end, lighting and effects ended up masking a lot of the big weak spots :D

I think natural effects like smoke/steam, and rain, are big things that I got to practice more of in this piece, but also really would like to get better at in future. Esp since I feel like it's been a great opportunity to mess around with different colours and brushes that I use way less, which I'm always grateful for w painting. I think just layering the rain on its own ended up being about 10 odd layers?

I think the only other thing I would have loved to improve is to just help the piece feel more Bumbleby™ in the final look. I think I like the cool colours of the lighting for this particular outcome, but I also would have probably tried to have made things much clearer (ahem at the very least switch to yellow/purple) in the long run in terms of representation and resemblance. Ik that at least for me it is fairly easy to associate the two characters with dragons and panthers since I'm more familiar w the fandom lingo around these two, but esp for outsiders I feel like it's probably not great at conveying who they are, and why they are potentially in this situation.

I'd also love to try and find a shading style that still has a painterly quality but compliments the inking a bit better, rather than overpowering it.

I think that, on the whole, I am pretty satisfied with the piece and had a great time working with Tahnex on the whole collab! And I've also has a fun time reading his work and notes in return, and thank you so much for being so so patient with me even as my updates were slow n rocky at points :'D

That's about all I got, have a great day y'all! Still a few big bang postings to go, so very excited for those once they come around!

[meruz]

i hope this hasn't been asked before. what size do you make your canvas? and do you crop it to fit other socials (like Instagram for example)? i hear that 300 dpi is standard. i never know if it's good to make my canvas big or not.

hi i think this ask is like at least 4 months old but i was scanning my sketchbooks from last year and i abruptly remembered i had gotten this ask because i had made a little chart in my sketchbook trying to figure out how to answer it

anyways theres pros and cons. and the size of your canvas is really going to depend on personal needs + preference. how good ur computer is, how complicated ur art style, how comfortable drawing feels, how much disk space you have to spare, what youre gonna end up using the art for in the end...300dpi is standard for PRINTING specifically, if you only plan to ever post things online then 72dpi works great and will save you space (fun fact a lot of professional animation files i deal with are 72dpi. and those eventually go on your tv screen). but personally i make everything i draw 300dpi because i am always printing stuff for cons, zines, etc and its nice to have the option even if i dont end up printing.

when I was a teen I used to draw on a rly shitty laptop and i made everything 800x800px 300dpi because big canvases would cause a lot of lag and also the resolution on this laptop was pretty small so 800px was a lot of the screen already. now i have a slightly better laptop with a bigger resolution and i sketch on giant 10000px-40000px canvases with the hard round brush and no shape dynamics or transfer whatsoever to minimize lag. when it comes to making a final illustration when i know ill be using a bunch of layer effects/blending modes/colors/mixing brushes etc etc ill generally crop the canvas down to the 6000px range. most illustrations i try to make sure are comfortably printable on tabloid size paper so thats pretty much anything hovering around or above 3000x5000px w 300dpi (so 11x17in). HOPE THIS HELPS?

EDIT: OH ALSO re: socials. i always ALWAYS size down my art to post on the internet. i think its crazy when other artists dont. because why would i ever let the internet have my hi-res file for free. also in general i think it looks better if you do the resizing yourself because if you don't then many social media sites will compress your file for you! a lot of people will post a hi-res file to twitter and then go "Wow twitter killed the quality of this img!!!" UH YEAH because they have an automatic image compressor. because they need to save space too lol and they dont want your image to take 248263895 years to load. same with instagram and to a lesser extent tumblr. when i post anything on social media i resize it down to 1200px-1600px on the longest side... its a little arbitrary but im kind of basing it on the smallest resolution of widely available screens. mostly because i think it looks stupid when u open up an image file fullsize and u have to scroll to see the whole thing... also iirc instagram only takes images up to 1080px before it resizes them? granted if you upload something smaller than that itll also resize it up which will look worse so I think bumping the numbers just over 1080px is pretty safe.

I should really be bringing the dpi down to 72 too when i post online but often im too lazy to do that. but it will technically help ur image load faster and stuff. and make it less likely for people to yoink it off the web and print it themselves.

[she-posts-nerdy-stuff]

It’s gone midnight and I’m thinking about Six of Crows so y’all know what that means: it’s time for a long rambling thought process that will hopefully have some interesting insights into the books in it.

I want to talk about the animal, mostly bird, symbolism of these books because although it’s obviously something we’re very aware of I also think it’s something that runs a lot deeper than we necessarily always realise/talk about. Even when people aren’t being directly involved in bird metaphors (crows, pigeons, peacocks) they are often described as “squawking”, “flapping”, or with other phrases that further this semantic field.

Now the crows is obviously the main source of the symbolism, and it’s openly talked about in the book with the speech on how the recognise human faces and how they support each other. I’ve also seen a few people online talking about the Crows in conjunction with a poem/nursery rhyme about crows (it’s one of those that has many different versions spun of it, some know it was counting magpies rather than crows) wherein 6 crows symbolises gold, of course greatly linked to the plot of the novels as well as their anti-extreme capitalism message. It’s also key to mention that crows are massively underestimated birds in the general public view; they’re far ‘smarter’ animals than we would typically expect. Crows have a very high brain to body mass ratio, I believe the highest of any birds but don’t quote me on that, and although we understand very little about the brain the size ratio is currently considered a very good indicator for the general intelligence level of the animal. Crows can make tools, hide their food, mate for life, and - VERY interestingly for this book analysis - have even been suspected to hold funerals. Now I want to be clear I’m working on a mix of random knowledge and the first helpful looking website that came up when I googled ‘fun facts about crows’ so I am by no means an expert here, but to my understanding the practice that was initially considered to be a ‘crow funeral’ is actually a process wherein crows will gather around a dead crow to look for potential danger. So I feel like the links I’m establishing here are relatively obvious, the point is that, like the birds themselves, the Crows are undervalued, underestimated, and unexpectedly successful. But the symbol of the crow in these books arguably goes even further.

The crow-headed handle of Kaz’s cane represents everything about the crow I’ve already mentioned on top of his own symbolic layering to the cane as a sign that no part of him has not been broken, and no part him is not better for having been broken. So in Chapter 27 of Crooked Kingdom, when Kaz returns to the Slat and fights the Dregs before leading a coup against Per Haskell, the cane with the fake crow’s head that Haskell has contrived to mock him effectively represents the failing of everything the Dregs represent. They’re last, the remnants, the people with nowhere else to go: they are the people who have been broken and have made something new for themselves. Except Haskell. So the sheer ridiculousness of him mocking Kaz’s cane, something he clearly thought would win him favour and success, in the end becomes one of the biggest aspects of his downfall. Inej describes the moment when the Dregs begin to support Kaz, the way the look at Per Haskell with discomfort - “the feathers in his hat, the canes in his hands” (and then she goes on to highlight how they’ve seen Kaz use his cane in fights, “wielded with such precision”, whereas Haskell is washed-up, pathetic, never could have taken the fight Kaz did and walked out the other side). Of course they realise, then, how completely and utterly wrong all of this was. Because when they’re confronted with both of those canes they realise something. They know what Kaz’s cane represents; it’s power and strength in spite of a world that has that has scorned him, it’s taking something that was broken and not fixing it but emphasising it and making it into a threat, into a symbol, into a strength. They know that, even though they don’t know what happens in Kaz’s head, because they see themselves in that. The Dregs; the literal bottom of the Barrel, who have been broken and who have clawed their way to survival. They cannot see themselves in Haskell’s mockery cane. Haskell is not a man who reflects what the Dregs are at their core, but Kaz is. The emphasis on the feathers is also really interesting, because I think it’s implying a sort of gaudy, colourful feathering that (despite fitting in with the style of the Barrel) does not represent the symbol of the crow; it is not something shadowed, something half hidden that could have an unexpected bite. It’s almost more akin to Heleen’s gaudy peacock feathers than it is to anything the Dregs understand, or represent through being Crows.

The pigeons I don’t really see anyone talking about, but I think it’s pretty interesting. The idea of ‘the pigeon’ is the same as ‘the mark’; they’re the victim, the fool who’s easy to swindle. I think the imagery of the fools being pigeons, ie being everywhere and massively populating big cities, is really clever to show a divide between the few, the Crows, and the many, the pigeons. However, it’s not only the Crows who remark on others being ‘pigeons’, but other gangs as well. When Kaz confronts Pekka about the scam he ran on him and Jordie, he says “you were just two pigeons, and I happened to be the one who plucked you”. I’m not gonna lie to you guys I’m losing my point slightly, but I just googled ‘crows and pigeons’ and the first thing that came up was about how crows sometimes eat pigeons so I reckon that’s pretty relevant.

Ok I’m really tired and I feel like I’m clutching at straws here, so I dunno I guess if this does well then I’ll cover peacocks, lions, and the general semantic field of birds in another post. I hope at least some of this made sense, thanks for reading it if you bothered to get this far

[slavicafire]

where do i get weird and off-putting fragrances in poland as a broke ass goth dyke? i got like a laughably small amount of olympic orchids' night flyer for like 50 PLN from resale, but a lot of it evaporated. i want to smell like blood, rot, or a moldy cellar on a budget without actually rolling around my block's basement. i'm currently running on the fumes of artiscent amber envie i got at rossmann for 35PLN on sale. send help

getting nice fragrances on a budget is not that difficult - when you're aiming for florals or gourmand scents, or something else rather basic. strange fragrances are still pretty niche and therefore a pain in the ass to get and to pay for, unfortunately.

one tip I'd definitely give is simply buying samples - places like house of merlo or mood scent bar have the option of purchasing a sample of most of the fragrances they sell, including all the great weird ones. lulua and tiger and bear also sell samples of plenty of fragrances but certainly seem to be a bit more limited in which fragrances they'll let you sample. sure, the sample isn't cheap if you consider how small it is - but it is definitely more accessible and can actually last a really long time, especially if you aim for an extrait rather than EDP.

while you can, of course, purchase samples online, it's good to remember that visiting one of these shops also lets you try the fragrances - so you can really tell how they develop on your skin before you decide to purchase... and also spray yourself with fun scents for free.

I'd also recommend to check olx and vinted for people selling the perfumes they no longer want - if you don't mind having a bottle that's partially used and you're not afraid of getting a dupe instead of an original. my logic is: if I pay a low price and the smell is still nice/interesting, I don't care if something is a dupe.

which also brings me to the final part: dupes, especially in combo with layering. most dupes in those little dupe stores will be of nice and pretty fragrances, yes, but you can still find scents there that will smell strange on you specifically, or find a way to layer them with a different scent to make them more complex and enticing. it's more work to find something nice there but it's definitely worth trying, as you can end up with some truly original combinations that no one else could get.

and on the subject of layering - I recommend trying out and purchasing some wax perfumes and seeing how they work on your skin, and finding a fun combo to layer them with. I have perfumes from bydgoska wytwórnia mydła and miodowa mydlarnia - while some of their scents are too basic on their own, they blend very nicely with other wax perfumes and can be really interesting + cost-effective.

all in all, best of luck on your search - might you always find what you desire currently on sale.

[fafameow]

Sorry to come out of nowhere but I just wanted to say that your art is so warm and so colorful and so ROUND in all the best ways and your style really captures my favorite things about Kirby! I've always found it really inspirational!

Also, I love the way your line art looks?! I have to ask (you don't have to answer though) is there a specific brush or technique you use to get that soft, multi-layered effect?

Either way, wishing you a wonderful day!

Thank you so much for your nice message, it means a lot!! I've been wanting to make a small tutorial about how I make my Kirby art, so I guess your question came right on time hehe ^^ As I'll be explaining all of my process, I'll also answer your question about my line art! Btw my art program is Paint Tool SAI and I'll also be showing the brushes I use as well as their settings (i made up most of them a long time tho).

So first here's the brush that I use for basically anything, whether sketch or lineart!

It took me a while to understand what you meant by multi-layered effect, but no the brush doesn't do that, that's actually my way of doing "lineart" (ig it's not really lineart cus I just do sketches that I clean later on).

I then clean up everything, add the details and block by using a grey color.

Afterwards I add the flat colors! I already have my own made up color palette, but otherwise I always use a purple color as overlay.

And I also use that same shade to color the lineart!

Next comes the fun part, shading! Here's THE brush that gives that soft effect to all of my drawings ^^ It's the same setting as my eraser too!

And yeah I also shade with light purple lol

There's also some other brushes that I use for more effects, like the airbrush! (I don't think I've touched the settings that much) I mostly use this one for lighting effects.

And finally the water brush! I sometimes use it for blending or for quick backgrounds,

but you can also see that when put it to "Spread" it also becomes the one that I use for my blushes hehe

Aaand I believe that's all of the brushes I use for my art! I do have more, but I only use those for other specific stuff like animation or pixel art.

Adding some details AND VOILÀ!!

Now you know how I make my Kirby art! (but this also applies for all of my art) I sometimes redraw on the contours to give that "pop up effect" a bit like what they did in rtdldx lol ^^

I really hope it was easy for everyone to understand cus this is my first time making a tutorial! And to Desultory Novice, I hope I managed to answer your question too!!

Thanks again and have a great day :D

[howlsofbloodhounds]

I got some assorted headcanons for Nightmare's henchmen because I've been thinking about how many chronic issues those guys are bound to have non-stop lately...

Killer:

He doesn't take care of himself properly, even after he starts taking care of the others. Meaning my guy is most likely gonna have some issues with chronic dehydration, which, in my experience, leads to "fun" things like: long-term and short-term memory issues, struggles with focus, difficulties regulating emotions (meaning, the longer this goes on the more often he might flip between different stages), difficulties sleeping, frequent headaches, chronic fatigue, dizziness and vision blacking out when he gets up from a sitting position, and joint pains.

Being dehydrated also generally makes pre-existent mental issues worse. So the struggles with guilt, self-hatred and all that stuff that is very present at Stage 1 are probably all accentuated by his lack of proper self-care.

Horror:

His skull and empty eye socket both cause him pain often. Especially with switches in temperature or humidity. Because of the positioning of those wounds, that often leads to debilitating headaches and often teeth pain too. He pulls on his bones to try and alleviate the pain because the pressure does help in the moment, but the strain he puts on them always leaves him far more sore after.

The years of starvation also left his bones far more brittle and prone to breakage. He's gonna be extra careful even while doing things like getting out of the shower or sitting down. He would benefit from getting braces and several different kinds of mobility aids, but it's not like he's got access to any of that either in his world or at the castle, so he learns to make do without.

Dust:

Because he's got a high LV and yet his soul is still inside of his body, he experiences a lot of side effects from that. Things like: chest pains, frequent headaches, auditory and visual hallucinations, memory problems, frequent blackouts, disorientation, and bone fragility (though, unlike Horror, his bones aren't more prone to breaking, they're more prone to dusting).

The thin layer of dust that constantly covers his bones causes frequent rashes and irritation. It's not unusual to see red blotches on his bones. Massaging his bones with oil or cremes would help relieve some of his discomfort and I'm sure that Killer does his best to find and steal some for him, but their resources are still limited and his access to it is only temporary. Also, that scarf he always wears doesn't help, what with it being covered in dust. And having his hood always up doesn't help either, since fabric rubbing against his already sensitive and irritated bones is probably Hell. Wearing some lighter and breezy clothing would do wonders for him. (Yes, this is part of my propaganda to put all my faves in pretty dresses. It would look cute and it makes sense, I swear).

Cross:

Old badly healed fractures from his time in the military probably cause him a lot of general pain he's grown used to in the years. But, by far, the worst of his problems come from his and XChara's unusual soul situation. Sharing a soul cannot be easy, and it probably leads to a great deal of disorientation and confusion around their memories and identities.

Not knowing where one ends and the other begins makes social interactions with outsiders to their bond rather difficult. It most likely led Cross to develop a great deal of social anxiety which is why he often tends to isolate himself and suppress most of his emotions. Truly, he tries to minimize the amount of meaningful social interactions he gets because the panic attacks afterward are just not worth it

All skeletons should immediately be put in loose pretty dresses /hj

But honestly I love these very much, they seem very probable. And I can honestly relate to Killer’s dehydration and Horror’s teeth problems, those things suck. (For me tho it’s often because water is a boring drink.)

Also do you think that whenever Killer decides to take the others on his responsibility, does he do things like help Dust rub the cream on his bones, especially with those hard to reach places or extra painful spots? Maybe this is something they’d have to work up to, as doing something like that is a rather vulnerable thing, requiring trust.

I think itd be a cute image though, and maybe if we go with the headcanon that horror is or grows to be a little bigger or taller than Murder and Killer, he offers Murder some of his clothes since they’re bigger and looser. I’d imagine that Killer would have to frequently steal and horde painkillers and numbing medications for the gang, and perhaps manage it all carefully to avoid overuse.

And Dust probably wouldn’t want to wash his scarf, but I wonder if he’d accept a cleaner version of a scarf that looks just like it and just keep the old one as a comfort somewhere in his room.

And I’d imagine that Dust and Horror would have to frequently remind both Killer and Cross/XChara of who they are, where they are, the time and the year.

And very likely have to remind Killer about things multiple times either because he forgot something, or because he was asked to do something but didn’t realize if that experience was real or not. Perhaps they create a little system of asking if they can hold Killer’s hand (or let him hold their hand), to anchor him in reality whenever it seems like he’s not really present or sure.

{ @stellocchia }

Honestly id love to hear more about all of your headcanons. They’re all so detailed.

[raspberry-vinaigrette]

i fear i will get eaten alive for this but i find it so odd that some people act like flipside dave just... isn't reality dave. because flipside dave did, 100%, do all of the things reality dave did and see very minimal issue in doing it until after several layers of the flipside where he realized henry wasn't just killing kids and he didn't, in fact, "have good intentions." this is emphatically said after steven has his flashback, which is right about when dave is like "alright so Maybe I Was Wrong". and under the assumption reality dave isn't flipside dave in any sense... i dunno man. it feels reductive.

yeah, reality dave did do bad things, whether he was entirely aware of the wrongness of those things or not (depends on what you're talking about -- it's kind of a grey area for a lot of things), but that's the point of him redeeming himself. that's the point of jack freeing davetrap's soul by burning the restaurant down. that's the point of jack saying "i hope you can find peace with what you've done" to dave before he leaves with blackjack. that's the point of dave getting better. he did bad things and he acted poorly to jack sometimes and with how his soul is split (on top of jack uh... ditching him for 35 years in some bid to force him to move on) his reality self is much clingier and more aggressive when pushed to its limits -- jack and dave both emphatically say that dave's reality self cannot move on from henry / jack and that's why he keeps coming back. they're still two halves of the same entity. to treat them like they aren't two halves of a whole, just under different circumstances, is ... kind of ignoring a big part of dave's arc, imo?

fundamentally if flipside dave hadn't done anything that reality dave did, what is the point of him taking accountability? what's the point of his entire talk with dee? what's the point of him having to deconstruct what he did and what henry did to him if he isn't somewhat accountable for all he did, y'know? obviously he isn't entirely consciously reality dave, but they're two parts of the same entity pushed to different extremes in different contexts. davetrap was isolated and abandoned and he is incapable of moving on properly, much as jack tries to get him to before turning to burning the restaurant down, and he's going to inevitably have a WAY harder time acknowledging that henry did anything bad because that pedestal is all he's hinging on. if henry is bad, dave coming back over and over was all for nothing, so of course he's in such vehement denial and clinging so hard to this idea.

of course he can act hostile or aggressive or creepy to jack in certain endings, his one role model was the man who watched him with cameras to study him, cut him open and took out his organs, constantly gaslit him and manipulated him into thinking he wanted everything that henry did and then ditched him. of COURSE reality dave is therefore clingy and scared of abandoment -- flipside dave expresses this same fear, getting borderline guilt-trippy when jack first says he'll leave until jack clarifies he plans to come back. it's to a far less severe degree, yeah, but it's still clearly a part of both daves. to act like reality dave should be condemned and flipside dave was just manipulated is to act like theyre not effectively the same entities in different contexts.

i dunno. you can have your headcanons and i don't want to sound mean to anyone who considers them entirely different people because that's ultimately not my territory to tread on and it hurts nobody. if you enjoy it, have fun with it! i've just always found it reductive and like it ignores kind of the point of dave needing to take accountability and be redeemed and it tends to lead to reality dave being dismissed as "all bad" and flipside dave just being traumatized and "the good one." not sayin everyone with the headcanon does it and ultimately this is just my interpretation off canon so im not the end all be all. it's just something on my mind

[painting-warhammer]

Solitaire in the style of Vriska Serket (Homestuck)

Just in time for 4/13! Commentary under cut.

The Lessons Learned

#1: Learn As Much As You Can Before Letting Your Mini Anywhere Near A Brush

As first figures go, this was honestly not as bad as it could have been, but I am an outlier. (and the second figure would be much worse.) Since the proverbial canvas was so expensive, it was a lot of "measure twice, cut once."

This was the main thing I used, and save for the face looking like chewed-up bubblegum, it came out relatively okay for a first try. Overall, this guy's a legend and this would be far from the only video of his I would reference.

#2: It's Okay To Be Inspired

What really hooked me on Warhammer in general is that you can paint things in your style. This is appealing at first, but if you're not an artist, you're going to be exposed quickly in the worst way possible, and that's by the color wheel theory. If you don't understand contrast and coomplements, all the technique in the world won't save your figure from looking like an eyesore.

This is where "established" characters that you are mimicking end up being your saving grace. If canon material is your bag, that works: You certainly won't lack as far as exact guides then! But in my opinion, you learn a bit more by improvising and trying to make something similar to an established character. Chances are they're popular because they have an appealing color scheme. As it happens, Vriska's various blue motifs really complement her orange, which is something I never realized way back when.

Also, reinterpretation was inevitable. I had initially considered freehanding the sun symbol on her lapel, but when everything was smaller than my pinkie, I just settled for making her jewels yellow. The real masterstroke was taking the Harlequin's Kiss weapon and recoloring it as the Warhammer (oh hey) of Vrillyhoo.

I just took the general colors and used Spiritstone Red on the rounded bits, and made something analogous to it. It's still the neatest part, imo.

#3: The Best Way To Start

For every color, I had a swatch. I had one base color, which I then doused in a shade, and then added one layer paint as the main color and one shade lighter for highlights.

#4: How To Make A Shiny Figure

There's a special paint called Ardcoat that puts a glossy texture on, but something that's a little more muted that gives a shine is... shade paint! I didn't shake the paint pot enough and created a fun glossy texture that you can see on her knee. (I learned how I accidentally did this by asking at my local Warhammer shop, lol)

#5: Don't Be Afraid To Make Mistakes

I'm sure there's more than just this wrong with this figure, but the Solitaire is supposed to be leaping off that little rock there. There were glyphs where I was able to put in a glowing line of Baharroth Blue that was watery enough that it filled in the little gaps on its own. It looked fantastic once...

Unfortunately, I overfilled my brush and it sloughed over into the other creases and ruined the whole effect. I also slopped Mordant Earth onto the stones and made it too ugly.

But that's just it. As much prep work as I was going in with, there was always going to be a mistake, and on a personal psychic level it feels bad when you make it. It ruins a whole day of painting lol. And you can't really stop those emotions, but you should at least try.

#6: You're Not Married To Your Army

It's inevitable that getting your first figure leads you to think about a whole army of them, but I had this distaste in my mouth when I thought about making more than one Vriska. For one, I didn't like any of the other Harlequins or Aeldari, or more importantly, I couldn't think of fun color schemes for them. The thought came to mind to make the ships similar to the Batterwitch/Condesce, but they were too similar color-wise (and even in the symbology!) where it just felt redundant. I get a special kick out of making something different from the boxart, because that's the point in my opinion.

I coped for a while: Green stuff or 3D print horns for the other figures to make them trolls? Suck it up and just use Vriska's color scheme for the others? In the end, I just gave up and called this a practice run. This is still my favorite figure. I'm just happy the first one turned out so nicely, relatively speaking, so I don't really have a lump of paint surrounding what was once a figure like a lot of first-time painters.

But no worries. Because I'd definitely fuck up the next one. 😅 That's for a new post.

[beekeeperspicnic]

If you don't mind me asking, how do you go about finding references for the clothes etc. for the game?

Oooh that's such a good question!

I've done a lot of comics set in different time periods but generally pre-1600, and my advice with those was always to find resources and patterns created by historical re-enactors. They tended to consolidate a lot of more academic research taken from paintings and extant garments, and give an idea of layers and how clothes work together, and often consider things like hairstyles.

For example, here's a character who lives in Renaissance Denmark!

But for Beekeeper's Picnic I was a little more relaxed - it's only set 100 years ago, I feel like I have a few more cultural touchstones to know what people might be wearing, and we have actual photographs of people wearing those clothes!

So I felt a little better about just going on somewhere like Pinterest and looking up "1920s women's dresses"

That requires a little discernment, though. I know enough to see something like this and think "Lol no that's not what people actually wore that skirt is ABOVE the KNEE are you KIDDING"

And then if your characters are just everyday folks, it's also generally good to find photographs that are of ordinary people rather than pin-ups and glamour shots - so less this...

and more this!

And last but not least I am actually kind of un-inventive and will default back on things I actually own if at all possible. This has the fun side effect that if anyone ever wants me to cosplay as Holmes from the game, I can probably do it.

[adobe-outdesign]

could you review some of the neopets as animals outfits, like the fennec kacheek, red panda vandagyre, and cockatiel pteri? (those are examples, choose whichever you like!) thank you <3

(Note: I included a random selection of outfits in this post, but feel free to send in asks if anyone wants to see a specific outfit I didn't cover.)

I'll be honest, I'm personally not super big on the "outfit that resembles a real-world animal" trend. First, I play Neopets for the cool fantasy creatures; even the most true-to-life Neopets species have some pretty fantastical colors. I feel like making pets just look exactly like actual animals kind of defeats the purpose of them being Neopets. I get why people would like it and I'm not saying it's bad; it's just not my thing.

Also, the other reason I'm not always big on these outfits is that a lot of Neopets have colours that already resemble real animal patterns. Not only do the outfits blur the colour/customization line quite a bit, but usually I like the colour ones much more, as they keep the actual design of the Neopets in place and just change the patterns and colors, rather than covering up the fun fantasy elements. This also helps them avoid the uncanny valley effect, which I talk about more below.

Also I might be over thinking this but who is making these outfits. None of these animals seem to exist in-universe as far as we're aware. what are the shopkeepers basing these off of. the colours at least have a magic as an excuse

Examples that I think are okay:

Feathery Pteri Outfit: This one's nice! I like the layered patterning on the wings and the high-contrast colors. Most, though, I like that this sticks fairly close to the actual pet, mostly just changing up the tail shape. This almost could've been a paintbrush colour, but then again what colour is up in the air.

(Side note: the eye clipping over the beak is a rendering issue? I think?)

Bouncing Zafara: This one definitely strays farther from the actual pet than the Pteri, but it's a fitting animal choice and it doesn't fall into the uncanny valley, which is all I care about. The body is still somewhat recognizable as a Zafara in terms of shape, and the Miamouse as the joey is super cute.

Freshwater Lenny: Kind of the same case as the Zafara; not super one-to-one with the actual pet, but it's still recognizable as a Lenny and isn't too uncanny. The legs are a particularly nice touch, actually changing the pose to look more heron-like (though they are also the part that strays dangerously into being too detailed).

Please don't:

Adorable Kacheek: Sorry to the fans of this one, but this outfit just resides deep within the uncanny valley to me—like it's a mascot suit instead of just a normal pet. The artstyle is way off from Neopets, looking much more Subeta-ish (except Subeta's art usually isn't so off putting). It's not a bad artstyle, mind you, it's just not very Neopets-ish. I also feel like a fennec fox was also a bad pick for this one, as it's basically unrecognizable as a Kacheek at all.

Feathered Eyrie: Speaking of the uncanny valley, this is another pet that lands squarely there due to having entirely too much detail in the shading and weirdly realistic fur textures. It also just doesn't look very good aesthetically—the beak doesn't fit the face, and the wings are an absolute trainwreck (not only is the perspective wrong, but the left wing is coming from the middle of its back!). On the plus side, you'd be hard pressed to not recognize this as an Eyrie, and it's a fantasy creature instead of a regular animal, so I guess that's something?

Furry Meerca: Hmm... no. This one also suffers from an overly-detailed artstyle and way too much realism, which is especially jarring when placed on top of the Meerca's heavily stylized body shape, resulting in a perfectly round animal with hyper-realistic animal eyes. It's also particularly bothersome because we already had a chipmunk Meerca design in the form of the striped Meerca colour, which is just this but less soul-haunting:

Which is what I meant at the beginning when I was talking about colours vs outfits. The colour is a Meerca that looks like a chipmunk; the outfit is a chipmunk that looks like a Meerca. Big difference.

[blakbonnet]

ARTIST OF THE WEEK (GIFMAKER EDITION)

This week's artist is our very own, favourite gifmaker Ida @bizarrelittlemew who I'm sure everyone follows and knows. S2 and even pre s2 would have been such a different story without Ida's amazing and speedy gifs, and they agreed to answer a few questions for me:

All the programs you use to make gifs (including screengrabbers etc)

I use DaVinci Resolve to cut the clips I want to gif and Photoshop 2024 for everything else. occasionally I use Adobe After Effects for rotoscoping (cutting moving objects from videos, like I've used here and here.

One adjustment/PSD that you couldn't live without (you can only pick one!)

making me choose just one is cruel 😤 but I guess it will have to be the Levels adjustment layer. it does so much heavy lifting for me and can do both light/contrast and color adjustments, I could probably do full coloring only using Levels ❤️

Favourite gif you've made or scene/episode to gif

ough this is difficult. I think S1E7 might be the episode I've giffed the most (and one of my favorite episodes in general), so it'll have to be that - especially the scene in the clearing after the treasure map burns, with Stede's little pout and Ed's heart eyes

One thing that always makes you curse the gods while making gifs (that one adjustment that takes too long, dark scenes, etc etc?)

since "the color grading of ofmd s2" seems too general, I will say the constant balancing of toning down the yellow while still keeping Stede's hair sufficiently golden 😔 it turns dull so easily

One tip for people who are just starting to learn giffing

my general tip is to start with well-lit outdoor scenes to get the basics down before moving to darker scenes. and, for the love of god, do NOT start your giffing journey with the indoor scenes in ofmd S2E4. listen to me. LISTEN. look me in the eyes. Do Not start with that. I have no idea what happened to the color grading of that episode but hooo boy it is SO red/yellow. and dark. and sometimes it's just out of focus. it can be a fun challenge when you've got a little more experience but do not be tempted by Stede's earnest gazes and Ed's cute huffy faces to make your first gifs from those scenes. actually, my advice is to start with season 1, there are lots of vibrant colors to have fun with and even the dark scenes are decent to work with!

Why OFMD

if I try putting it into words I will combust

[stormio2407]

Ello! ʕ⁠っ⁠•⁠ᴥ⁠•⁠ʔ⁠っ♥️ Im secretly a big fan of your art work and was wondering if you'll do a tutorial on how you make your art work, I love them all very much 💞

Oh, thank you. 🙇🙇 I’m so glad to hear that! And sure, I can make a tutorial real quick. :))

1.) Before I start doing any art, I do this to my canvas. Having a solid fill layer on color burn with low opacity gives a nice outline effect on your pen. As someone who sucks at putting lineweight at the right spots this is a life saver (or if you want to make your linework better, that works too.lol) All color bases and renderings stay above the lineart layer on multiply (I also use clipping mask a lot for rendering.)

2.) I give myself some time to research for poses on Pinterest. If I can’t find anything, I use Magic Poser on my iPad to make all of the poses.

This is a link for the web version.

Here is also the link to the brushes I always use for my drawings.

I’m going to use this old sketch of Ava with his hair short. For this example, I didn’t find a pose. I only referenced the hair style.

Generally I create the basic shapes for everything- the head, wings, body, etc (hair is kinda the exception to this). I don’t go too deep with adding line weight just yet.

3.) I add the base colors in this step. Sometimes I’ll stop here with my drawings, but with my personal art I continue. I tend to explore a lot of color schemes, so I like seeing how other artists approach this. I can take the longest on this cuz I get so indecisive of what I want. 😅😅

Sometimes if I don’t like my colors overall, I’ll add a solid color layer on Hue at around 30-40% opacity to harmonize every color. This layer stays above all other layers.

4.) Step 4 is a bit of a continuation from 3. Here I start adding more detail with the coloring, and putting those FX that I want. If I want to, like in this example, I also extend the drawing to show other elements, if I feel like the composition is a bit empty.

After this, I take a step back from my iPad and come back to my drawing the next day. Sometimes doing that helps me find obvious mistakes that I wouldn’t have noticed immediately.

5.) Sure enough, I saw the the mistakes on his face, so I fixed them. I prefer using the liquify over the transform tool when I need to retouch some things; it prevents the linework or coloring from looking “choppy” or torn apart with its resolution.

Once I got the final touches done, I send it off !

Don’t know if this is actually considered a tutorial but maybe seeing this process step by step can help a bit. 👏 good luck, and have fun with what you create!