#drawing to scale is a bit of a struggle still but I'll work on it ���

[glorious-blackout]

Introduce yourself! What’s the story behind your username/what should people call you? 

Picked the username Gloriousblackout for my fanfiction.net account at the age of 15 because those were my favourite Muse songs at the time. Twelve years later, I'm simply too attached to bother changing it 😅

(I also answer to Rachel)

How will you be participating in the Shadowmonkeys Big Bang 2024 (e.g. organiser, artist, writer, artist, reader etc)? 

I'll be a writer, and also looking forward to taking part as a reader 🥰

What are your favourite fic tropes? 

I'm a sucker for a good 'Friends to Lovers' fic or anything with a 'Sharing a Bed/There was only one bed' trope... I also just love angst and hurt/comfort in general more than I should.

If you’re a writer/artist, what’s your favourite piece of work you’ve created for this fandom? Feel free to link it! 

It's been a long time since I revisited it so I'm not sure how well it's aged, but I'm still very proud of my 'You've Always Been Here' series for being my gateway into writing for this lovely fandom and for marking the first time in many years where I was writing a fic purely for sheer self-indulgence. The fact that other people seemed to like it was a lovely surprise 💖

What’s a fic/piece of art in this fandom you’ve loved recently?

I absolutely adore 'Four Walls' by @uhbasicallyjustmilex which I recently binged while stuck in bed for a few days with a chest infection - it was a beautiful, gorgeously written distraction which I was very grateful for and can't wait to read more of 💖

Can also highly recommend 'Maybe Tomorrow' by @applysome which is the most recent fic I read - it's such a beautiful little piece 🥰

Do you prefer reading/writing from Miles or Alex’s POV? 

Don't have a strong preference! I have more multi-chaptered fics written from Alex's point of view so I suspect I'm more naturally drawn to him, but I've finally broken that pattern with my Big Bang fic 😅

What’s an album that you love reading/writing/drawing to? 

'Songs of Leonard Cohen' was an album I kept revisiting during the writing of my Big Bang fic, but my writing playlist changes with every fic. 'Tranquility Base Hotel and Casino' has been an endless source of inspiration in the past and I find classical or instrumental music quite helpful as there's no lyrics to distract you from what you're writing.

Here are some of the songs I listened to on repeat or referenced during the planning/writing of my Big Bang fic 💚

If you’re a writer/artist, what do you struggle with most in your creative process? Is there anything that helps? 

Mostly just motivating myself to write that first paragraph - honestly that stage alone can take months. Once I've gotten over that hurdle I tend to really enjoy the planning and writing process and working through the first couple of drafts is enormous fun. The stage I'm at right now (i.e. the final few edits) are when it starts to feel a bit like a chore - the novelty's worn off and my eyes are more drawn to the flaws in the text rather than anything that makes it good 😅 Chatting with other writers certainly helps me though, as does creating a good writing playlist that fits the mood of the fic.

Have you participated in a fandom big bang before? 

I have! I wrote this fic for the last Shadowmonkeys Big Bang which was immensely rewarding, not least because it inspired the cutest artwork ever from @rock-n-roll-fantasy:

On a scale of one to ten, how excited are you for the Shadowmonkeys Big Bang 2024?

9/10. I'm docking a point for the fact that I'm also a little nervous after working on my fic for so long and the fact that the week I want to start publishing it is a nightmare in terms of my work rota 😅

✨ SHADOWMONKEYS BIG BANG GAME ✨

As we're now officially into the second posting window and the gloomier half of the year, we thought we'd share something hopefully a little fun to keep everyone feeling motivated!

If you're taking part in this year's Big Bang in any way (whether that's as an artist, writer, beta-reader, or just as someone who's going to be reading and supporting the collaborations when they're posted!) and feel like sharing a little about you and your relationship with fanfic/fanfart then please reblog this post with your answers to the questions below 🥰

Introduce yourself! What’s the story behind your username/what should people call you? 

How will you be participating in the Shadowmonkeys Big Bang 2024 (e.g. organiser, artist, writer, artist, reader etc)? 

What are your favourite fic tropes? 

If you’re a writer/artist, what’s your favourite piece of work you’ve created for this fandom? Feel free to link it! 

What’s a fic/piece of art in this fandom you’ve loved recently?

Do you prefer reading/writing from Miles or Alex’s POV? 

What’s an album that you love reading/writing/drawing to? 

If you’re a writer/artist, what do you struggle with most in your creative process? Is there anything that helps? 

Have you participated in a fandom big bang before? 

On a scale of one to ten, how excited are you for the Shadowmonkeys Big Bang 2024?

[w1lmuttart]

The lake town

[yolaines-world]

Ver "We are the Dreamers | Fifa world cup 2022 | Vamos Argentina #fifaworldcup #fifaworldcup2022" en YouTube

[omaano]

SW Hades AU September Update

Links and previous updates: May - June - July - August - everything else in this AU

For the month of September I have for you a finished character illustration for not only one but two characters for the Hades AU! One boon giver in the form of Shaak Ti,

and Obi-wan, this grumpy old desert hermit who is still missing shading from his dusty surroundings.

AND below the cut I will show you the designs for all the keepsakes I sketched out for the characters this month :3

But - before I go into some ramblings - let's have another poll:

(I know it's a lot like the last poll, but I'm really trying to work on drawings of the boon giver characters while I still remember all the layer settings I need for their glow and radiant spikes ^^;)

And now on for the ramblings and thoughts behind the process of the art I've created this month:

One last rant about me and replicating the Hades art style

I have touched on my struggles with how I translate the Hades art style into my project in the previous update, and unfortunately the perfectionist in me refuses to let it go... so I'll muse on that a bit more in this one as well. Last time, I promise. I've come to the necessary conclusions that I'll let the topic go once I typed these out.

I found this very interesting video that I wish I'd seen before I started this project.

It is a very interesting breakdown of the Hades art style. Now I have to admit that I am very very bad at observation. Therefore I heavily rely on others pointing out patterns and defining characteristics before I can consciously start building on those on my own. For example: when I started more seriously working on this Hades AU project my main objective was to get better at lineart. The way I saw it Hades artworks had very clean and solid linearts with lots of black (thanks to another video that pointed that out as one of the 3 major definig features of the style) but if I look at it more closely the lines and shading are a lot looser, and more confident than what I ended up using.

I quite enjoy doing it, don't get me wrong, but there is an up- and downside to hunting down single pixels that are out of order (b it for lineart or shading) and 100% zoom in... which is silly and unnecessary, since I have to scale down my art quite a bit before posting anyway, so who would see anyway?

Also at this point I'm very much facing the dilemma of how much I can change in my approach to this style to still keep this entire project coherent. I'm more in favour of coherency at this point, so I'm just trying to soak up these lessons for future references.

One of these lessons was another point that was very fascinating in this video (aside from how this video picks a multiply layer approach to shading... which I had abandoned after Boba and Cobb for whatever reason?) was to point out the one dominant, more saturated colour in a character art, and how all the rest are desaturated to support that dominating character.

Shaak Ti and my babies

And I actually was very consciously trying to apply that with Shaak Ti! (I'm so proud of myself, finally incorporating a lesson into my work, look at me go!) It didn't exactly go as I'd planned, in a great deal because initially I wanted the red of her skin to be the more dominant and defining colour. But as I went about colouring in the baby clones as well I realized that the blue of her montrals and lekku would be a much better choice, and have the other redish and warmer tones of her robe and clothes, and the skin tone of the cadets to play the supporting colour role. Yet again, half my screens keep eating away the hue and saturation of my reds, but I think that this approach worked out just fine in the end. The blue-purple of her stripes, her eyes and lips look nice and pretty, and the blue in the cadet uniforms tie the entire composition of all these characters nicely together.

I'd also switched up the gem sparkle highlight colours for this one (and Obi-wan too, since they worked so well with Shaak Ti) from the very limiting base 6 fully saturated colours on others (that don't really show up in print anyways...).

And lastly why they are little ghosties in the alternate version:

Ahead of that however a brief introduction is in order. From left to right they are Ray (depicted here the last time he was biggest of the bunch), Slider (my anxious little field medic), and Goldie (my silly little goldfish who claimed the name before it could stick to Slider). For the record they all grow up just fine to join the war effort.

In this case they are more of a stand-in for all the clone cadets on Kamino, especially those who didn't get to grow up, the training of whom Shaak Ti ended up overseeing. (I don't remember if canonically there had been any of them on Kamino when the Empire destroyed their facilities.... but I'd bet that there must have been.) They deserve someone to look after them too, after all.

Also I wanted to see if I can make the Hades shade design work for me. The answer is.... eh, jury's still out, but no, not really. Luckily however, before I have to figure out if I stubbornly would want to change that, it seems like I'm done with my semi-transparent or shade clones. Wolffe is gonna be just fine, solid and grumpy as you can imagine.

Obi-wan

I don't have much to say about the grouchy old man, except that he was surprisingly easy to finish once I got over worrying about the pressure I'd put on myself because of this character illustration.

I fear to say this, but I'm pretty sure I should draw another version of him... like how Patroclus stands up from his hunched over pose and stands tall and strong and matching Achilles with his own spear once you reunite them in the game. And call on them for assistance. So I guess it would be cool if he could stand back-to-back with Cody, with his lightsaber back in his hand, and looking like someone who (allegedly) has his life together XD

Oh! There is one thing. It was a last minute change but I'm so pleased with the stained glass pieces of his teacup! It's his keepsake as well :))

Keepsakes

These speak for themselves, I believe. Special thanks to Quatre for brainstorming a few of these with me <3 Funnily enough Cody's snapped of antennae is the one I feel least sure about now that I have the whole lineup. They feel very in character for Cody (and how he gets his entertainment out of trolling Din in this AU) but it feels a little silly, you know? Especially with how little they look like antennae X"D

Cody - antenna from his armor, Rex - one of his DC-17 blasters, Wolffe - a tooth with "Plo's bros" carved into it, Bo-Katan - a medal/locket with the pattern of the throne of Mandalore, Cobb - his scarf, Boba - a black melon surrounded by stained glass and a fistful of sand, Echo and Fives - a domino

Omega - a clone trooper doll, Kit - a shell and pearl, Paz - a nesting doll with a Pantoran on the inside and a Mandalorian on the outside, Shaak Ti - akul teeth, Satine - a calla lily brooch like she wears in her hair, Ahsoka - a glowing feather from Morai, Leia - Lola

Obi-wan - a fancy teacup, Quinlan - whatever is the Star Wars equivalent of a pendrive, Fennec - a handful of bullets, Sabine - airbrush, Ezra - a tooka brooch made of pebbles and snail shell, Maul - Talisman of finding (the one Savege used to find him)

Anakin - multitools, Mythosaur - a mythosaur pendant, Aphra - Spice Dice used for a variant of Sabacc, Luke - toy ship, The Armorer - her hammer

It's a bit wild to see all of them laid out like this i'm not gonna lie :D

So that's it for now. As for the next month I'm hoping to surprise-finish Aphra (like I did with Obi-wan), maybe do something about the surpirse I can maybe do for Fives and Echo and why they haven't gotten their character interaction yet, sketch out a new character and maybe start lining Bo-Katan and her gang. It should be doable, right? XD Also I promise that this was my last rant about my relationship to how I've given up replicating the game's style as close as possible. Cross my heart and all that.

Taglist of anyone who wants to be pinged once a month for these updates <3 If you want to be added to the list send me a message, or just reply to this post (a 👀 would do, nothing fancy required ;))

@elwinged @yeehawgeek @velsayshi @lionsaint

If you want to be taken off the list just message me and I'll take you off, no hard feelings :)

[parisoonic]

I just want to say I love how you do your lineart, it looks so good! ahhhhhhhh!!

I'm gathering a lot of advice about the topic of lineart and I just wanna know how you get it to look like that? My line weight is getting better but the drawing itself just comes out a bit.. weird.

Thank you so much! Lineart is probably the thing I've been working hardest on as I am not a lineartist (and still struggle a lot) but it's something I really need to get better at for my job. UM there's honestly so much that could be said on the topic of lineart. Big things for me are:

Weight -> Use line weight (aka thickness) to describe form, lighting, contact and scale. Thick lines imply shadow, contact and nearness-to-camera. Thin lines imply tension, recession and light.

Straights vs Curves -> Use straight lines against curved ones for maximum interest. This is partly a character design thing but as we're using lines to describe our characters it's worth mentioning :)

Complex vx Simple -> Use complex lines against simple. Faces are always complex so therefore the backs of heads should always be simple. Chests are quite complex so backs should be simple. Dorsal sides of the arms are complex (Delt, tricep, bicep) whilst the ventral side is more simple (tricep...mainly) etc.

'Think in Ink' -> Lower your sketch layer almost to 0% opacity so you're not getting hung up on how nice/energetic your sketch look and instead are approaching the piece from an ink mindset. BUT it's digital! So if there's something in your sketch that you like just bring it forward (copy and paste) into your ink layer. I sketch and ink with the same brush so I can use this workflow

'Confidence' -> small hesitant feathery lines will look nervous compared to big swooping lines. Less is always more. I'll redraw arms/limbs until I can get the appearance that it was done in one brush stroke. Again it's digital so you can erase to cheat this look : )

MISC 01: I always hear 'draw from the shoulder'........meh............it's digital so draw from your wrist...it's fine honestly. If we were working at A1 in a life drawing class then we could get some shoulder action going but most of us are hunched over 16inch tablets. I think this advice aims to pull people away from feathery-nervous lineart honestly which you can improve on without relearning how to draw from your shoulder.

MISC 02: For a 'smoother' look do your lineart at a larger canvas size than you need. Once I'm happy with a sketch I usually double the canvas size and do my lineart then.

MISC 03: In PS (at least) anti-aliasing goes funny at any zoom level that isn't in the 5 times table. So try not to look at your canvas when you're zoomed in to 87% or 71.39% or something crazy. Just stick to 25%, 50%, 75% and 100% if possible.

UNFORTUNATE TRUTH: Lineart is incredibly based on raw draughtmanship I've discovered. When you're working with colour you can hide a lot in rendering (shadows, highlights) or post-processing (depth of field) but in lineart all your mistakes are just...there for people to see. There's ways round this...which I use A LOT. 'Flourishes' (I use 'flourishes' to mean over-confident lineart where it veers particuarly thick or particuarly thin in contrast to your approach in the rest of the image) can sort of trick people into thinking you're more confident about an area than you actually are.

As well as leaving 'breathing room' within your lineart instead of actually...resolving the area. I do this the most around the face and hands.

Hopefully some of this helps? Honestly there's a lot of deep dives that could be done into indivudal things and there's also the massive caveat that all of these are 'guidelines' and not strict rules. I also favour a more...concept-arty? animation-y? storyboard-y? look to my lineart which favours flourishes and breathing room for a incomplete/work-in-progress feel which would make methodical colouring (ie: for a comic or something) a pain.

Keep up pratice is the main thing and doing studies of artists who you like that have great lineart - you'll pick up draughtmanship skills along with the lineart studies. Here's some of my lineart from a year or two ago...it varies between very 'standardised' (which makes it difficult to read volumes and to be honest, it's boring) and 'TOO EXCITING' (which...also makes it difficult to read volumes and for the eye to rest).

I'd like to share my brushes at some point as I've found 3 that I really like and use for everything more or less. I discovered that a shocking low amount of people use PS on tumblr (shocking to me I guess as i'm so used to PS being the standard) and everyone seems to use Procreate or Clip Studio Pro...so I want to check that the brushes are Procreate compatible at least before I share!

[arcadechan]

Hey! I just found your art and I adore it! I don't mean to be a bother, but how do you draw hands? They're so amazing and I struggle a lot with them!

Hello there, thank you so much~! It's no bother at all, sorry it took me a little while to respond (I came down with a cold and wanted to reply properly!), but check under the cut for a quick rundown on how I do hands and some general tips!

So I generally draw hands in four steps. First, I draw the block of the palm (which depending on the angle of the hand will typically be either a squarish shape or a wedge shape). Then I place the MEAT, that good chunk that's basically part of the thumb, if it's visible for the pose.

Next is the fingers. If the knuckles will be visible I usually circle in a KNUCKLE GUIDE, it helps me space out the fingers, follow the curve of the hand, and can sometimes make some nice shapes for me. As for the fingers themselves, I'll either just draw straight lines to start, or come in with big blocky shapes. I've found sometimes it's easier to erase the shape of the fingers than to draw them outright, especially in the sketch phase where I use thicker brushes (on purpose, so I don't worry about detail too much). That's my usual process!

I make frequent use of reference - normally I use my own hands. Either looking at them as is or taking a picture, I do both all the time

working digitally is GREAT for learning to draw something you struggle with, especially hands. sometimes I'll draw them very large on purpose and then shrink them down, or I'll zoom in while I draw them. big hands.

looking at how other artists draw hands can be just as helpful as looking at real-life reference, especially if you have a more "pushed" style

when drawing complicated hand gestures, I usually stick to simple shapes (at least for the sketch phase), because then I can at least get the idea down.

using the eraser or a brush on transparency to find the shapes of the fingers for you is a gamechanger, erasing can be drawing too!

I let the character decide the finger and hand shape

knuckles still don't make much sense to me (that's why I often use a KNUCKLE GUIDE, sometimes I'll just partially erase the circles to make the knuckle shape for me and call it good)

Nothing...hugely revelatory. Hands can be pretty intimidating, they're comparatively small and full of bits and bends...and you can always just kind of tell when a hand isn't "drawn right". Practicing drawing singular hands on a larger scale really helped me, as well as focusing on "shapes" over "details".

One thing I've been really trying to remind myself of lately is that I can draw things how I WANT them to look instead of how I think they SHOULD look; looking good or cool vs "right" or "correct". This is especially helpful with drawing hands, as they can be so expressive and articulate and weird in their own right, that ignoring technical correctness in favor of GOOD SHAPE, LOOKS COOL can really help you land somewhere a bit more satisfying.

[sometimeslapine]

It's not about quantity, it's about quality. Even if they arent the same scale, I'm sure I'm not alone in saying they would be appreciated.

And I'll be honest, engaging in a dialog about kink that is just ping ponging ideas back and forth sounds fun. Sometimes you don't need one massive work to lay out like a blanket to cover all the reasons and facets and quirks you like about a certain kink. Sometimes you don't even need a patch work quilt that you build upon. Sometimes you've earned the Worlds Worst Bonus from your job at the Cotton Ball Factory and you're just throwing little ball after ball at the topic, not caring where they land or if you've hit the same aspects again and again, and then you look back and see you've done a pretty good job covering the topic anyway.

Even if you aren't writing a novel, with your art you do a great job of making kink... I hesitate to say Feel Real but you make it Make Sense in a Real Way. Like of course if you lived in a world with Boob Growth Lotion, you can't just rub it in with your hands or else you'll get Boob Hands and that's Fun because Of Course that would happen. And I just kinda wanna see what you can cook up if you didn't have to find a way to visualize and show and make it look good.

bit of a delayed response to this one while turning over possible replies in my head... struggling to explain a few more conceptual blocks. writing's always been a weird subject matter for me, in one way or another. pls bear with me

so like. comparatively, inflation kink fics span back a good two decades, at least. there's an established pool of tropes, visual metaphors, ideal pacing or story beats to hit, tones or themes that set the mood, key phrases that really get at the brain, and points of finality that overall mesh really well for a good story. not to say there's no originalities to be had in this space anymore, but there's a lotta prior work to draw from, were i to need assistance filling a void in a sentence or two.

but the thing is, with the more nonsensical stuff like That Comic Thing You're Referring To, there isn't a lot of pre-existing stuff i can reference! i often find that i completely lack the language framework needed to put those weirder scenarios into words. i'm just making it up as i go, after all! and so drawing it out in some loose manner becomes infinitely easier than trying to capture all the nuances of it in a paragraph or two, because i get to lean a bit heavily on the storytelling mechanic of "Show, Don't Tell" as support.

though these scenarios being physically sketched-out-on-paper may end up leaving them a bit more concise than intended in their delivery, i'd like to think the concept i'm exploring's still getting conveyed effectively (even if i can't put the scenario to art in the way I'm /fully/ hoping to, whether due to the limits of my artistic skill, or just other general constraints of anatomy & form in a physical space) because ironically, despite a "concise" delivery, a drawing still remains open-ended enough to have its blanks filled in by the viewer's own preferences/themes/biases in enjoyment (in the same weird way the sketch of a piece can sometimes look more visually interesting & carry more emotion than that piece's finished lineart would) with the open-ended nature guiding one's thoughts to what potential fun lies outside the final panel. as you experience art, art experiences you, etc. etc. etc.

as for making it feel "real", honestly sometimes it's less about realism and more about exploring the fun and wild "consequences of over-indulgency" (said with as much love and appreciation as possible, just so we're clear!!); it's acknowledging the dangers of going wild with a Topical That Changes You without hesitation, it's of not thinking it through before leaping directly into in the path of that TF raygun beam, it's of playing with dangerous and ancient magicks because the spellbook had funny drawings that poked at the kinky parts of your psyche, it's of getting too lost in the sauce to have an escape plan.

consequences, for lack of any better word, can help ground fantasies into something more tangible! makes it feel more Real, despite very much being weird fantasy nonsense at its heart

anyway. run-on-sentences and streams of consciousness aside, i appreciate that my weird brand of nonsense is enjoyed all the same

[nocek]

Hello, do you have a guide to drawing faces? I'm going through an artstyle revision to be more soft around the edges and less sharp and I've always struggled with faces...

oh my... that's a very broad question to ask and hard to give any usefull answer without actually seeing your work. But it's good that you have concrete goals and can pinpoint what exactly you want to change about your work. It's a very professional attitude.

Which is why I may be a bad choice of person to be asked for advice. Because I'm not a professional and I want very much for drawing to stay just my hobby to keep me sane. I never consciously thought about my artstyle beyond maybe making it less manga (but residue it's still there, art teachers were right lol XD). It's about having fun in the process for me.

That's why I can only give you some fun things to try out. Maybe one or two will work for you.

If you want to soften your faces in generally paintery way best way I tried is to gradually unblurr your picture. Like take the most basic round brush with soft edges and make it very big. Turn down the opacity a bit and try to sculpt basic shapes of the face using the main limited pallette colors of your reference. Then use slightly smaller big brush to add bit more details. Then gradually make the brush smaller and smaller. And gradually add new details and colors if necessary.

This actually does wonders because helps you stop being precious about some sketch details because there is no sketch. It helps you stop seeing face as face so you don't draw what you know but what you actually see.

Actually speaking of that. Another great trick is to put your reference upside down. Our brains are lazy and just extrapolate the information and our brains are great at face shapes so it's actually harder to draw them. But if you put them upside down you actually need to focus on proportions of this new unknown shape. It actually does wonders!

When it comes to lineart (because after all this rambling I figured that's most likely why you've written to me, sorry) i have 2 suggestions.

Try to figure out if you draw with only your wrist. It doesn't decide if you draw more in straight or in curved lines (I guess in that department we have opposite problems :D) but it's good idea to try consciously draw using more of your elbow. It works well with bigger canvases and actually taught me to draw really long straight lines (yay architecture, it was useful for that and learning how to do really tough boxes XD) but actually it's about stability which is crucial in doing curved lines too.

On smaller scale try using different media or have fun with new pens. It will help you get out of your used path and is an excuse to raid nearby cheap art store.

I guess many people would recommend doing lineart with brushes. The varying thickness will encourage you to use more round lines and so on buuuuut.... actually I think brushes are very discouraging when you don't have the muscle memory to control them properly. My advice here would be to use felt tip pens actually. They are more springy thus more forgiving. Try the ones that are soft and more spongy than actually felt. Idk how to describe them. If that's something you think may be interesting let me know and I'll try to dig up the ones I used.

Generally let me know if you want more details in certain direction because all above is kind of rambly stream of consciousness answer and idk how usefull it actually is but I prefer to post it that way otherwise I'll get stuck in perfecting the reply limbo >.<

[jaderimehardt]

👋🏻 So, I ended up not drawing anything for that character's birthday.

I did think of a pose about a day and a half ago but that isn't enough time for me to actually get anything drawn out and colored. I'm too slow and I set myself to too high of standards. Plus factor in irl things and my lack of motivation... 🫠 *shakes head*

If I feel bad about it, it's for a couple of mutuals who like him as much as I do, or more- even. I've kind of grown super attached to a certain B🔹L🔹E🔹A🔹C🔹H boi, to be completely honest with you (I'm bypassing the tagging system with the 🔹's).

They still draw him every year on his birthday, and one even bi-weekly almost. She has supported me every time I draw him by re-tweeting my artwork on Twitter. Probably the only person who acknowledges me like this on a regular basis. The other person supports me also on a bit of a lesser scale, and she draws him often too, but I think she struggles with confidence in her art like I do.

It's not an easy thing... "having confidence" in one's own art. And when you don't see likes or favorites on your art, that confidence drops tremendously. You feel like you've done something wrong. You try to figure out 'what' you did wrong, and when you can't find it- you just want to give up. It's a sinking feeling.

But inevitably most artists pick up the pen or pencil again and draw once more because it's something we love to do. The thing is, this time we're less likely to share it because of that lack of confidence. This is what has been happening to me slowly over the past couple of years (and to a couple friends of mine as well).

People don't seem to realize this.

"Where did all the fanart go?"

Well, you all got so picky with favoriting things, they lost motivation and stopped posting. What did you expect?

If and when I post things, I have a fear of tagging it. 💠 Well if you don't tag it, no one is going to see it- and then you really won't get likes/faves. ⚜️ Yeah no kidding. but then I have a logical reason for WHY no one likes it. Like Twitter, I get under 10-30 impressions on most my posts even with tags. At the very least if it's posted, it's on record/in my portfolio of sorts. It exists in my history somewhere.

I removed all of my stuff off of my DeviantArt a couple years ago. Now I'm sure when I post things people question if I'm genuine or not because they have no history to look at- no 'portfolio'. Though if they went to my Wordpress Blog, they'd see that I've been drawing and posting my stuff for a long time. But no one is going to go and look into me that far in-depth. "Guilty until proven innocent" means nothing when all they want to do is prove you guilty.

That makes me even more hesitant to post things- but I do have all my PSDs with individual layers, so I can always provide proof whenever necessary. And I know where my posts are, with timestamps and dates. I can defend myself. That's all that matters to me.

I made this blog to "be more creatively unhinged" and to "be ramble-y". That includes putting my thoughts out into the open, "having proof on paper", so to speak.

I also want to show people the path that I'm taking, so if they're interested in taking it- they can. But everyone learns differently. Everyone has a different style. I may absorb information one way and apply it in this manner, while someone else may learn it in a completely different way and apply it in a polar opposite format. It's all a matter of who you are, perspective and variables.

So... one day (or a string of days), I'll post a bunch of videos. I did this a few days ago actually, lol. These are learning tools. Other days I may make tutorials (I used to make a lot of these but then I deleted that blog). Some days I'll promote my Etsy shop (this might happen the most, tbh)- featuring a lot of my Resin things, and graphics I'm working on. And on rare occasion some fanart because I'm at the lowest of low with that atm.

If I do anything fanart I'm thinking my OC's... 🤷🏻‍♀️. People dislike OCs, I'm aware of that but it's not like many people (if any) like my stuff anyways. They say to draw for self-satisfaction. I think it's time to follow that.

And I 💓 H🔹I🔹T🔹S🔹U to death, but his hecking fluffy hair man 🫠. I did my best with his hair in my last fanart- spent hours perfecting the lineart... honestly I was so proud of it. But apparently it wasn't everyone's cup of tea 🤷🏻‍♀️. It is what it is. (I'm still happy with it. I love his hair, please never change it Kubo-san 💝)

I might doodle a lot of the Loomis Method heads cause I like drawing faces. Poses/bodies not so much. In time I'll work my way to the poses but I just want to mindlessly doodle. (I hate drawing hands 😒)

Btw here's another vid on that, and I like this one so much better.

I also want & need to do a full graphic image for a puzzle. My Mom and my Step Dad are really big into puzzles right now and they're just passing them around with all their friends. Like some puzzle group, lol 😅

I think it'd be cool to actually design one myself, buy it from my Partner- Printful, gift it to them, they can complete it and then they can pass it around.

Mother's Day and Father's Day isn't that far away. I just have no clue what to make the graphic, lol. All the things they like are copyright and I'm not crossing into those waters.

I need to find something generic 🤔💭

[ejthenobody]

Random thought about Pokemon:

I love how the Normal-type sort of represents the limitless potential of your Average Joe. Hear me out and look at the line-up of Normal-type Pokemon: you've got what you would expect from a seemingly boring gray-colored type. You've got a whole variety of cats, rats, dogs, whatever Linoone is, various birds- well you get my point: it's a whole lot of early game, relatively normal-looking creatures, most adorable, some...Off-putting. Looking over at you, Patrat. However, along that same line up, you get stuff like Kangaskhan which is an incredible hard-hitting powerhouse, the HP brickwall/natural nurse that is Chansey, and professional Massive Motherfucker Snorlax. Oh and don't forget what's at the top end of weirdness and in-universe power in the Normal-type lineup like Ditto the adorable but still bizarre and failed copy of the fucking embryo of all life that is Mew; Porygon, the first artificial Pokemon made of bits and bytes, and it's upgrade and corruption of Porygon2 and Porygon-Z; Eevee and its unstable DNA; fucking REGIGIGAS, the Pokemon that supposedly moved continents and created the other Regi's; and oh yeah. GOD. GOD IS A NORMAL-TYPE. And that's just the mons, because the Normal-type moves do the exact same thing of having a massive bottom end where there's just so much of what you would expect to see is a Normal-type move or stuff that you just see in action and you're like "Yeah, okay," but then there's a smaller top end where shit just gets fucking crazy for no apparent reason. For example, on the bottom of the scale you've got stuff like the basic stat-altering moves like Growl, Tail Whip, Howl, Focus Energy, Harden; and alongside those you've got the basic attacks like Pound, Scratch, and Tackle. Going up by a notch or two you get stuff like Quick Attack, Fury Swipes, Swift, Rapid Spin, Echoed Voice, Sand Attack, Helping Hand (assuming doubles), and Bite. Going up further you get stuff that can make more ridiculous things possible like Baton Pass, Belly Drum, Double Team, Roar, Protect, Body Slam. And all the way at the top you have stuff like the Hyper and Giga and Mega moves, you have Tri-Attack which is basically three types in one move, you have Swords Dance, all of the good shit basically. And then the absolute top of the scale is shit like Judgement, the signature move of Arceus AKA God, which I don't know if it's good but it sounds and looks dope as hell, and then there's the bottom of the scale with Splash. And Struggle if you want to throw that in as well. At least Struggle does something. Anyway, my point is, it's wild what Pokemon considers as "Normal," and because of the massive variety that is under that banner I can't help but see the type as a whole as representing the idea of potential, both in people and in the mons that represent it. Sure, a lot of those mons aren't great and could only really go the distance if you put an unreasonable amount of effort into making them do work, but hey: no one said that bringing out someone's true potential was fucking easy. If it was, everyone would be doing it, and last I checked there aren't a ton of people who look at mons like Zigzagoon and say "Yeah, this fella will be on my team to tackle the Elite Four." And now that I've typed all of this out, I kind of want to draw a little guy that just represents the type as a whole. Not like a Pokemon, just a guy, who represents both the top end and the bottom end of the Normal-type. Maybe I'll do that later today on a doodle sheet.

[hoodievixen]

Here is the story of my forearm tattoo. I had wanted a tattoo of a sword for a handful of years, since before I was old enough to get a tattoo. At some point it gained the meaning of my struggle with mental health. It didn't start with any meaning, but it got it at some point.

Then just over a year ago I wanted to do something to annoy / shock my mom's family, cause far too much drama. I had enough money saved up, and decided to actually get the tattoo.

I designed it myself. The sword was cartoony, like you'd find in adventure time or old Disney flims, but that's sorta my style. The sword had an uneven blade, cause I've had a fight. I have terrible anxiety and at one point I couldn't go to school. I commonly got the critique of having "just a sword" as a tattoo, mainly by my tattoo - skeptic family. (My sister has one tattoo, and my parents don't mind Tatto as long as they don't get them, nor pay for them). So I decided to as a flower with the meaning of happiness. Now you can get many flower with that meaning, and yet find the same flowers with different meanings. So I decided on Lily of the Valley, which is a unique flower visually, as well as my favorite flower in minecraft. I made a joke that it's my minecraft tattoo.

I made one design I was happy with. I then showed it too my parents, who made some judgemental remarks on it. At the time my mental health still wasn't the best, so I went and made another design that I was not going to show them. I put a lot of work into these designs. I measured out my arm so I'd be drawing it to scale. There had to be like two entire days where I had flower references up on my computer. I put more effort into these than most projects I had in art school.

This is actually my second tattoo, my first is just some Nordic runes, but I still wanted to go to the same studio. Around where I live this studio is the most recommended place to go for tattoos. I decided I'd be fine with two of the artists at the location I wanted to go to. I based it off of other flower tattoos they had done. I just wanted line work, so I wasn't too picky.

I first scheduled a consultation, cause this was my first big thing, and I wanted to share my design. Like I knew the artist would probably change it a bit to make sure it look good as a tattoo, I accepted that. But I still wanted my design to be the heart of it.

Should have probably been suspicious when he tried suggesting a different flower than Lily of the Valley. But my anxiety make me a people pleasure, so I was like "I'd prefer lily of the valley". It had been a virtual consultantation, so he asked me to email him the sketches. I'd assume he'd send his versions when he'd make them, expecially if there was a large divination from my sketches.

The original day for the was only a couple weeks after. However my Dad gave me a bad cold, so I rescheduled to not spread the cold. The new date wasn't until the next month, which I originally wanted the tattoo before Christmas to piss of the extended family, but it probably wouldn't have done anything anyways.

So the day comes, I go in with that mixture of nerves and excitement. He shows me the design. Since he never got back to me, I assumed he stuck pretty close to mine. Nope, the only thing the same was the fact it was a sword and Lily of the Valley, at least he kept the flower the same. But what I drew as a thick broad sword one would hack enemies down with became a delicate saber that I swear I've seen on Pintrest before. I didn't care much about the flower placement, but I wanted that sword. That sword that I imagine in every book, draw on every knight, my thick nonfunctional sword.

But anxiety, I just agreed to it, and told myself I'll grow used to it. I have indeed grown used to it. Even the fact the tip is curved from how my arm was positioned when putting on the stencil. I still wish it was my design though. I'll just look for an artist alright doing the clients designs the next time I'm doing something like this.

Hindsight reveals a lot about the artist. This artist had also been the artist who had done my first tattoo. My friend and I wanted to get tattoos together, like I said mine were Nordic runes, and she wanted song lyrics. He took one look at my friends and said "I can't do that". Which he was an apprentice at the time, but the way he said it was rude.

Then during my session for my sword, of course there was a bit of small talk. I'm an introverted person, so I was on my phone for most of the time. The small talk ended up on videogames, and he wanted to know what kind I liked. Now I go off of graphic and vibe when deciding videogames, so I just told him I was currently playing Hollow Knight and Hades. And he was quick to call them dungeon crawlers, which neither are. I just agreed, cause I didn't care, but looking back seems sorta mansplainy to me.

If it was an option, I wouldn't go back to him. Luckily he recently quit.

[thedreadvampy]

the thing is my grandpa dying was my first real experience of death and it was a real doozy. I was already kind of a morbid kid with a lot of interest in apocalypses so between the ages of like 10-14 I was really super obsessed with the emotional experience of death and like. the architecture and the inevitability of loss.

things I remember from that time are like. that conversation. reading an article in New Scientist about the different physioemotional experiences of different ways to die (the article concluded that burning to death hurts a lot very briefly and then not much in the back end, that being crushed sucks, and that drowning is the worst way to go out if you don't go into shock because your body fights it the whole way). thinking about mass deaths like the Iraq war (it was 2003) and the Black Death and trying to become ok with the scale and individuality of that loss. drawing death machines and getting very upset when anyone suggested it was about wanting people to die rather than trying to mitigate the fact that it was going to happen anyway. my sibling and I wrote a pair of Mr Men books where the joke was that the meanest thing an evil character could do to Little Miss Suicidal was prevent her from dying.

Clearly I Was Processing Some Things.

and some of that is an inevitability of your first close experience with death. but some of it was too do with how severely the circumstances of Grandpa's death affected our family. like I loved grandpa but I didn't really know him. I was 10 and he was 87 and a very taciturn and autistic man. I knew he liked trains and engines and technical drawing and maths (and I knew some things about his experience in POW camps that I only found out way later he only told me). so I was sad he was dead but mostly I was fixated on the enormous waves his death set off, and terrified because as far as I knew that's what every death was going to be like, like a neutron bomb dropped in the ocean that sweeps everything out from under you and poisons everything for decades. and I was very much old enough to know that everyone and everything dies so god that's terrifying.

There's a lot I still recognise as coming out of that in who I am now. I'm perpetual fucking terrified of the moment of finding out someone's dead. Whenever I'm having a bad brain time I become obsessed with the fact that at some time everyone I love will die and I'll have to keep going, or vice versa. when I was struggling in like 2018-19 I was obsessed with the idea that Simon would die and he slept lying very still so I would just watch him for like 20 minutes knowing I was being stupid but too afraid to step away.

on the flip side I process death very well. I'm pretty comfortable with the inevitability of it, and the fact that there's no painless death takes some pressure off. I long ago let go of the idea that if I tried hard enough I could die in a way that hurts nobody, so I don't have to try to work my way towards the perfect death. Whatever I get is what I get, so I can focus on living. People survive through everything unbearable. It's not fine but it's part of living.

Idk it's weird how it took me into my late 20s early 30s to register that maybe. the fucked up way my dad lost his father miiiiiiight have affected me a tiny wee bit.

suicide chat under cut (not a live issue don't worry)

was telling my partner the memory I have of being about 10-11 (not long after my grandpa died/dad found the body/it was maybe a murder/etc) and I was at the time (for I'm sure Entirely Mysterious Reasons) really neurotically obsessing about how you could die without traumatising whoever has to find your body. like I would draw elaborate suicide contraptions and human slaughterhouses in the back of my exercise book at school bc I was trying so badly to find the way that the trauma could be taken out of death.

so far so normal I'm sure you can agree.

anyway I was remembering that this came up at the dinner table and dad (in retrospect must have been full on in the Trauma Hole)(probably quite drunk cause he was most of the time) just started in on this whole monologue about the most foolproof ways to kill yourself. I remember him saying if you were going to jump you'd need to make sure you were 100+ ft up so you could be sure you'd die on impact, but then you'd have time to change your mind on the way down, so that was a bad option. and that his chosen method would be to take as many pills as possible then put a plastic bag over his head so if he vomited while he was unconscious, he'd still die.

looking back that's nuts cause that's such specific ideation. he was obviously really seriously thinking about it. and this was just over dinner to his wife and kids (10, 10, 12). I remember mum being really upset by it, which in retrospect fuck I cannot imagine how distressing a conversation that is to watch between your severely depressed partner and your extremely earnestly engaged preteen.

but I just remember thinking. wow we are really not on the same page on what a perfect suicide is. cause I agreed that it's best to be sure you're not just severely injuring yourself but my priority, at the time and also the one time in my adult life I've seriously contemplated, was to minimise the mess and distress of finding the body, I just wanted to disappear but also give people closure. my solution as a 10 year old was well what if I dig a grave and put up a headstone and left a note and then rigged up some manner of contraption to fill the grave in on top of myself and crush/suffocate. Again in retrospect that's a terrible solution, logistics aside, what a horrible way to go. and honestly the place I got to through all this childhood chewing on the problem was that you can't kill yourself without causing pain and trauma, so I let go of the idea of killing myself cause that wouldn't solve the problems I had (feeling like a burden; not being able to reduce the trauma people dealt with).

but.

haha

told this story to Sam and he just gave me a Face and went WHAT A NORMAL CHILDHOOD YOU HAD. SO INCREDIBLY HEALTHY AND NORMAL.

haha yeah. no history of trauma or mental illness in my family!!!

[missamyrisa2]

I’ve been brought to gigglegasm with just tickles under the arms. 🙈 any chance I could ask for a story like that? You’re writing is amazing and you seem so sweet ❤️❤️

Awwee! Thank you so very much! <333

If I wanted to fill your cup with simply tickles in those adorable arm dimples, I do believe I would want you gently bound to a soft purpley bedspread ~ and by gentle, I mean you are certainly, absolutely bound under my whim but those sweet arms can pull and wriggle just a bit, just enough to give you a little movement and yet never fully cover your underarms. The lacy cuffs around your wrists will be such a cute reminder of your sweet sweet predicament my angel~

And I'll certainly be wearing a silky smooth flowing mermaid-y top over black leggings, just a little flirty sporty outfit I love to put on when working with such a delightfully specific tickle spot ~ maybe because it puts my material sensations right within eyesight and reach but completely out of your touch as we go exploring. Ahh, but I'm here to tease your hot spots. "I dooo believe I shall start at your fingers." Adorable little digits, wiggling as I trace each one up and down. You know where I'm going and yet you have such a sweet surprising reaction as I slowwwly work my way downward. "Such a silly spot no? The palms of your hands? I can just flutter my nails riight on those lines and you pull so helplessly with your sweet giggles. Oooh babydoll, you just have nooo idea." I'm floating close to your ear as I work your hand, chuckling and smiling and letting my cascade of hair graze your neck. "Aww, does that tickle?"

My nails trace downwards and probe along your wrist, working down your inner arm. "Hmmm hmmm hm~ nice soft arms. Cute skin too. Oooh look at your twitchies! Are you getting goosebumps? Goosebumpies? Bumpy bumps? Mmmps?" I make myself snicker and exchange my fingers for my soft lips. I make a muah sound at you before letting my big lower lip graze your heightened skin, up and down, back and forth. I start planting little kisses along your inner arm to your elbow and further up your bicep as my fingers wander around both arms with little flighty tickles. "Coochie coo on your armyz arms. What a delightful little reaction. You can't stop the tickles. They're coming~ ooh yes they are, all the tickles for you my special little giggle bug~" I position myself over your upper body and smirk, my wiggly fingers now drawing inward together, making to arrive at your exposed underarms both at once. "Here they comeeee tickle fingers~ tickle tickle fingers on your underarms~ you can't laugh! I'll bet you can't not laugh when I get in these wonderful tickle pots!"

I taunt and tease, holding my fingers above your underarms, faking you out a few times before finally diving in and wriggling them madly. I start at the outer fringes, working around in circles getting slowly closer and closer until my spidery tools are in position. I keep my thumbs grazing the center of your armpits, working back and forth as my fingers dance above, keeping with you through every squirm and struggle. "You can wiggle all you like my little worm, I'm still gonna tickle you~" Once I get you good and laughing and bucking under me, I plop to one side and purse my lips, holding your arm steady. "Cover me tickle sarge- I'm goin' in!" I squeal with glee, muahing over your tender crevice, sealing with my lips and blowing raspberries between little teasing kissies. I flip my tongue at you and dive into the over armpit, lickling around with my darting tongue tip. Whichever armpit is getting my lippy attention, the other is treated to flighty finger tickles. I exchange back and forth, pausing between to ask you questions. "Which armpit is more ticklish? The left or the right?" "On a scale of 1 to 100, how much does it tickle?"

I work your hyper sensitive skin endlessly until I finally break to plant a kiss on your cheek, and whisper teasingly in your ear. "I know what these tickles are doing to you my adorable cutie. It's okay~~ just let go, let the tickles cover you, let allll those wonderful feelings and sensations in, and I promise I'll tickle you all the way through. Oh yes, all the underarm tickles for you my sweet sugar cube" I grin and lean up, reaching back for a pair of tools. You can do nothing but squirm and giggle and blush as you watch me pull on a pair of pink gloves adorned with little hearts and stars and moons. "I love this design, because~ well, you see..." I muse, clicking my fuzzy gloves into action, which begin buzzing gently. My smiling face descends as I begin briskly rolling my thumbs in your underarms, the soft surface of the gloves vibrating the fuzzies on your tender skin. "I'm gonna send you to the moon with these babies~"

I keep my upgraded fingers working your hot spots, not pausing for a moment. My snickers and smiles and knowing gasps imitating your reactions all rain down as I buzz your erogenous zones to only one end ~ the gigglegasm. And true to my word, my hands and kisses and lickles never stop all the way through as you start bucking madly. "Tickle tickle~ ahhh ahh oooh there we go, look at you my adorable giggle girl, did you just gigglegasm for me? Awww, just from some armpitty tickles? Yeah? Well you know there's more where that came from~ Tickle tickle! You can't not gigglegasm, no you can't not when Amy's playing with ya!" <333

[omaano]

I guess you've already got a dozen of these BUT

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

That is a rather flattering assumption, my dear, but I believe I've proven to have a horrible track record in answering asks, and where is the fun in sending such nice asks to someone who will just hoard them and then feel too ashamed to answer months late? ^^; Anyway, thank you very much for this askl! ❤️ And while it is a bit mean to make me pick favourite(s) from my children, I'm only gonna pick one here (not even my biggest recent fave), because I want to talk about it and show off some details.

I thought about picking my recent cowboys DTIYS redraw, because that would illustrate pretty well the direction where my art inevitably seems to be going (and the one time where Cobb's face didn't fight me like it was his job - and returned to the old normal of Din giving me grief lol) BUT, then I remembered that I filled my (so far) last Desert Witch!Cobb AU drawing with quite a few details, and I want to show them off and talk about them a little. So here we go:

I wanted to showcase the colour palette I predominantly used in all my pieces for the Monster Mash drawings - I'll admit that I'm not very confident in my colours, so Procreate's feature of generating colour palettes for me from already existing photos is an absolute godsend, otherwise I'd be stuck with my purples and pink-oranges for eternity. I had to add the blue for a bit of contrast though, but by the third drawing I really enjoyed the warmth of these bright oranges and reddish browns. They added to a nice and cozy feeling while I was freezing and huddling close to my little electric heater.

Plus this is a good shot to point out all the shinies dangling from Cobb (he's now got a mythosaur pendant with dangling beads for the teeth(?)), and the tattoo on his arm I had an awful lot of fun with! Something's clicked in my brain and now it's permanently stuck on pairing Cobb with suns and moons imagery (mostly the moons, because A) Din is the one who is shiny and blinding and hurtful to look at when he's fully decked out in his armour, and B) I find the dichotomy of the deadly sharp points and curve of a crescent moon vs the gentle face of a full moon very fitting for our Marshal here). So he's got two crescent moons on the underside of his forearm and elbow, and a third one on the right side of his neck. And there is also a sun on the curve of his shoulder, behind the sharp-toothed skull (because I gave in and finally put a sun on him after you all somehow kept seeing it on him - although it still eludes me how you managed that ^^;). He had another one on his right shoulder as well, but well. Glass doesn't take all that well to tattooing, does it? He's also got a lot of swooping cloud and smoke shapes to match his eternally billowing robes and the sand-storms that hide in his pockets.

And now to the fun part of the chaos that the background was:

I really wanted to put an absolute mess of a workbench behind Cobb, and I tried my best to deliver it - then forgot to take into consideration how much of it he'd block out with his shoulders XD and so I filled it with books, datapads and candles, little notes and jars and vials and a real fancy scale that I tried to model after the krayt dragon. And then once I realized how many of those details got covered up, in my infinite wisdom I erased everything instead of just masking them out so that I wouldn't even be tempted to somehow work them back into the picture... so I had to take these snapshots from my process video (hence the poor screenshot quality, sorry ^^;) but this way you can also see how I used those box shapes to try and keep even the otherwise circular/organic shapes of the flowers and pots (and cauldrons omg, were those a struggle!) in perspective. I think that was a neat little trick.

It was really challenging, and I cursed myself a lot for the angle I picked for this picture, but in the end it was very rewarding to see that while I never thought I'd ever be able to pull off a detailed background, I still managed to do this here!

[captainkurosolaire]

~ Mass Update ~

Mainly going into future plans and intents alongside ideas below cut.

Ton's of things I've in store this will prove difficult to vent it all out. But here we go... First off rehashing and appropriately learning to tag and organize things better on my blog. Each category will have their own corresponding content, I seek to bring or share. [Tales of Goldbrand] -- I intend this to carry a Compendium of all my writes soon that'll have everything neatly in-order including a glossary, so it'll have highlights of stories that even matter or the best stuff. I've written here for a very, long time, there's been many shifts. I want to make it more accessible. While coloring what matters for people who want to learn Captain or his Crew with less chapters. While also giving choice to find it all easily. This is essentially a step-above master-lists. I'll be doing that after the Saga I have going on, right now is done. [Captain] -- Will provide you strictly with Captain screenshots, gifs, photo-sets. This is still his blog despite the Crew thing's will sort of make this a scuffed Multi-Muse blog. I've few more things to edit and tag fix to get all his stuff though. [The Wild Crew] -- Afterwards this story is done Immortal Age Saga, It's something that I mainly wrote as a passion project within three days to get my warm-up process fixed. It's to allow me to get a feel for all his Crewmates and casts, in combat, in-general, to feel their presences. While also giving a bit of their backstories. At any point, I can go back and polish or tweak things in. They're NPC's but... not entirely. All will have their own 'Dreams' and their own 'Disapproval's' they have their own missions even. These things will factor eventually, they might set seeds, to betray or disagree with something, but that's all angst and more stories to be created, but overall, they'll probably always be Crew, eventually. -- I plan on making character-profile sheets of them and putting them in this Tab, it'll have their screenshots, their likes/dislikes. Some RP partners or people can also be shipped with them, but they'll all be monogamous and originally start off probably Pan. This allows them to figure out what they like on their own stories. I've always been someone who likes organic-flow. Although this one story contain all 16 characters or more, the rest will probably be shortened to a Squad of 4 and dispersed when on adventuring missions. Until I do a War Arc, that's my main goal to build too. [Roster] -- Will contain this Crew in just screen-sets dedicated to them, I'll probably randomly produce those. I've PC players among this Crew too. I may not be done either adding more, but this Crew is mainly built around Quality. Most pirate crew's mainly, have hundreds, thousands. Even Fleets. This Crew has personalities, monsters, people who are living life's that exist with piracy. He's an particular leader that had PC players the same way, he's had split-personality serial killers aboard, tribal chieftains, succubus, all sorts of various people once on a Crew. It's often an outcast style, pirates default are chaotic in nature, so this really isn't any different, it's a Fantasy version of it. There's humanization characters aboard too though, so this cast is really decked, everything and person is vital, they matter because they remind or covet something that others can draw upon. If ever played (Three Houses or Mass Effect / Dragon Age Origins) A lot of things like that are relatable too this structure and format. Which, Is something I want to be able to give when RPing. I want a genuine feel of this new world someone else's muse will be the main-character too. Depending on what's interacting everything they'll be scale appropriately to follow the genre they're in and environment even. [Aesthetics] -- Already explainable what you'll find here. [Asks] -- Same thing. [Prompts] -- Trivial things I was tagged too, I plan on compiling later. [Writing] -- Another alternatively to randomly go-down and it works right now. [Logs] -- Will have more individualistic master-lists and posts there, my poems from Sheik Sphere the Bard, etc.

Things of that nature, I'll probably add still. It's where a lot of my creative writing is summed. [Gems of Hydaelyn] -- My main #tag for other characters and artists, creationist. Lot of amazing people easily to find their zones or follow them optionally if you like. Ton's I intend to support and bolster, be a lot less unspoken. I'm never the type who's been strictly inclusive. But I'll do that when I've time to even explore the dash, I'm always still planning ahead with things and projects. [CKS] My original character-sheet it's outdated on something's but not too terrible. I'll give him polishing someday, I swear? [21+F-List] -- Just purely degenerate stuff of Captain. I'm a pirate blog. I will represent that with openness and furthermore. I'm never projecting you some false-image. I started off a smut-writer by stripping that, I no-longer represent the same aura and identity. But those are strictly his stuff and kinks, I'm effective in executing them but they're not all relatable to me OOC. This blog will always be 18+ containing crude or dark material sometimes, romantic things, this Captain is blunt, will literally put his cock on the table in conversations. Swearing and being censored would be too uncommon and displace most of him, but there's more about him then all this. [Other] -- I pay homage to a lot of characters, I originally am a Concept Designer. Which mean's I make characters and ideas like my addiction. Bad characters / villains or other little things I like to share in designs, I'll put there. Some villains might get little photo-sets, even if they died. Just cause I like their design, or maybe I'll give them an AU, where they won. When I've wrapped up things. [Collabs + Ships] -- Is a new project idea. This isn't going to be something limited too romantic only ships. It'll contain, platonic, romantic, friendships, rivals, frenemies, family, PC Crew, all ships. I am desperately working on improving my gif, screenshot, posing game so I can supply 'Screen Stories' this is not only a way to RP that's accessible with even people who are upon time-crunches from work, It gives visual-representation. To impactful stories shared with others and establish bonds. That are all-valid and impactful matter. Lot of people take a lot of their characters attributes into them and are them dialed up, I work with that and bit more, differently. I'm disconnected from my characters and they'll get hurt and injured and killed by me, that's my duty as their Author to give them conflicts and struggles. I'm their major antagonist, but that doesn't mean at-all, it's always SET that way. The characters I like to make have their own life, they live in this setting and are abide by it, they're often nothing, nobodies, and by the interacting with others, they slowly gradually building, more... Through emotional impacts, they alter, these are REAL people by all their beliefs. Each person they come in-contact with are legitimate and treated like that too. They've always impacted or given them insights to grow, or represent more. Otherwise it'd be criminally disrespectful if I allowed any emotional I felt OOC be the grudge to something IC. Captain in-particular is set on defying me. I cannot have that. ...But I can't stop him. He's met and encountered so many people and lived so many scenarios based on the actions of others, he's giving a chance right now to actually do things a lot further than impossible. The more people he meets and encounters, experiences, the more I lose. These stories are emotionally interactive where everything is a factor and adds to the dice, where the other people are the one who get to roll the dice for him, not me. That's something I want to color in. People range in emotions, they have their down's, ups, their own wholesome-grounding people, spending time with your favorite people, there's nothing more cherishing than that, being in your own comfort-zone or 'safe-space' these are all treasures that we live under, today. Contrary if what people assume of me, I'm not another 'blogger' that's came

before, who's wanting to force a harem, then constantly is bewildered when that falls to pieces cause of selfishness or a lack of communication, or the skeletons they have in their closets and beliefs they hid behind and swindled fooled everyone. I'm not looking to be popular or anything really, I just create stories and want to share in those, and I want to also boost others included, upward with me, especially those who make me. There's no ego in anything I do, this is purely love. I've never cared about being replicated or duplicated, I've had stalkers, I've gone through more then anyone would imagine, I've been used OOC and abused, just for my writing and cold-harshly told, i'd never amount to anything other then that or vice-versa. --------------------------------------------------------------------- Passion. That's all I got and am anymore. --------------------------------------------------------------------- Passion is the hardest thing to keep. It's something that can be stolen, quite effortlessly. Few words of discouragement, a bad negative representation, a lack of confidence, or small amount of time, there's many thing's that can put that flame out. Once you lose it. The difficulty to reattain is hundred-times harder than climbing any mountain for real. I've watched the greatest creators crumble from under the pressure, from beaten down by others. I watched many of them do it to themselves because they put a grand vision of needing validation of another and once lost, felt uncompelling to press onward. But passion also can be given BACK and drawn. It can be shown and encourage others, with a soft-triggering, that pushes them. That motivates, that constantly sticks to it. There are many that fuel me. If I ever quit, I let them down, I spit in the faces of people who're better than me in every-way. Or people who've came and given me their precious Time. That have given their character's or dedication to the abundant stories and community-driven things I've done. There's ONLY things you can do, create, give and provide. It cannot ever come to life without YOU. This is a fact. ...I swear, If you let your creativity soar, you'll be amazed by the heights you get. Constantly polish and learn and hone the best you, challenge yourself day after painstaking day, to draw better improvement on something, no matter how trivial or unfamiliar you are. You'll find a confidence only you can give yourself. ---------------------------------------------------------------------- Future Plans --------------------------------------------------------------------- For me, I've got so much more stories to give and also explore, I might be taking up soon some other artists and more skilled people from community and hire them for some of my future writes, to up my game or cause something thing's can't be done in-game cause no background carries it. I also got a lot of-set up things and more angst stuff I want to practice, plus I'm adamantly on that grind to produce screen-sets with the intent's to some sort of improving daily. Additionally more people I'll be reaching out too soon for these collab's ideas and things. I look forward to shaking your hands, giving some hugs, show you my respect and admiration, then creating some enchanting stories and giving plots light. Feel free to reach out to me, I get scattered-brain but I'm working on getting better about it. Eventually will get to you though, my goals, if uninterested just say so when I poke, no bites, unless you kinky. Anyways, cheers hearties.