#i got some more of the white ink i use to mix with watercolors | Explore Tumblr posts and blogs

anticmiscellaney · 2 years ago

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as an aspiring comic artist looking to move from graphite and oil painting to more ink/inkwash/watercolor like you- could you explain your process a bit? any tips for beginners? i love your art and you're at the top of my inspiration list right now :,)

Thank you! I've been using ink and watercolour for a long time, and ink/inkwash is definitely my favourite medium. A key tip for getting started would be to know the different kinds of ink available because they all work differently. The three main ones are:

Dye-based ink - these have their uses, but they are not lightfast at all (fade quickly) and they act kinda weird. The colours are very vibrant, but they tend to dry very fast, not be waterproof (tricky for layering), and stain the paper. I use very few dye-based inks. Some ink brands look like they have a big colour range, but when you look at the boxes half of them say "dye based" - don't buy Higgins those.

Acrylic ink - think of this as very liquid acrylic paint. There are a lot of fancy options, many specialty kinds (metallics, pearls, neons), but they aren't going to give you the transparent inkwash look. It's good for drawing opaque lines over colour, and you can dilute it with water for a wash, but it gets chalky. Waterproof may vary (test it first), and it usually has a matte finish. White acrylic ink is well worth having as you can detail over solid black or tint it with coloured pigmented inks, and god knows I love using neons, but I treat acrylic ink like "effects" ink. It’s not my main drawing ink. Daler Rowney is good and widely available (pigment-based is not the same as pigmented ink, this is still acrylic ink), they have a few lines at different prices. Liquitex is decent.

Pigmented/India ink - this is my favourite kind of ink and probably what you want! Pigmented ink dilutes well (it’s a transparent medium like watercolour) and often has a glossier finish depending on shellac content, and it will say on the bottle if it’s waterproof (test that first). It’s good for brush or nib, good for layering, works nicely with watercolour and other types of ink, can be mixed to make new colours/tints...she’s got it all. If you’re in Australia, Art Spectrum is great, I stock up every time I’m back there. If you’re elsewhere, I recommend Speedball for black ink (Blick Black Cat in the US is good). Dr Martins Bombay India Ink has great colours and they’re usually affordable.

There are many brands and everyone has their preferences, and over time you will find your own. I have a mix of different types and brands, though probably fewer than you’d think. Get a small bottle in one or two colours and play around, see if you like it before investing in a set. Don’t buy fountain pen ink or Rapidograph ink for nib/brush, those are best suited to being used in specific types of pens.

The nibs I use are Hunt #512s. #102s (called crow quills) are popular and I like them too, but they are very sharp and will rip up your paper, and can be a little too flexible and hard to control. The #512 is a good all-rounder with a smooth line capable of variation, and I think they’re a solid choice for a beginner. These nibs and holders are cheap and widely available. I don’t buy expensive watercolour brushes because ink will wreck them a lot faster than watercolour will. What you want to look for is the fibers holding a point - the brush should not have bedhead.

My only real advice to someone looking to try watercolours is to not buy the cheapest shittiest kind. You know from oil painting that all paints are not created equal and bad paint is going to frustrate you, especially when you’re starting out. I started with one of these twelve years ago and I still use it in conjunction with other sets I’ve built myself, I just refill the pans from (better quality) tubes when they get low. They last a long time. So do bottles of ink.

I’d like to do a process post, but I’m not sure what would be interesting or helpful to you, and I use ink/watercolour/gouache in a lot of different ways. If there’s a specific piece you liked the look of, I’m happy to demonstrate that method, or I can just go through my favourite approach.

As for comics...the best advice I can give you is pretty general.

Anatomy is a rewarding life-long study, but what really counts for narrative art, over technical accuracy, is GESTURE, EXPRESSION, and BODY LANGUAGE. Look at people. Look at how they move, look at their faces, look at their hands, listen to how they talk. In comics, you are the director and the actors.

Environments are a bonus character in your story and can add a lot of depth and atmosphere! Understanding perspective will make using them a lot easier.

Do not start with your graphic novel idea, start with a short story (under eight pages) and finish it. Finish it. Fucking finish it. Then do some more, getting longer over time. The best idea you never do is worth less to your progress than the worst finished piece.

There aren’t a lot of books that dig into the nuts and bolts of sequential storytelling for artists in a way I like. Filmmaking books are handy, but they’re dealing in moving images and don’t have to worry about page design. There are some good “how to make comics” books (the two Will Esiner did are my favourites), but as a genre it can be very hit or miss. I always look at what the writer/artist has made to see if I want to listen to their instructions - if you hate their art and think the graphic novel they made sucks, don’t buy their how-to book.

Bob McLeod, one of my teachers, gave us all this list:

These rules aren’t inflexible, but they cover the big issues.

For actual storytelling advice, the best one I have read was Directing The Story by Francis Glebas. It’s aimed at storyboard artists, which I was, but it discusses visual storytelling and explains how to approach it and the reasoning behind choices in a way that is useful for anyone making sequential art.

#replied #process stuff

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entropyvoid · 2 years ago

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hi! i love your art! (i usually reblog from art blog hollyleafe)

i’m new to gouache but not watercolor, and due to learning about the lightfastness i’ve started mixing some of my winsor and newton watercolors with white gouache for pink and purple due to the himi gouache pink and purple being super fugitive. it’s a pain, though.

I wanted to ask a few things,

what gouache do you use,

what kind of paper is your favorite? I’m currently painting on arches cold press, but idk if i’m a fan of it for gouache…

what’s your process of painting with both mediums? I have been layering watercolor first and then gouache on top…but i lose the depth of the watercolor.

sorry for the long ask, I love your art!!!!! maybe you could make prints through a third party site for your pokemon? they are so beautiful!

Hi! Thank you so much! I'm super flattered by this!

I am, perhaps, not the best person in the world to ask about gouache advice as I also primarily use watercolor and also am kind of a beginner with gouache, I actually did all the Pokemon paintings to experiment with them. (And with not lining everything with ink, which is what I usually do.) Your process sounds very similar to mine, I start with a watercolor base (though I make sure to shade and finish it as I would a regular watercolor-only painting) and layer gouache over it, usually for colorful pops of highlights and sparkles and the like. I've only really tried this on my Pokemon paintings though, and I need to experiment more with other stuff. (But I do still plan on doing more Pokemon paintings.)

As for materials, I've been using himi gouache, I could probably really use some higher quality stuff, but all the tube-paint gouache brands I've tried so far kinda don't re-hydrate or stick to palettes I try to stick them on as well as watercolors do, and I like to sorta slather gouache on pretty thick most of the time, so... jelly gouache has kinda been what works best for my personal process. Mostly because it doesn't have the issue of drying out as fast, or being in too small quantities that run out pretty quickly. I got my big ol' himi palette a while ago, and it's lasted me quite some time.

I also love arches cold press for watercolor, it's one of my favorites to use when I can get ahold of it, (or any particularly nice, heavy, smooth paper) but for gouache, so far I've found that more textured paper seems to be nicer? Which, hot press papers tend to be more texture-y than cold press, but I've been doing my Pokemon paintings on Arteza's cold press watercolor paper and I think it's a pretty good middle ground. There is probably better quality paper for the task out there, but Arteza is a good cheap/accessible starting point.

Hope this helps! I wish I could give you more definitive recommendations, but I'm kinda still experimenting myself.

Also, I will totally consider the third party printing site thing! I was looking through sites to do that on a while back, but life kinda got in my way and ate all my time. I should definitely start looking again.

#asks #I haven't been focusing much on art or selling anything lately bc I've been spending the last year basically couch surfing #Which I know sounds silly because a shop would fix that issue #At least partially #But it's a bit more complicated when everything you own is in boxes and all of you time and energy goes into a min wage job #but now that I actually Live Somewhere I can shift gears again #And I definitely do wanna open up a shop #Right now honestly I just need to find a place to scan all the new stuff I have made bc everything you see me posting here is #at least a year old

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jannelle-o · 4 years ago

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what are some of your traditional art supplies that you use/recommend the most?

Super sorry for the late response! ;A; Here's a list of the majority of traditional art supplies I use currently. I'll put a '✨' for ones I really enjoy working with/have been super helpful to have~ I’ll try to link to the specific supply, or something that’s close to what I have. c: Please don't feel pressured to buy a lot of what I use and feel free to do research on what will be best for your budget and the way you work. Also if there are alternatives to what I list that will be more affordable to you and are great quality you should go for those.

Pencils/Erasers

kneaded eraser ✨ [ great for lightly erasing the drawing to prepare for ink/watercolor ] / stick eraser / block eraser / electric eraser ( + refills )

Koh-I-Noor Technigraph Lead Holder ( + lead refills + sharpener) - [ I usually use this for transferring drawings to the paper I’m gonna use for the finished version ]

Zebra DelGuard 0.5 mm mechanical pencil ✨

Uni Kuru Toga 0.5 mm mechanical pencil

Pilot Color Eno 0.7mm mechanical pencils - (all colors except yellow, I don’t use that one much)

Faber Castell 9000 Pencils

pencil sharpener ( manual + electric ) ✨

Ink/Pens

Deleter Black 4 Manga Ink ✨ - [ It is waterproof once it dries, so it’s great to use with watercolors. Also just enjoy how it looks overall ]

Dr. Ph. Martin’s Black Star India Ink Matte ✨ - [ Also waterproof once it dries, and enjoy how it looks too ]

Daler Rowney FW Acrylic Ink ( Black )

Dr. Ph. Martin’s Bleed Proof White ✨

Uni Signo Gel Pen Broad ( White )

Raphael Kolinsky Sable Pointed Round size 3 ✨ - [ Primary inking tool, I really like brush inking haha ]

Sakura Pigma Micron Pens

Pentel Pocket Brush Pen

Pentel Pigment Ink Brush Pens ( Black + Light Black )

Kuretake Bimoji Brush Pens

Zebra Disposable Brush Pen ( Fine )

container for water - [ Mainly to clean off ink from inking brush haha Any container can work though ]

Watercolor

Denise Soden’s Earth Friendly Da Vinci Watercolor palette ✨

Da Vinci watercolor trios ✨

M. Graham watercolor sets ( Shades of Summer + Pacific Northwest ) ✨

Daniel Smith Secondary trio set ✨

QoR High Chroma set ✨

Holbein Watercolor set

Utrecht watercolors

Sennelier watercolors ✨

Daniel Smith Watercolor Ground ( Transparent + Titanium White )

Strathmore Ready Cut Watercolor Paper Cold Press ( 5 x 7 in. ) ✨ - [ I like the size of this and have fun painting on this paper, also have used this for October drawing challenges haha ]

Arches Watercolor Block ( Cold Press + Rough ) ✨ - [ Also have lots of fun painting on this paper, tend to cut these down to variable sizes ]

Fabriano Artistico Hot Press Watercolor Block

Silver Black Velvet brushes ✨

Princeton Aqua Elite synthetic brushes ✨

Pentel Water Brushes

M. Graham Gouache ( Titanium White ) ✨

Winsor & Newton Designer’s Gouache

watercolor palettes ( x, x )

mixing palettes ( x, x, x )

brush wash/water basin - [ You could honestly use any containers to hold your water, but it’s best to have two separate containers of water - one for cleaning your brushes and one for clean water ]

Miscellaneous

micro perforated sketchbooks ✨ - [ Usually use these for working on a refined drawing to then transfer to the final paper ]

sketchbooks ✨ - [ For brainstorming ideas and some doodling, though I should do more of doodling in my sketchbook haha ;v; ]

Strathmore Bristol Pads ( Smooth + Vellum )

Uni Posca Paint Markers ✨

triangles

rulers

brush cleaner ✨

light box/pad ✨ - [ For transferring drawing from sketchbook paper to the final paper ]

paper cutter

cutting mat

art knife

drawing board

tabletop easel

artist tape

Hopefully this is helpful for you, and sorry if I missed some things I use. I’ll try to add them when I can remember. And sorry this got long lol @w@;

#Anonymous #replies #late reply #long post

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rodpupo2 · 4 years ago

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Research: Project Finish

Tim Sale

Tim Sale is a famous comic book artist, who had worked in several titles along with the writer Jeff Loeb, including Batman, Spider-Man, Superman, Daredevil, and many others.

Tim Sale was born in may of 1956, in New York, where he studied visual arts, spent a good time of his life in Seattle, and today he lives in California.

For some years he drew his art privately, only to please himself. When he found himself working at a fast food in his late twenties, however, he decided to try to sell some of his work. This led to an association with Thives’ World Graphics, a fantasy anthology series, where he illustrated stories.

What most marks his work is the dramatic aspect that he manages to obtain in the characterization of his characters and in the scenarios he creates, making the stories unique and immortalizing the characters.

The union of Sale’s art with Loeb’s engaging narrative has become the perfect marriage for mysterious plots.

One of the most striking characters worked by Sale was Batman, which he drew “The Long Halloween”, “Dark Victory” and “Halloween”. He was able to fully transfigure the dark aura of Gotham and his Dark Knight. He also worked with Superman in the saga “ Superman for All Seasons”.

Both of The Long Halloween and For All Seasons are what is known as “Year one” comics. These works take their heroes back in time to their earliest days of crime fighters.

His main tool is watercolor, which he uses with mastery. Sale's palette of colors is something really impressive, always drawing and painting his characters very delicately, and calmly. His style is very cartoonish, although this does not diminish his art in any way, on the contrary, his style is very unique and characteristic.

Pedro Franz

Is a Brazilian comic book artist, who was born in Santa Catarina and has a degree in design.

He has been publishing several comic books and participating in exhibitions in Brazil and abroad. As an illustrator, he has published works several magazines and books, and regularly collaborates with the Piauí magazine. As a graphic designer, he is a contributor to the Par (Ent) Esis platform. He has comics translated and published in English and Spanish, and has good international recognition, thanks to his publications.

But what is most impressive in Pedro's art, perhaps is his intensive use of colors. Mixing various shades of different colors, mixing different compositions. In addition to sometimes using characters from pop culture, with his elaborate style.

Despite liking traditional comics, he has always published and worked for national publishers, often with authorial works.

Perhaps his best known work, which was even published in the United States is the comic “Suburbia”.

Suburbia tells the story of Conceição, a girls daughter of enslaved rural workers, who flees to Rio de Janeiro in the early 1990s. In the city, Conceição begins to work as a cleaner and to get involved in the world of funk, slums and poverty.

His drawings are extremely surreal, not exactly following a traditional way of making comics, with several images spread across the page, with different shapes and sizes, with extremely strong colors, mainly valuing blue, purple, yellow and red, as his main colors.

Richard Corben

Richard Corben was one of the contributors of elevating the comics to the category of Art, and of its unparalleled style of great influence among many current artists.

Richard Vance Corben was born in Missouri, United States on October 1940, in a family of farmers in the middle west ( where he started reading comics), and lived in Kansas City. There he studied Fine Arts, got married, had a girl and started working in local cinematography animation company. At the same time, he started to create and publish some underground fanzines. From the begging it was clear that he was interested in science fiction, eroticism, and total rejection of institutions ( the Army, the Church, etc), mixed with a lot of humor.

At a young age, Corben was an aficionado of bodybuilding, just like everyone who was interested in a persons aesthetics. The first character that he created, was Rowlf, a dog who took on a human form. In the beginning of the 1970s he amplified his work ( and his fame) in some underground magazines. And in 1971 he started working for the Heavy Metal publisher where he created one of his most famous characters, Den a large muscular man, who was always naked, and always after some adventure.

Corben has a very particular style, with unsettling mixture of caricatured, often satirical grotesque and intense,convincing realism. Never before had such wildly cartoonish worlds proved so convincing.

Also he can handle an exponentially higher standard because of his ability to use colour to show the effect of light on whatever he’s depicting. The way that he mixes light and colors in certain panels to differentiate those elements from each other, is something to admire.

Corben worked in a few mainstream comics, he always preferred to work with authorial works or working in specific themes like fantasy and science fiction comics and not so much on superheroes.

But probably the most famous mainstream comic that ever worked was the character Hellboy, along with writer Mike Mignola.

Hellboy is a series of comics that has a lot of mysticism, Norse mythology, horror and monsters. Something Corben certainly agreed to do, without thinking twice.

Richard Corben is one of my favorite artists, with a style that is perhaps not as realistic as an Alex Ross for example, but the humor and beauty that he puts in his characters is very unique.

Corben died on December 2, 2020, leaving a great legacy, for the world of comics and arts, with a very unique style and extremely stunning worlds.

Charlie Allard

Charlie Adlard is a British comic book artist, who have worked on the comic industry for over 25 years. He spent the majority of his time since 2003 working in The Walking Dead along side with writer Robert Kirkman , until the last issue on 2019 He started reading comics when he was very young, and he said that he was very lucky to have influences of American comics and the more high art, such as Asterix and Tin Tin. He was fascinated by European comic books artists like Moebius, Alberto Uderzo and Herge. He started his career as many British artists and writers, working on 2000 AD, with characters such as Judge Dredd, Armitage and eventually Savage. In the United States he started working with the X Files, Astronauts in trouble, and of course The Walking Dead. Adlard started in The Walking Dead from issue 7, and brought a slightly different style, from the previous artist. Adlard's art is very cartoonish, but the universe of The Walking Dead still doesn't get silly because of it. Quite the opposite, the dirt and rot that Adlerd puts on his characters and the world, only sustains what a horrible world it is to live in. Many readers complain about Adlard's style, being very simple, that his characters are very similar, and sometimes it is difficult to identify them. But I believe that although his style does not vary much, when it comes time to show a horde of zombies, a devastated city, people feeling despair, and extremely disturbing scenes, Adlard manages to excel. Adlard's main tool is ink. All The Walking Dead magazines are in black and white, and he manages to give a lot of depth to the scenarios and characters using only a few ink stains. Today Adlard is doing some comics, mainly for DC, but says that he does not intend to work with Kirkman and zombies again, because he wants to explore other themes, and to innovate his drawing skills.

Zaha Hadid

Zaha Hadid was one of the most important and well known figures in contemporary architecture and design. With a singular trajectory, marked by a versatile, bold and out of the box style, she was the first woman to receive Pritzker Prize for architecture and was also the only female representative honored by the Royal Institute of British Architects with a golden medal. Zaha Hadid was born in Iraq, more precisely in the city of Halloween, in Bagdá, in the year 1950. Her family was of high class, her father being an important politician and her mother an artist. Still young, she traveled and studied in other places of the world, like London and Switzerland, but it was in her native land the she got her first formation, when she graduated in mathematics. At the age of 22, in 1972, she enrolled in one of the most famous independent schools of architecture in London, and there she gave the starting point to her career by studying and creating an important connection with the Dutch architect Rem Koolhaas, a figure that encouraged her and opened the doors for opportunities. Later in the 1980s, Zaha Hadid decided to open her own office. This, Zaha Hadid Architects was born, which made her name and talent recognized worldwide. Known for her works with futuristic lines, clean and pure forms, as well as the fragmentation of architectural design. Her projects and discussions raise issues that put architecture and its future to the test. This is because the architect seeks in her works to interrelate design, architecture and urbanism. I knew Hadid and some of her works, but it was the recommendation of my teacher Lauren, that I should look for this architect. As my project takes place in the future, she recommended that I look at some works by Zaha Hadid to get inspiration when creating the scenario for the comic. I find it very interesting how her works have this futuristic aesthetic , because it reminds me of science fiction films like Blade Runner with those skyscrapers and buildings with different shapes and sizes that are extremely imaginative that could only exist in films. With unique works and projects, famous for their exuberance, futuristic elements, curves, non linear shapes, distortions and fragmentations, Hadid inspired and generated fascination both for her constructions around the world.

Syd Mead

Syd Mead was a designer, best known for working on films such as Aliens, Blade Runner, Tron and Star trek. Mead was born in Minnesota, United States, on July of 1933, but five years later he moved to a second house in the western of United States prior to graduating from High School in Colorado in 1951. Some years later, he did the Art Center School in Los Angeles, where he graduated with great distinction in 1959. He was immediately recruited by the Ford Motor Company. At Ford he worked in the advanced styling department, creating futuristic concept car designs. But his imagination went beyond cars and he began to imagine clothes, helmets, buildings and scenery from hyper advanced civilization. After Ford, he also worked in other big companies like Chrysler, Sony and Phillips. After that he started migrating to the concept art world of movies. Mead is really important for generation of writers of science fiction, because many of them were influenced by Mead’s colorful paintings. Mead never wrote a novel or short story. He imagined the future in his mind and turned that imagination into illustrations. In 1979 he designed the extraterrestrial spaceship for the first film “Star Trek” in the cinema. Ridley Scott called Mead to design the buildings and flying cars of the futuristic Los Angeles “Blade Runner” in 1982. In 1986 he was hired to design the space station and vehicles of the movie Aliens directed by James Cameron. Almost at the same time, the designer created the electronic world of “Tron” for Disney studios. The same ones who hired him in 2014 to design the futuristic city of “Tomorrowland”. Mead died in 2019 after three years of lymphoma, he was 86 years old. He was a great influence for many designers and science fiction writers and illustrators, due for his creative worlds and automobiles , Elon Musk quotes Mead as one of his major influences, on visions of the automotive future and design in general.

Transmetropolitan by Warren Ellis and Darick Robertson

Transmetropolitan is a comic written by the British writer Warren Ellis and the American illustrator Darick Robertson, published by the Vertigo label, and falls within the cyberpunk genre, and the problems that rampant technology will cause us.

Throughout the 60 issues of Transmetropolitan, Ellis and Robertson build a chaotic and brilliantly alive future, presenting a sci-fi society with a peculiar mix of elements of cyberpunk, political dystopias, bioengineering and transhumanism, sexuality, economics and much more.

In a dystopia, in a not so distant future, the journalist Spider Jerusalem is isolated for fiver years in a hut in the forest, but he has to return to the city to earn some money.

Throughout the comic, amid a nihilistic aura that humanity has no salvation, the author- Warren Ellis - criticizes the consumerism and futility. The illustrations, of Darick Robertson, is full of excesses as the environment should be, a brand of the style of the 1990s.

The search for the truth is the central theme of this work, and in the midst of all this we found ourselves in a investigative odyssey that involves the lowest scum of that society ( thieves, murderers and rapists) until reaches the highest of the scum ( the presidency).

This background allows the work to touch on the most profound social themes, and without fear of saying what needs to be criticized, this is where Transmetropolitan shines, and provoke deep reflections on issues such as racism, the influence of media, the power of religions, the education, and many other themes.

In short, Transmetropolitan dissects and criticizes everything, it points out the flaws, the lies and the hypocrisy of each one. It’s a study about the problems of democratic society in the 21th century.

Jon Mcnaught

Jon Mcnaught was born in 1985, London, England. He work with drawing comics, and work as an illustrator, printmaker and lecturer. After spending several years on the Falkland Islands during his childhood, which will inspire his second book, Pebble island. The book pass years after the war, where he tries to recreate his childhood, with aspects of his curiosity, when he was exploring abandon bunkers, where it was just part of landscape, or somewhere where he could play. His work has essentially been landscape print-making (often situated in the city), but with quite simple intention of capturing the sense of space, light, time etc. His work is mostly about that, places that he was interested in depicting, and trying to reproduce the visual. He want the characters to feel like elements of a landscape or an environment ( he preferes to focus more on the background, than the characters itself). But usually he uses figures and postures to suggest expressions rather than close ups showing facial features. What I like about Mcnaught's work is that they are simple designs, but the colors are very vivid. The way he constructs the scenarios is very invective, because it doesn’t need to be extremely detailed, he just needs a few lines to show what he is talking about.

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lilmelily · 4 years ago

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꧁⭒°· summer getaway ⭒ acrylic painting ·°⭒꧂

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I've been excited to show this one for a while now!

Not only did i actually use acrylics for once, but i also painted a scenery without any character in it and still really like the outcome ^^

I originally got 3 of these paints (red, white, blue) in a scrawlrbox and after playing around with them decided that they might actually grow on me if i had some more colors to suit my mixing and painting style.

So i got an additional pink and yellow and in combination with some acrylic ink they're super fun so far! :D

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⋆ • materials used • ⋆ · ⋆ · ⋆ · ⋆ · · ·

⋆ · matt acrylic paint, acrylic ink ink, pen for sketching, toned watercolor sketchbook (ye i know not ideal)

٭ • social media • ⋆ · ⋆ · ⋆ · ⋆ · · ·

٭ · lilmelily on artfol⭒ig⭒tumblr

٭ · LilyYana on amino

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#traditional art #illustration #acrylic painting #overgrown house #scenery art

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girlandgeese · 5 years ago

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Artist ask thing!

I was tagged by @kourvo and I am a big baby who is afraid to tag even my mutuals so if you see this I WOULD like to read your responses and please DO tag me if you fill it out. :’-)

What is the character you’ve drawn the most (Can be original or fanart) Other people’s Lavellans by about a mile.

What colour do you often use? I like muted and muddy colors. Give me those soft tonal shifts!!

Any colour you are bad at using? Bright and poppy shades. It isn’t in my programming.

When drawing people, where do you start? Jawline, then nose, then eyes, then mouth.

What is a character only your eraser will love? I’ve accepted that I’ll never draw Solas and that this will be why I never climb to the top of the DA art fandom.

Which of your works took the longest time? Almost definitely this one for @teknon who put a lot of faith in me, haha. This is still one of the most ambitious concepts I’ve ever actually completed. 🥺🙏

What techniques do you use when you want to improve in drawing? Eugh... I really haven’t actively tried to improve in a long time. Any of my improvements have been through sheer repetition, like taking on two dozen portrait commissions inevitably makes me better at faces. A lot of times I will burn out, stop drawing for a few months, then be slightly better when I get back at it. It’s a mystery. 💦

What do you think of the art of the person who gave you this ask meme? Their art is so lovely and striking and distinctive!! Extremely strong and emotive portraits. Wonderful use of light and dark values. When I read in their response to this that they don’t often use reference, I was like, “...?? How is this possible?”

What art tools/media are you good with? All my digital work is Procreate + iPad. Whenever I’m traveling I’ll bring a sketchbook (Leuchtturm is the best) and some ink pens.

Art tools/media you are bad at? Pastels, watercolor, charcoal. Messy things.

What do you think about your own art? ... Honestly I’m not a fan, haha. Occasionally I’ll make something that I’m proud of, but the vast majority of the time I’m just frustrated. This probably means I need to make some changes to my approach. But. Y’know. There’s currently a very large gulf between where I am and where I would like to be.

Do you consult references for your drawings? Every time for every thing. You haven’t lived until you’ve got eight tabs open of searches for “old man stern”, “old man angry”, “old man frown”, “old man face downward angry”--

What do you like about your art? I like my line work. I like how I render different planes and edges on a face.

What habits do you have while drawing? Planning to do something quick and then accidentally overworking it.

Are you good at drawing faces facing right? I think so.

How frequently do you draw? Not at all, then a TON for a short period of time. This is maybe my worst habit.

What do you do when you have artist’s block? I wait six months to several years. I do “junk food” art like drawing an easy portrait to build my confidence a bit. Photo/master studies.

What must you have when you draw? I have to have some noise, and my workspace has to be free of clutter. 9/10 times I will make a hot drink to have beside me; 7/10 times I forget about it.

Do you have a lot of stray lines (messy lineart)? Nah. I’m pretty economical.

What is drawing to you? Something I’ve been doing for a long time. A place where I have put most of my skill points but not enough of my attention and dedication.

Your art goal from now on? Make things that are unrecognizably mine. Confront my insecurities. Draw for no audience whatsoever.

Artists you’ve had influence from? See next.

Artists you like? Akihiko Yoshida, John Singer Sargent, John William Waterhouse, Ivan Bilibin, Even Amundsen.

Which is easier to draw, humans or animals? Ha ha. Humans.

Show us an old drawing. This is my favorite one to peddle out.

What is the charm-point of your art? Nice faces that are pleasant to look at. Chiseled cheekbones and numerous elf ears.

What is the first thing you would draw if we’re talking about fantasy? Elves, unsurprisingly. If I were just doodlin’ it would be outfit and armor designs for various adventurer types.

Please draw your most beloved character: I have spent literally 100% of my artistic energy on donation drawings so here is a year-old Lavellan that I still like a lot, to represent Elves as whole.

When thinking of characters is it mostly female? male? or androgynous/no sex? I think it’s a mix, at this point? When I was younger I would only draw girls.

What did you draw yesterday? Donation drawings! Last one was a nice OC. :-)

What is the most fun part to draw? Eyes and brows. Hair is fun to draw but miserable to paint.

What part of other people’s drawings do you notice first? Line work, color theory. Mark-making.

Regarding backgrounds, what is your method of making it easier to draw? Simply do not draw a background.

What colour coordinations do you like? Zorn palette, baybee.

What character did you last draw? Attractive male-presenting OC with long white hair and a nice skin tone.

What part of drawing do you pay most attention to? Line work requires the most active attention. You cannot save a bad drawing with good painting. I have learned this. I may spend more time painting, but it doesn’t ask as much of me mentally.

How do you feel about drawing adult art? At any moment I am ready to sell out and be paid large amounts of money to draw NSFW content.

Do you like criticism from others? When I solicit it and when it’s from someone whose opinions I value. That sounds like “no”, but it’s more that many people don’t give good, actionable criticism. Luckily I am my own harshest critic. 🤡

How many people do you normally draw per artwork? 1/6 of one humanoid.

#ask gg #kind of #thinky thoughts #long post #thank you for tagging me!! this was really fun to think through

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scrawler-jay · 4 years ago

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of mice and artblock

So, midterms happened and I abandoned this blog for a while. But now I’m back, and I come bearing mice.

I’ve been really struggling with finding subjects I like to draw. I’m happy to work on skeleton studies until Judgment Day to better understand anatomy, but I know I need to balance “homework” art with “for fun” art, or else risk losing motivation for learning to draw -- and I’m so used to writing fiction at this point that no subject really appeals to me artistically unless it’s got 5,000+ words of story attached (or at least some narrative/character ideas, yanno -- something for my brain to pick at). The obvious solution is to draw concept art and characters from my written stories, but I feel really intimidated by that because I’m such a beginner artist that nothing I create now will do justice to the vision I have in my head.

I need art OCs and concepts – things that I will only draw art of, and have never written a story about. Stuff that doesn’t have to match a previously established, written story, and that I can change as I learn more and my skills improve.

I ended up drawing a bunch of mice.

This was initially just a whim. Human anatomy requires a lot of skill to pull off, especially faces and hands, but mice felt more beginner-friendly to me. Admittedly, I was going for a more cartoony style as opposed to photorealism, so if you’re looking at this from a realism perspective then these are pretty poor mice. However, I don’t feel ashamed of them, which I am taking as a good sign.

I kept drawing one mouse over and over. I ended up calling him Leo just because it was funny – “leo” refers to lions, but here Leo is just a little mouse. But of course, giving him a name (and a gender, incidentally) is the start of a story. Via a flight of fancy, I got it into my head that I wanted to do a painting of Leo trying to catch a big snowflake. I made some thumbnails of what I wanted the scene to look like, and then cut out a roughly 7 inch x 7 inch piece of watercolor paper from a big sheet that I had under my bed, sketched the scene in pencil, and then finished with watercolor pencils (and a white gel pen for the snowflakes). The process probably took 2.5 to 3 hours.

So, now the lore is that Leo is a mouse living in a little house in an old tree at the edge of the woods, and he wears a red scarf. I did not like this painting. It seemed over-saturated and the colors didn’t quite work the way I wanted them to. I ended up watching a tutorial on color theory, and decided to redo the painting using my newfound knowledge of color schemes. I used this color palette tool to get an idea of what kinds of colors would look good together, and settled on a complementary scheme with bluish green and brownish red.

And then, everything went wrong.

I tried to redo the painting, still working traditionally. I rushed the sketch because I was so eager to get right into working with color. This time, to avoid over-saturation, I used watercolors out of a pan rather than in pencil form. Mixing the colors in the lid of the pan took a really long time because I was so picky about shades, and because I continued rushing I didn’t allow the layers enough time to dry. Leo’s scarf (now green instead of red) bled into his russet fur, and the mailbox was the wrong shape, and I tried to erase a pencil line and created a dark blotch over an area that was supposed to be white with snow – and then I gave up.

I had downloaded Krita, a piece of digital drawing/painting software, a while ago, but hadn’t had any success using it because my desk isn’t big enough to accommodate both a laptop and my small tablet. Using my lap to hold the tablet was an exercise in frustration, and I knew so little about how digital art works that I just felt really overwhelmed and lost whenever I opened the program.

However, Krita (like most digital art software) has an undo button that I find very alluring, so I decided to try it again, now on a shiny new desk from Ikea that is actually big enough to support tablet and laptop together. I think just the space on the desk really made all the difference, but also I was determined to get this artwork of a mouse to a place where I felt satisfied with it.

I spent a solid 5 hours working on what ended up being a very simple colored drawing of a mouse catching a snowflake outside his little house. I barely blended anything at all, and there’s no light source that required me to shade anything – it’s just flat color. However, I really like these colors, and I think I did well (for an absolute beginner). I want to go back and add textures/shading to give an impression of depth, but I'm not sure how.

Leo – like all of my figures – feels really stiff, so I also want to work on gestures/studies of mice doing things. And, thanks to the popularity of mice as lab animals and pets, there are way more reference photos of mice than I expected! Most refs depict the house mouse, Mus musculus, but I did find the work of a wildlife photographer named Dean Mason who spent 15 years photographing harvest mice (micromys minutus).

Unfortunately, all of the prior artwork in this post I had drawn almost purely from imagination, and I think it shows. I studied two mice from photos in pencil, then erased the lines until they were barely visible and tried to do the fur texture in ink (with a dip pen, so there is some unevenness when the pen was extra inky).

Left is my first attempt doing the fur texture. I was more cautious with layering pen strokes, so you can see the lines of strokes fairly evenly. Right is my 2nd attempt, where I was bolder with the pen. I like these mice more than the one I created in the digital painting; these ones (especially the right) feel more Beatrix Potter-ish, which is a vibe I like.

Do I want to go back and fix the anatomy in my digital art of Leo? Yes. I also want to take another stab at doing this piece traditionally, but this time, I'd go monochrome and try to do everything in brown. However, part of me is exhausted from drawing ten million snowflakes and does not want to relive that experience with a gel pen -- I've already done it once with a tablet pen, and that was enough.

I have a hazy, far-off goal of creating a comic of Leo having adventures with another mousy friend, but that’s so far in the future that it’s not worth spending time considering right now. In the nearer future, however, Leo’s friend might become a reality – I know he’s an albino mouse (name TBD) who either escaped from a drug-testing facility (I loved The Secret of NIMH movie as a kid) or else is a pet who was dumped into the wild by a human owner who no longer wanted him. Leo is outgoing and adventurous, and this friend is shy and cautious.

#beginner artist #OC art #mouse #art

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divineluce · 4 years ago

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Under the Needle’s Point || Morgan & Luce

Location: Ink Inc.

Timing: August 13th

Tagging: @mor-beck-more-problems & @divineluce

Notes: As a result of a scheduling mix up, Morgan winds up getting a tattoo done by Luce instead of Ulfric. The two have a nice little chat.

Warnings: Needles tw

Morgan couldn’t stop thinking about the dead supernaturals she’d brought out of that witch’s lab. Not even bodies, just pieces jarred and labeled according to parts, their usefulness. She’d sourced some weird shit from shops back when she was alive, but something about these just waiting, knowing what it was for, seeing the way Jo had looked her over as if she was prime stuffing material for her magic turducken. There were no names, no conveniently left behind ledger to tell Morgan the story of who these remains had been. They were just pieces, next to nothing. And what was left of her? Of the person she’d been? No one at work even knew she’d died, except for Anita. There was no family to notify. If she hadn’t dropped off the radar for two weeks, no one would have realized. And sometimes it seemed like people thought the person she’d been before was still in her, whole and bright and unchanged. How could she tell them any different. She didn’t know how to explain what “I” and “Me” signified now. She didn’t have any alternate words to pick from without drawing too much attention to her deadness, which was usually not the best idea. But even if some of her pieces had come back, Morgan felt different and rearranged all over, and she could only talk Bea’s ear off about it so long.

Walking into Ink Inc, Morgan tried to let the stupid, angsty knots inside her unwravel themselves. Ulfric usually had something good to say, and her idea of a solution would at least provide a few hours’ distraction. “Hey, Ulf?” She called. The shop was quiet, though she wasn’t sure how busy it usually was. “I’m early, but maybe we can get started--Oh.” When she saw Luce Vural approach the front desk, Morgan found her stomach knots switched out for a whole new platter of them. “You’re...not...Ulf.”

Flipping through the ancient book that lay on her workstation, Luce frowned as she looked at a few strange sigils drawn in the margins. What did these have to do with ghosts? She wasn’t familiar with anything surrounding ghosts and it was times like this when she wished she knew a decent exorcist. But, even in a town as magical as White Crest, there weren’t many of those running around. Luce mimicked the circular wards drawn in the book with the tip of her finger, tracing the shapes into the wood of the table. They didn’t feel like anything she’d ever drawn before, but she’d never been good at wards to begin with. What exactly did these things mean?

The sound of the bell ringing over the front door caught her attention and Luce shut the book and tucked it away into her backpack. She didn’t need people asking her what she was reading. As she emerged from her room, Luce launched into the typical speil, “Hey there, what can I do--” Her words trailed off for a moment when she saw Morgan standing in the middle of the shop. Leaning against the receptionist desk, Luce’s lips pressed together in a thin line. Shit. The last time she’d seen Morgan was… fuck, when they’d rescued Remmy? Christ. “What gave it away? The height? The distinct lack of a red hair and a beard?” She asked, the sarcasm coming out on reflex.

“Wow, you really are this friendly all the time, even to people you haven’t lashed out at.” Morgan deadpanned. The irony of lashing out was not lost on her, but it was too late to take the words back now. And as far as Morgan knew, Luce hadn’t exactly tried to smooth things over with Remmy since stomping on their heart. “A-ny-way...I have an appointment. A rib piece. Ulf and I talked it over already. I think there’s already a stencil and stuff, but I don’t know if you need anything fancy for working with um, zombie skin. Are you gonna be able to help a dead girl out?”

“What can I say, I’m a ray of goddamn sunshine.” Luce said, tone matching Morgan’s. If this was how this was gonna go down, she could play the game. She wasn’t sure why the woman was coming out swinging like this, but she could hazard a guess. Morgan was someone who cared about Remmy and… it wouldn’t surprise her if Remmy had told her about what went down at the carnival. “An appointment. Huh.” Blinking, Luce looked over at the computer and scrolled through the schedule. Well shit. Ulf had definitely booked her, but it looked like their evening receptionist has fucked up and double booked him. “Looks like there was some kind of scheduling fuck up, but… Yeah. I can do that.” She said. If the stencil was already drawn up and Morgan had already put down her deposit, she wasn’t going to argue. Work was work. “C’mon back. And, no, no fancy tools needed.” Luce thought back to the day Remmy had entered the shop, when they’d met the first time. Oh, for fucks sake. “So, what are we doing today?”

“Of course there is…” Morgan sighed. Not for the first time, Morgan wondered if Constance had made some backdoor bargain with the universe to keep the suffering going as long as there was some miserable creature named Morgan Beck on the planet. She had come here for herself, for the promise of having a sustained goddamn feeling that didn’t strain Deirdre’s muscles, for the talk about the universe and their personal stresses they always shared, and...not Luce and her crabby emotional bullshit. But this was what Morgan had. She’d sectioned off this day carefully and timmed the distance from the start of fall semester so she could have it done, follow ups and all, before classes. No one at work would see, but she liked the idea of having something complete and beautiful that was a part of her. Maybe she just wished marking herself with sigils still did any good.

Morgan followed Luce to the back, explaining, “A rib piece, with color. It’s sort of sizable. I was talking about breaking the whole thing up into sessions, maybe.” She cleared her throat. “Does that, uh, sound good…?”

“Does Ulf know that you’re… a zombie?” Luce asked as she scrolled through the shared files on her laptop. Thank christ they had a good internal filing system for shit like this. She was able to locate the design that Ulf had already drawn up without too much difficulty. It wasn’t her personal cup of tea, but their styles weren’t that far off and she could do color nearly as well as she did black and white. “I ask because I’ve-- I did Remmy’s tattoo a while back.” She said, unable to hide the stutter-step in her voice, the slight hitch in her words. “They healed almost instantly. It’s how I knew they weren’t exactly human. So, you might not actually need a couple of sessions. Could save you money.” She said with an offhand gesture before pushing away from her desk. “This look like the one?” She asked, gesturing for Morgan to look over at the stencil that was on her computer screen.

“Yes,” Morgan said. “He said he’d never done one on, you know, someone like me before. But that’s good to know. Maybe this isn’t gonna be the worst idea after all.” She kept her eyes on Luce, watching as she choked on Remmy’s name and stiffened with awkwardness. “If you’d rather we get this done in one go and it won’t mess with your schedule that sounds fine.” She stepped closer to Luce awkwardly and took a look at the design she’d worked out with Ulf.

There was a deer skull, positioned at an angle so you could see the two wide holes where its eyes once were without feeling them looking straight at you. Bluebonnets and Evening Primrose and rich red Winecups, flowers she hadn’t seen since she left Texas, sprouted from one of the sockets. The blues, pinks, and reds on their petals were dappled with color as if from the tip of a watercolor brush. More flowers, goldenrod, blackberry, and meadow-rue, hung from the antlers, garlanded loosely in a way their real stems would never allow. A fine chain studded with small pentagram stars and crystals settled between the horns like bunting and dangled down beneath the skull by several inches. It was elaborate, but Morgan felt better about herself looking at it already. “Yeah, that’s the one. If you can do it, I guess we better get started.” She pulled off her shirt, bunched it around her chest, and waited for Luce to take on the challenge and show her the way.

“It’s your call. We can do whatever works for you.” Luce said, her voice measured and careful to avoid the halting tone it had taken on with the mention of Remmy. “Why don’t I get the outline of it done first and then we can see how it goes? It’ll be a long one session, but I don’t have anything up on the schedule. I was just hanging around in case we got a walk in. And… low and behold. A walk in.” Besides, she needed the money. Hospital bills were still rolling in from her stay after Bea’s resurrection and at the rate that Nell was going, she’d probably need to help her younger sister out too.

Staring at the design, Luce found herself marveling at Ulf’s work. He was, after all, the one who had inspired her to take up their chosen profession. His linework was impressive, the color pallet beautiful, the composition well balanced and perfectly in line with the mystical elements of the tattoo itself. She’d studied his work long enough to be able to emulate it-- the shading might not be quite how he wanted it, some of the lines might go thin in places where he preferred something a bit more bold. But, they could duke it out over beers at Dell’s if it came to it. “Alright, let’s get rolling.” She laid out her tools, fixing a new needle in her machine, laying out her pallet of inks on the rolling tray she kept by her chair as the stencil printed. The placement came easily enough and Luce snapped on a pair of gloves before settling back on her stool. “Just let me know if it feels like it’s too much and we can take a break.” She said before turning the machine on and putting the needle to Morgan’s cool skin.

“Well that’s nice and completely non-committal,” Morgan said. Probably because Luce was giving her an out. And, if she really wanted, she could take it. She could throw her money and her tip at Ulfric instead. She could forego, what, at least eight hours alone in a tattoo parlor with Luce Vural? It made a certain kind of sense and Luce would know how Morgan felt about the way she handled her bullshit with Remmy to boot. But Morgan had come here with the intention of getting her tattoo and she was not going to let her anger and bewilderment at Luce get in the way of that. They could handle a transactional meeting. “But if you’re really free all day, let’s get started.” She settled down on the seat, glancing over her shoulder at Luce to see how she was muscling up to the prospect.

“Oh, please,” she snorted, dryly. “I had a pole go in one end and out the other. I don’t think anything is going to be too--oh!” Her sentence died in a squeak as the needle made contact. There was...something alright. Like a deep scratch on her insides, one that reverberated throughout her whole body. She couldn’t remember any sensation this immediately potent except for the punches Mina threw in their practice sessions. Morgan dug her hands into her shirt and squeezed tight. “Jeez. That’s one hell of a rush.”

A part of Luce had almost hoped that Morgan would decline the offer for a full length session. It was a huge tattoo and the lengthy sessions always left her drained, her back sore from leaning over someone, her hands cramped and tired. But, the other woman seemed set on getting this done, and who was she to argue with it. “Yeah. Like I said, we can play it by ear.” She said, her tone calm and neutral.

As Morgan reacted to the sting of the needle, Luce raised an eyebrow as she continued to work. “You good?” She asked. When she’d done this on Remmy, they’d hardly reacted at all. It’d been a big part in how she’d known they weren’t human. It wasn’t that they were being macho about it, like most of Luce’s clients, they just hadn’t seemed to feel any of it. There hadn’t been any involuntary twitches to the muscle when she’d been working, nothing. “I’m guessing it must be weird, going from not feeling hardly anything to being able to feel this?” She asked, the echoes of a memory that belonged to Morgan returning in a swift wave. “Like I said, if it’s too much, we can break this up into different sessions.”

Morgan had to keep her laugh somewhere tight in her chest. “Oh, it’s definitely weird, like the world’s tiniest jackhammer is dancing on my bones. But the other thing is I have to do a whole round of mental gymnastics to trick myself into feeling things or almost feeling things, or I just get in a really great tension workout trying to make myself press into things hard enough to feel like I’m really here. But I guess you kinda know how that is, huh?” She turned over her shoulder, eyeing Luce’s reaction. For someone who pretended to have the emotional capacity of a toothpick, she’d taken Morgan’s memories mostly in stride with the brain biter and her own valuable memories had been full of feeling too. “You’re good, Luce. Although, we should probably pass the time with more than just complete awkward silence, right?”

“The tiniest jackhammer? Never heard that one before, but sure.” Luce commented blithely as she kept her hand nice and steady, following the smooth curves of the stencil, tracing over the skull design. She was already planning out how she’d do the shading of the eye sockets, the way the flowers lay against bone, but Morgan’s words took her out of it for a moment. Blinking, her hand faltered before she focused back on her work, the needle continuing to move. “Yeah. I guess I do.” She muttered, reminded of the fact that their memory swap had been just that. A swap. Morgan had seen her memories, had experienced them. The moment from her childhood when her sisters had sat on the living room floor, braiding each other’s hair. One of the many midnight margs celebrations, usually done after coven meetings or some other ritual. Morgan had seen good memories, happy memories. Memories Luce didn’t share with anyone. “Depends on how you want to fill it.” She said as she dipped the tip of the needle back into the small container of ink and resumed her work, “Are you going to try and talk to me about Remmy? I know you two are close.”

“You brought them up, not me,” Morgan said. “But yeah. We’re pretty darn close. I don’t know how much you’ve been keeping up with them or how much you actually care, but they really have been through the wringer lately. And that’s on top of all the other stuff they had to deal with before, including me.” She sighed as Luce’s needle brushed against her bone again. Who knew that something so sharp could feel so much like relief. Was this why people got hooked on getting them? “What I’m trying to say is, handle with care. Remmy can take a lot of hits, but that doesn’t mean they should have to. And maybe figure your shit out before they get their hopes up again.” She drew in a shallow breath and tried to extend her attention around her body, feel the novel tingles of air and the buzzing prick of the needle as it traveled away from her bone again and grew faint. It was all she could do not to pout. Everything about existing was work, was an act of management in concentration and willpower. At least when her bones were catching onto a feeling for her she could let go. But that would’ve been easy, and universe forbid Morgan have anything like that for long.

Luce let out a sigh as she continued to draw, machine buzzing in her grasp. Well, shit. She had been the one to bring them up. Fuck. But, it was better to rip the bandaid off now, right? Better now than to sit in awkward silence or let it hang over their heads while she worked. “Yeah. I know they have.” She said off handedly. She knew that Remmy had been through it. How could she not know? She’d held them that night when they’d re-lived their experiences at the Ring, she’d seen the collar around their neck drop them to the ground, she’d seen just how fucked up they’d been after the rescue mission. And now, the latest pile of bullshit-- she’d seen Nadia drag them out of Pat’s Place, seen them brought to their knees by poison. She knew. “Including you.” Luce echoed, remembering what those words meant. Remmy had been the one to turn Morgan, to save her. “You think I don’t know that they shouldn’t have to deal with all the bullshit life’s thrown at them? I’m real aware of that fact.” She said, though her words lacked bite. “They don’t deserve any of the fucking stuff that happens to them.”

It was hard for Morgan to get a read on Luce while she was halfway down her torso, inking out the curves of deer horns. She sounded tense, bitter, but those might’ve been part of Luce’s factory settings for all Morgan knew. “Well, I couldn’t tell from here,” Morgan said, more accusatory than she’d meant to sound. She frowned, waited a moment, and tried again. “I’m glad we can agree on Remmy needing a break. I’d guess we could also agree on Remmy deserving some basic kindness. We can’t control their circumstances much, but we can be good to them, right?” She didn’t think this was a controversial point and so didn’t wait to press on to her real question. “So I guess I’m just..really curious about why you handled your side the way you did. I know you tend to come out swinging, which I don’t follow either a lot of the time, but this...wasn’t that.”

Lips pressing together into a thin line at Morgan’s tone, Luce said nothing and instead focused on her work. She wasn’t going to fuck up Morgan’s tattoo just because the other woman was being a bitch about things to her. Even if she really wanted to. All it would take is a few little lines-- nope. She valued her work too much to fuck up someone’s tattoo on purpose. Drawing the machine back, she wiped the stray flecks of ink off with a paper towel, not bothering to ease up on the pressure. Morgan wouldn’t be able to feel it the same way people did. She dipped the needle into more ink and set back to work. “What do you mean, how I handled things?” She asked flatly, her tone emotionless. “They wanted more, which wasn’t part of the deal. From day one, I made my intentions very clear.” Luce said as she started on the curves of the deer’s eye sockets, staring blankly back at her. Almost accusingly. Oh, fuck off.

Morgan waited for Luce’s words to settle before speaking again, just in case she started snapping all over again. This was, technically, not her business. But she was upset with Luce for how her words had affected Remmy and how it had surprised her as well. She didn’t even know what, specifically, had happened. But even the vague strokes were so unlike the person she’d thought Luce was. “You were cruel,” she said at last. “What you want or don’t want to intentionally invite into your life is your business, and if you want to put boundaries around how much you really care about Remmy, go for it, whatever, I guess. But you can still be kind when you’re telling someone ‘no’ or ‘not right now.’ You can try to make the hurt as small and possible. I didn’t think you were the kind of person to do that, especially to someone kind of close to you. Which, okay, we don’t even know each other that well, really, so maybe it was my mistake. But it was still...really weird to hear about, after all you did for them.”

“What can I say, I’m a bitch.” Luce said callously. A nosy bitch, getting into other people’s business, doing things that pissed people off just because she could. And she was more than happy to live with that reputation. It was fine, it was normal. As Morgan continued to talk, Luce began to start on the outlines of the flowers, their delicate petals requiring a lighter hand. She rolled her eyes at that-- a lighter hand. People would like it if she handled things that way, wouldn’t they? If she was kinder, if she wasn’t as rude, as rough, as angry. “They weren’t close to me.” She insisted. “We just fucked.” Luce said, though the words didn’t hold quite as much weight as they once had. They hadn’t just fucked. They’d held her that night when she’d broken and told them about Bea, she’d done the same for them after they’d been torn to pieces. She’d broken them free from the Ring, destroyed the building, taken lives… for Nell, yes. But, for Remmy too. Looking at her gloved hands, Luce’s jaw clenched. “I did shit because I wanted to. Not because of them.”

“Okay, I know you didn’t just fuck,” Morgan said, rolling her eyes. “I know you made yourself emotionally present for them in some really rough, vulnerable moments. They told me how safe you made them feel, and how it seemed like you were opening up. And you were ready to kill everyone at the ring before you knew they had Nell too.” She gasped as the needle circled over her rib bones again, making her insides almost come alive. “And maybe we’re not close, but I know enough about you to know you’re not just a bitch. What I don’t get is why it’s so important to you that other people see it that way. No one is vulnerable about everything all the time, and for some people...yeah, kindness and softness has to be earned. But...you still haven’t answered my question. Did their question make you feel...betrayed or upset somehow? Were you scared?”

Luce sucked in a breath at Morgan’s words. Of course, Remmy told her about shit. Of course they did. “Maybe I got a taste for it. Who knows.” She said in an offhand tone, brushing past her quick leap to destruction. She continued to do her work, keeping her hand nice and steady as Morgan continued to talk at her. So they’d swapped memories once, that didn’t make Morgan an expert on her, or her feelings. She didn’t fucking do feelings, not like that. But, at the last question, her eyes widened in surprise. If she didn’t have literally years of experience, of people saying stupid shit that caught her off guard, she might have fucked up her lines. Instead, her hand remained steady. Even so, there was no way to hide how her breath hitched slightly. “You don’t need to know why I did what I did. You’re not Remmy’s keeper and you’re sure as hell not mine.” Still the word echoed in her mind. Scared. She wasn’t scared. She wasn’t. Wasn’t she?

Morgan caught the way Luce doubled down on her tension. So, getting warmer, maybe creeping up on a nerve. It probably shouldn’t have felt so surprising; fear made fools of everyone. Hadn’t she learned that one a dozen or so times over? “You’re too interesting to be selling yourself short like that. But…” She gasped again. Why couldn’t she just shut up and enjoy this again? Luce was right, she wasn’t Remmy’s keeper, and even if she was still mostly playing by their request to ‘not yell at’ Luce, she was...definitely skirting around things. But it itched at her worse than this needle, knowing Remmy had been hurt out of, what, recklessness? And Luce was cutting herself off from a relationship she had seemed to care about right until it was brought to the surface and made real. “You’re right,” she said at last. “We don’t have to get into this. We can go though the next eight hours talking about something else. Like...this is the first feeling-almost-feeling I’ve had that didn’t give someone at least an arm workout...well, actually, I guess you will have one by the time we’re done, but, it’s the concept for the thing. Or uh…” Stars, they really didn't have that much in common, did they? “You know, if this thing that doesn’t matter to you at all is also for some reason too much to talk about, maybe you should pick.”

“Damn right we don’t.” Luce said firmly. She’d dealt with longer sessions with worse people before. Then again, they weren’t usually people she had to deal with outside of the shop. But, someone who knew her the way Morgan did? Someone who knew her family? It made things trickier. She knew she could keep her cool about this, that she should just keep her mouth shut and deal with it. So Morgan wanted to bitch at her about how she’d hurt Remmy. So fucking what. She could handle it. Then why did she feel anger creeping in the pit of her stomach? Pulling the machine back from Morgan’s skin, Luce tossed the machine down onto the tray next to her with a loud clatter. “You don’t know a goddamn thing about me, Morgan, which is exactly how I like to keep things. You don’t get to tell me what I should do, that I need to pick and choose. I already made my decision, I already chose. And you don’t need to know why I did.” She said, staring at the woman with fire in her eyes.

Morgan groaned deep in her throat. Now she wasn’t even feeling anything. But now without having the precision of the device to worry about, she could turn and look at Luce fully. She was angry alright, but nothing she was saying was making sense. “I am very certain I already conceded that first point, she said. And as for the rest, I didn’t say literally any of those things. Which makes me wonder who exactly is? Who is telling you what you need to do or that you have to pick and choose between...whatever it is you think your binary options are? Or that you can’t change your mind about your decision later? Because I just wanted to know why you went out of your way to be mean to someone we both care about, and then I offered you an out. So what are you really upset about here, Luce?”

Startled, Luce stared at Morgan for a moment. She had said those things, hadn’t she? Or had Luce been reading too deeply into things, looking into things that didn’t exist? Either way, her outburst had dug herself an even deeper hole than she’d started in. Fuck’s sake. Luce rolled her eyes, though the action was more for show than anything. It was a way to get people to leave her alone. But, she couldn’t unhear the other woman’s words. What was she upset about? Really? “What am I upset about? The fact that Remmy went off and fucked everything up. Things were fine, just the way they were. It was all just for fun. And then they wanted more. I fucking told them that I’m not interested in more, because I’m not go-- I don’t do more.” She said before rolling back from the chair, her hands up in the air. “Look. Ulf’s appointment ends in ten. Get him to finish your tattoo. I’m done.” Luce said with a shake of her head.

“Luce…” Morgan said softly. “Hey, you...are a good person, Luce. You’re good. I mean, I kind of hate that word, it’s so arbitrary, but as far as I’m concerned, you are. And I’m not the only one, okay? Whatever it is you need out of your relationships, whatever you choose, as long as it’s really what you want and need, that doesn’t change the fact that you’re good. And if your needs change, you’re still good. You’re good and you deserve to be happy, whether that includes ‘more’ or not, or Remmy or not. You deserve to be more than just okay. You know that, right?” She cleared her throat, looking down at her wrinkled shirt and the only mostly done outline of her tattoo. “But uh, if you need a break or you’d just rather not anymore, that’s...fine.”

You deserve to be more than just okay. Luce had said similar things to Remmy before and now they were being turned onto her. She wondered if they felt just as false to them as they did to her. She didn’t deserve someone like Remmy, didn’t need someone like them in her life. Because what would happen if she did let them in? If she said sure, let’s try, let’s be something? She’d open up to them and that scared her. But, Luce was startled to realize, what scared her more than the vulnerability of it all was the wanting. She wanted to open up to them. To be honest with them. But, what would happen then? Nothing good. Staring at the outline on Morgan’s side, she sighed. “I’ll finish it. But,” She grabbed the remote to the stereo system from her desk, loud music filling the room. “No more talking.”

#p: morgan beck #p: utnp #wickedswriting #needles cw

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just-another-romantic · 5 years ago

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Six Times: Part 6/6- The One Time He Did

Series Summary: Five times Bucky wanted to kiss you + the one time he did

Pairing: Bucky Barnes x Reader

Warnings: loads of depressive thoughts from both the reader and the soldier, fluff-so much fluff to make up for the angsty mood.

“We deserve a soft epilogue, my love. We are good people and we’ve suffered enough.” - Nikka Ursula.

Hands. The workers of our bodies. So many precious moments captured by them. Slender fingers dancing across the bridge of porcelain keys, the magic that sparks when two lovers intertwine their hands together. There’s a reason why old witches read palms, they had seen secrets in ways no one else could. Hands gathered crops, knitted clothing, stitched wounds together again. Hands give life.

Bucky had never liked his hands, for multiple reasons, really. He hated the way his veins popped out on his skin, how calloused they were from working in Brooklyn. He hated that he never had long enough fingers to play the piano or the guitar or no matter how many pretty girls held his hand, they never fit perfectly and there were never explosions of skin on skin.

After that long fall in Austria, he hated how he only had one. And after many cold, sleepless nights in a prison cell when Hydra had to keep him awake, Bucky hated how they were a weapon of war.

Now, sitting on the roof of Avengers tower, looking out on all of New York, Bucky looked down at his hands, blinking tears out of his eyes. He hated his hands more than ever because they had almost taken (Y/n)’s life.

Obviously, Bucky had no recollection of it- memories of the Winter Soldier only came back in dreams, so vivid there was no denying that they were real. He woke up in his bed with a pounding ache in his right temple. Steve sat next to him, a face so grim it made Bucky’s heart drop.

“What did I do?” he asked, his voice raspy and dry.

Steve just whispered, “She’s in Med bay. We could’ve lost her.” The captain might as well have torn the sergeant in half.

That was a month ago. Bucky refused to see her, even when she got out of hospitalization. It was safer that way. He couldn’t hurt her anymore.

But (Y/n) was persistent. She knew it wasn’t him that blocked her airway, it was the ghost of what he had to become many many years ago. She didn’t even need to forgive him if there was no way her heart could be mad at him.

However, she still respected his space. She knew that he was ignoring her for a reason-fear. Fear of hurting. Fear of anger. fear of everything that was unknown to him. Instead, Bucky would find letters slipped under his door, the ink of (Y/n)’s loopy cursive bleeding through, still fresh. She built dreams in paragraphs, telling him how there was no possible way for her to be angry. She signed every letter with I love you. Bucky wished he could believe it.

There was no way she could’ve meant it. Bucky was awake at 3:30 in the morning only because he dreamt of it; he had remembered it. (Y/n)’s eyes red and popping, the way how she had tried so desperately to make reason with him, the way her hand delicately caressed his face before passing out, as if it was a romantic moment instead of deadly.

Just as he was contemplating whether to stay or not, his ears picked up on the soft patter of bare feet against the concrete roof. “FRIDAY still tells me when you have a nightmare,” (Y/n) explained, “guess Tony still has that coded in whatever system.”

Despite himself, Bucky turned to look at her. The first time he laid eyes on her in a month. Her bright eyes were glossy and red rimmed, underlined with dark circles, her hair a mess from sleep and sweatpants and T-shirt wrinkled and lopsided. She was a specimen of true beauty. Her name spilled from Bucky’s lips the same time his did her own. She laughed, as smooth and sweet as honey. Oh, he wished he could smile, laugh along with her as if he wasn’t living his worst nightmare.

“You should go back to bed,” he told her gruffly.

“You say that as if I have been sleeping at all,” (Y/n) replied, standing her own like a force of nature. Wildfire, Bucky thought, she’s made of pure gold. “Buck, what you did, wasn’t you.”

“It was still my hands.”

“Being controlled by the demon those bastards made you into,” she said, voice raising in volume. Bucky’s voice caught in his throat. “Seventy years, Buck,” she continued, voice cracking in bits and pieces. “Seventy years of torment, brainwashing you to the brink of madness itself. Seventy years of doing the dirty work of high men who couldn’t afford to get their hands bloodied, so they hung the price and guilt over your head.” (Y/n) paused, choking down a sob, wiping the evidence off of her face with her sleeve. “You weren’t yourself all those years. You were thrown into the pit of hell and dragged yourself out of it. That was you, Bucky, not that weapon they made you think you were.”

“Is that what you think?” He asked, barely louder than a whisper. “Yes,” she answered. “It wasn’t the Bucky that I know and love.”

He could barely comprehend the fact that (Y/n) (Y/L/n) just admitted that she loved him before she was scrambling forward, boosting herself on the edge of the building next to him. In her charcoal covered hands was a spiraled notebook. Gingerly, she held it out to him, in such a manner that seemed as if she was giving over her own heart. Bucky obliged, the leather of the notebook feeling heavy in his hands. “I don’t know if my words can convince you, Buck, but maybe these will.”

Bucky opened it. The first drawing he saw was a black and white oil pastel. The image so detailed it could be mistaken for a photograph. It was from her point of view, laying on a cold hospital bed (though one could barely consider it a bed), left forearm stretched out, fist clenched, almost painfully tight. The only color on the page was the bright blue liquid that dripped from her IV, flowing into her bloodstream. Hydra’s mixture. Deep breaths, Bucky...

The next page he flipped to was obviously a self portrait done by (Y/n). The image rattled Bucky to his core. It was of her, stuck in the corner of a room, knees to her chest. Zip ties held her hands and feet together, tears streamed out of fearful eyes. She was screaming, but the duck tape against her lips prevented any noise from coming out. But scrawled onto the tape in bright red pen were the words Ready To Comply. Bucky shuddered, a sudden chill washing over him.

He skipped the next few pages until his eyes landed on one that was unmistakably him. His body, tangled in white blankets, only his bare back exposed. His arms used as a pillow for his head, shaggy black hair a mess around him. A image of him during a nightmare, no doubt. Above him, numerous hands reached out to him ominously, blood trickling off of some of the fingers. It was watercolor, brush strokes capturing the beautifully terrifying moment.

There were dozens more. Of him, of her. The last one captured his attention the most. Yet again, its him - pale skin contrasted by long brownish-black locks of hair, limps parted in a whimper. Hands made of smoke cover his eyes and a good portion of his face, the seal of Hydra burnt into the skin in red. He’s trapped, blind, and so vulnerable. Above him, the same red spells out Hail Hydra. The sight made Bucky want to throw up.

A warm flesh hand grasped Bucky’s metal plated one. “That man that I drew, he is not you. You are James Buchanan Barnes, not the Winter Soldier. Not the monster the media thinks you are, or the monster you think you are, or the monster Hydra tried to make you. I love you, regardless of what you think you are and what others have made you out to be.”

Throughout her entire speech, (Y/n) had been moving closer to him, snuggling herself into Bucky’s side for comfort, and when the man turned his head, there noses were nearly brushing. Her features were barley visible in the early morning light, but the warm glow of the lights by the door caught the mountains of her cheek bones, the slope of her nose, and the curves of her lips. Her lips - pink, full, and glossy. The pair’s heavy breathing mixed.

“Bucky,” she whispered, her hand grasping onto the fabric of his shirt. His flesh hand cupped her cheek, admiring the handiwork of God himself, and closed the gap.

Bucky’s mind fell into the abyss that was (Y/n). His mind went blank. She tasted like lavender and honey, with the faintest hint of mint. She smelled like vanilla Her embrace felt like home. It was over a second later, (Y/n) being the one to pull away, shaking like a willow. A tear slipped from her closed lids and Bucky was quick to kiss it away, the salt staining his tongue. “It’s happy tears,” she assured, (y/e/c) revealing themselves from under hoods, meeting steel gray. “I love you,” he admitted weakly, “ever since I saw you in that dress at Stark’s party.”

Her laugh echoed through the night, melodious. “About damn time, Barnes.” They chuckled together in harmony.

“I have a question,” said he.

“I have an answer.”

“How long have you loved me?”

Sighing, (Y/n) leaned against the solid, unmoving man, her head pillowed in the slope of his shoulder. “I was so blind,” she said, barely audible, as if she was afraid to answer. “I didn’t realize I loved you until when you visited me in the hospital, how upset I got when you didn’t kiss me. That’s when I finally began to admit it. But my soul loved yours long before that, maybe even before we met.

“When I first met you,” she continued, “my heart lunged out of my chest. My soul knew yours, no doubt. I kept my distance though.”

“Because you were afraid of me,” Bucky concluded.

“No, because I was afraid to fall in love with you the first day.”

Bucky let go of his metallic grip on her hand, stretching it out. “So...this thing doesn’t bother you?”

She smiled, teeth flashing and light reaching her eyes. “Not in the slightest.” As gentle as a June breeze, she enveloped the hand in her own. “Do you know how it works?”

The childlike curiosity made him chuckle. “If I’m being completely honest, I’ve got no clue.”

She playfully swatted him. “I feel like if it’s attached to you, you should know how it works!”

“All I know is that it’s somehow connected to my nervous system!”

The vibranium plates clicked and whirled underneath (Y/n)’s fingertips. “So, like, can you feel things with it?”

“In the hand, yes,” he explained. “In the arm I just feel pressure.”

(Y/n) lifted his hand to her mouth, pressing a gentle kiss to the palm, then to the pads of his fingers, the coolness enveloping warm lips like a balm. Goosebumps pricked up on Bucky’s flesh as (Y/n) began to leave a trail of kisses, trailing up his arm to his left cheek. The center of his forearm, the crook of his metal elbow, a single tender kiss were scared tissue met bolts and nails, and finally, a soft kiss to the slope of his cheekbone.

“I don’t know how many more times I’ll end up saying this tonight, or how much more in days to come, but oh my god, I love you,” she said with a breathy laugh.

“You can say it as often as you like, only if you do me the honor of being my girl.”

She smiled, pressing a quick peck to his lips. “Of course,” she murmured before leaning in for another.

“(Y/n)…tell me this isn’t a dream.” His whisper was pained, frightened. “I don’t want to wake up from it.”

She offered him another kiss, and he quickly complied. Once pulled apart, she said, “I don’t think my heart would be beating this madly if it was.”

FINAL NOTE

Holy crap. It’s finished. I hope you all love this story as much as I do. Special thanks to @acf2510 for unending love and support on this series. Feel free to message me or comment if you would like to be on my EVERYTHING taglist. I love you all. Peace out, ima go cry now.

SIX TIMES TAGLIST

@acf2510 @sweetcarolinestudies @clarinette07 @amyy-moonlightt @mood-pancakes @buckybarnesprotectionsquads @iamquinn @liesllane @destinydameme @the-wayward-robot @booktease21 @wickedapollo @metoo-desu @authorpocketcow

#marvel #marvel fanfiction #marvel x you #marvel imagine #Bucky Barnes #bucky barnes fanfiction #bucky barnes x reader #bucky barnes headcanons #bucky barnes fic #Sebastian Stan #sebastian stan x reader #sebastian stan x you #sebastian stan headcanons #Winter Soldier #winter solider x reader #winter soldier x you #Avengers #avengers endgame

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trendingtattoo · 5 years ago

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Top 40 Female Tattoo Artists Around The World

Tattoo art is not just a male thing, in fact, there are several female tattoo artists famous world-wide. Today, we are presenting you with top 40 female tattoo artists around the world. These are all top most influential female tattoo artists. They are known for making a difference and taking the industry to the next level. Have a look at our list below…….

1. Hannah Aitchison

Hannah Aitchison is an American tattoo artist, currently located in Pittsburgh, Pennsylvania. With over twenty years of industry experience, Hannah Aitchinson is one of the most famous female tattoo artists. She has been featured on a number of tattoo reality shows, including LA Ink and Best Ink as a judge. She owns a tattoo studio, namely, Curiosity Shop where she works with her husband Scott White.

2. Petra Hlavackova

Petra Hlavackova, hails from Czech Republic, and is currently located in Berlin. She is famous for her sketchy, heavily lined tattooing style which is mostly done black and white with sporadic bursts of bright colors. Majority of her work features the geometric style of abstract tattooing along with portrait or nature themed artwork. She has earned herself a name in the world of watercolor tattooing. She is an amazing artist, if you are looking for a watercolor tattoo work, then she is the right person.

3. Yanina Viland

Yanina Viland is a Ukranian tattoo artist, currently located in Saint Petersburg. Yanina is known for her sketchy, modern style of tattoo work. Her work heavily emphasizes the use of bold lines and watercolor-esque splashes of color. She has gained popularity across the world for her beautiful artwork. Yanina strongly believes in improvisation, most of her work is improvised, as the result of conversations and inspirations with her clients, family and friends. She has a unique gallery, which you can always get inspired by.

4. Lara Maju

Lara is a Hamburg based tattoo artist, designer and artist. Her work majorly spans tattoos, visual art and fashion. If you’re looking for the hand-poked tattoo varieties, then Lara is the person for you. She is known for her outstanding tattooing skills. She typically uses black ink along with some colors mixed in for a soft wash of pigment.

5. Zihee

Zihee is a South Korean tattoo artist, presently she is located in Seoul, Korea. Zihee has earned a name for herself through her unique tattoo designs. She has mastered the art of tiny tattoos. Most of her designs include small and colorful flowers and animals. If a tiny tattoo is your choice, then Zihee is your person. Whether you are looking for a tiny rose etched on your ear or a floral painting etched on back, Zihee does it all.

6. Meghan Patrick

Meghan, the New Jersey based tattoo artist. She has been tattooing since 2002, and is famous for creating colorful artwork with a high level of technical skill and enthusiasm. Her subject spans from pop culture, to abstract, and nature themes. She describes her style as “pretty.” She has won over 20 awards at various conventions around the U.S. and is currently working at Twelve Ounce Studios in Deptford, NJ.

7. Miryam Lumpini

Miryam Lumpini is a Swedish-born tattoo artist and painter. She is famous for her outstanding artwork. Currently she lives in Los Angeles. Her clientele includes celebrities like Jhené Aiko, Swae Lee, and Skrillex. She is known for her bright and bold tattoo designs.

8. Masha Vivo

Masha Vivo is a Moscow-based tattoo artist, and is famously known for her super thin script and delicate drawings and tiny tattoo designs. If you are seriously obsessed with tiny tattoos, then Masha is the one to follow. All her designs her unique and beautiful. She operates from her own tattoo studio – Vivo Tattoo Studio.

9. Stephanie Brown

Stephanie Brown is a tattooist and painter. She has been working in the tattooing industry since 2010. Currently she is located in Chicago and she used to work at Butterfat Studios, a private, appointment-only studio in Logan Square. Her work is mostly influenced by natural elements, like flora and fauna, her tattoos look more like a painting. She is known for her intricate artwork. If intricacy is that you desire, then Stephanie Brown is the one for you!

10. Gabby Colledge

Gabby Colledge is a London based musician and tattoo artist. Colledge is very well-known for her cursive tattoos, which she does in her own handwriting for an organic but imperfect look. Her clientele includes celebrities like Jesy Nelson, who got her “girl power” tattoo from Colledge. Besides, she has done a lot of rib-cage tattoos. Her work spans from nature to abstract line work to sentimental quotes.

Also See: 10 Things Not to Say to Your Tattoo Artist

11. Megan Massacre

Megan Massacre started tattooing in 2004 when she was just 18-years-old. She has been featured on TLC’s America’s Worst Tattoos and NY Ink and Fuse’s Bondi Ink. Megan has authored many books, in which she has detailed her tattooing experiences. Megan co-owns NYC’s Grit and Glory and has tattooed high-profile clients, including Zayn Malik.

12. Brittany Randell

Brittany is a Toronto based illustrator and tattoo artist, her work majorly focuses on the biology of people, nature and animals or even a combination of these things. She is known for tiny scripts and intricate portraits. If you are interested in a tiny tattoo, then Randell is the right person to get it done.

13. Amanda Wachob

Amanda Wachob is a New York City-based tattoo artist. She is known for her innovative and conceptual body artwork. If you’re looking for impressionist-style paintings, just like Van Gogh’s “Starry Night”, then, follow Wachob. Her tattoos look like colorful paintings done on her body. Besides, she also creates abstract tattoo artwork along with more realistic designs.

14. Lisa Orth

Lisa Orth is Los Angeles based tattoo artist, who is known for creating intricate tattoo designs with bold black lines. Majority of her work features picturesque landscapes or other nature-themed designs. She is an outstanding female tattoo artist.

15. Alex Strangler

Alex Strangler is a CA based tattoo artist, who has taken the art to another level. She is known for her artwork world-wide. She owns her own tattoo studio in Studio City, CA. Majority of her work is influenced by pop culture, such as Disney, the Simpsons, South Park, etc. that features aqua, purple, and pink tones most of the time. Her style can be described as Neo-Traditional.

16. Kandace Layne

Kandace Layne is an Atlanta based tattoo artist, who is particularly known for her henna- and mehndi-inspired tattoo designs. Layne has mastered geometric and mandala tattoo designs. Her work looks exceptional and beautiful. If you are looking for intricate artwork, then Layne is the person to contact.

17. Ryan Ashley Malarkey

Ryan Ashley Malarkey is an American tattoo artist and fashion designer. She has made her appearances on the television shows Ink Master and its spin-offs. She has taken a formal training in fashion designing and the same reflects in her tattoos as well. Malarkey specializes in black-and-gray designs with beadwork, lace detail, and ornamental jewels. She became the first woman to win Paramount’s Ink Master in the year 2016. She owns a private studio in NYC, besides she also tattoos at conventions around the world.

18. Sarah Miller

Sarah Miller is a Public Figure, Tattoo artist, and a world traveler, who is currently located in Pittsburg. She was one of the competitors in the hugely popular TV show Ink Master. She entered the tattoo business in the year 2009, and has gained immense popularity for her portraiture. Besides, she specializes in pin-ups as well. She operates from her studio Wyld Chyld Tattoo in Pittsburg, PA. Majority of her work is influenced by the hard-core subjects from Neo-Classical, Romantic, and Art Nouveau periods in France.

19. Mira Mariah

Mira Mariah, better known on Instagram as GirlKnewYork is a Brooklyn based tattoo artist. She has only been tattooing for four years. However, she has garnered quite the following on Instagram in such a small duration. She is popularly known for her whimsical, linear tattoo designs. Mariah’s designs are easily recognizable. She is known for celebrating her disability through tattooing.

20. Tamara Lee

Tamara Lee is Melbourne based tattoo artist, who is renowned for her dot-work. She has been tattooing for nearly 10 years now. Besides doing dot work, she also specializes in geometric and floral pieces. Tamara works at Sacred Gold Tattoo in London and Two Snakes in Hastings. She has earned herself a name in the industry by her flawless symmetry and overlapping tattoo designs. Lee specializes in a stippling technique, the technique of applying ink in small dots for a gradient effect.

21. Grace Neutral

Grace Neutral is a model, television presenter, and hand-poke tattoo artist, currently located in the United Kingdom. She has over half a million followers on her Instagram. She is the presenter of an I-D magazine documentary Beyond Beauty. Neutral entered the tattoo industry as a piercer before hand-poke tattooing, a machine-free tattooing method. She is acclaimed as one of the best hand-poke tattoo artists. Previously she worked with Good Times Tattoo and has also attended the London Tattoo Convention with them in 2014. Currently, Neutral works at her own studio- Femme Fatale Studio in Hackney Wick.

22. Lauren Winzer

Lauren Winzer is an amazing tattoo artist, who is currently located in Sydney, Australia. She is famous for her unique and fun style tats. Lauren has tattooed world-famous celebrities, including Miley Cyrus, Post Malone, and Katy Perry. Lauren is known for her quirky artwork. If you’re looking for a fun throwback tattoo dedicated to your Disney and Nickelodeon favorites, then Lauren is the right choice.

23. Kat Abdy

Kat Abdy London based tattoo artists who works at Cloak and Dagger Tattoos in London, England. Abdy is renowned for her Neo-Traditional tattoo designs that majorly focus on dark and contrasting colors. Majority of her designs are influenced from the Greek Renaissance. Most of her tattoos are larger scale with a lot of detailing and intricacy.

24. Rachel Baldwin

Rachel Baldwin is the UK based tattoo artist, she works at Bold as Brass Tattoo in Liverpool. She describes her style as “girly traditional.” She is famous for cute, colorful animal-based tattoo designs. Besides, Baldwin’s artwork is strongly influenced from the artwork of Disney, as well as classical horror movies like the Shining.

25. Cally-Jo

Cally-Jo is a NYC based tattoo artist. While pursuing her Fine Arts, she experimented with the energetic and bold designs of graffiti and mixed media, which is clearly visible in her tattoo designs. She has mastered pencil drawing at the Winchester School of Art, which reflects in most of her artwork. More often than not, her work features human skulls as the subjects. Cally-Jo is well-known for grayscale tattoos, which involves a lot of shading. Besides skulls, the other subjects that she loves to work on include, hyper-realistic animal portraits.

26. Sasha Unisex

Sasha Unisex is a Russian Tattoo artists. She is one of the best tattooists in the world. Her unique tattooing style has gained popularity around the world and formed the basis of products created under the same brand. Sasha is very well-known for the graphic watercolor tattoo work. That’s what made her so famous across the world.

27. Sara Fabel

Sara Fabel is a Finnish actress, model, illustrator, and tattoo artist. Besides, she is an avid traveler who has spent most of her adulthood traveling the world. She is an outstanding tattoo artist, who is famous for her blackwork, with strong lines and minimal shading. Most of her designs include, horned skeleton or ghoulish zombies etc. She is very active on social media and can be found on most social media handles.

28. Ryan Ashley

Ryan Ashley is a US based tattoo artist, who co-owns the Strange and Unusual Oddities Parlor in PA, along with her husband. Ryan is known for her detailed realistic tattooing style. More often than not, she does freehand tattoos (without sketching a tattoo onto the body). That’s the reason her work always has natural flow and curves of her subject. She is famous for her unique style, which makes the tattoo look unusual and gorgeous.

29. Jess Chen

Jess Chen, the Toronto-based artist has earned both name and fame for herself. Tattooing is more than just a job for Jess Chen. It’s sacred! She is very well-known for her artistic approach and playing with shapes, lines and colors, and making her subjects’ bodies as much a part of the tattoo as the tattoo itself. She is not only known for her minimal tattoos, but also she’s known for her sketchy floral designs.

30. Jessica Downer

Jessica Downer, the California based tattoo artist, who is known for her realistic tattoo designs. Majority of her work spans black-and-gray and realistic horror-themed ink. She is an amazing tattoo artist, who can be found at InkSanity, Lake Elsinore, CA.

31. Rose Hardy

Rose Hardy is from New Zealand, currently she is located NYC. She is famously known as the only woman judge who has been judging Ink Master for the past 11 seasons. Though Hardy specializes in neo-traditional tattoo, her black-and-grey and color realism artwork is equally mesmerizing.

32. Rit Kit Tattoo

Rita “Rit Kit” Zolotukhina, a Ukrainian tattoo artist, who is known for making “botanical fingerprints on the bodies of other brave nature lovers.” She uses natural leaves and flowers as her guide, her tattoos are virtual impressions that capture all the delicate details of nature. She is known for experimenting and pushing the boundaries of the field. She always wanted to move beyond conventional work and that’s what became her inspiration for her “live leaf tattoos”. Majority of her work is inspired by nature and elements of nature. Rita’s life-like tattoos are modeled after her customers began choosing actual plants.

33. Krissy The Butcher

Krissy the butcher is renowned for her intricate grayscale body art. Krissy is a Michicgan based tattoo artist who co-owns her own tattoo studio in Michigan. She is known to create just about any design her clients would ask for! Her designs are super personal, which are mostly Egyptian, Indian, Thai, and African images. So, if you are looking for a gorgeous tattoo design that resonates well with your culture, Krissy is the right person to contact.

34. Whitney Seanor

Whitney Seanor is located in Pittsburg, PA, and is known for amazing portraiture. More often than not, her subjects are Hollywood and film icons, such as Maude, Robin Williams, etc. Besides, she is also known for inking realistic animal and nature themes as well. Most of her work is done in black and white grayscale with occasional splashes of color. Seanor started tattooing in the year 2010, and has earned 1st place awards at the Pittsburgh Meeting of the Marked tattoo convention for her black and grey portraits 2 years in a row, and 1st place Black and Grey portrait at the 2013 Steel City Pittsburgh convention.

35. Moni Marino

Moni Marino, an Italian tattoo artist, who is famous for her photorealistic, colorful style, and black-and-gray Chicano style. She works at her personal studio in Vienna. She started tattooing in Germany, and became so popular there that her German clients make trips to Austria for tattoo appointments. Her favorite subjects include, Venetian masks and portraits of beautiful women. She is an outstanding tattoo artist and can be contacted if you are looking for an intensely expressive tattoo work.

36. Jade Quail

Jade Quail, is California based tattoo artists, who is known for linework and dotwork. Most of her geometrically-inspired work is done in black and gray that boasts a high level of technical skill. Jade’s work spans from beautiful nature to horror-themed portraiture. She works at Inland InkSpot Tattoo Co. in Lake Elsinore, CA.

37. Pony Wave

Pony Wave, a Los Angeles based tattoo artist, who is known for her mind-blowing realistic tattoo designs. More often than not, Pony’s art is influenced by elements from nature. If you are looking for a realistic artwork on your body, then Pony is the one to approach.

38. Whitney Havok

Whitney Havok, a Washington based tattoo artist, who is extremely famous for her versatile artwork. Her work spans the hyper-realistic portraiture. She majorly focuses on Neo-Traditional style of tattooing. She is a wonderful tattoo artist who can be found at Paradox Tattoo in Bonney Lake, Washington.

39. Kat Von Drachenberg

Kat Von Drachenberg, popularly known as Kat Von D, is a Mexican-American tattoo artist, musician, author, model, entrepreneur, and television personality. After starring in Miami Ink and LA Ink, Kat has become the most recognizable artist on television. Besides, Kat has also developed one of the most successful beauty brands under the sun. She is the most followed tattoo artist on social media and has also been on the cover of INKED 5 times.

40. Shanghai Kate Hellenbrand

Shanghai Kate Hellenbrand, often referred to as “America’s Tattoo Godmother”, a title that she deserves for all the good reasons. She has been in the industry for over 40 years now. She began her career as the tattoo artist in the year 1971, when hardly people used to enter this industry. Her dedication to her craft has made her standout in the industry. Hellenbrand was even invited by Norman “Sailor Jerry” Collins to become part of The Council of Seven at the first international tattoo convention in Hawaii. Hellenbrand owns a tattoo studio viz., Shanghai Kate’s Tattoo Parlor in Austin, Texas.

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