#i wanted to draw something different but I'm fine with the results...

[averyshittyseal]

Drunk kisses, only drunk kisses.

When your homie is tremendously hot.

[andhumanslovedstories]

I've been running this writing experiment lately to cut out phrases like "I felt" in my fiction writing. Like I was looking at a sentence in a draft that said, "he felt as if character's eyes were pinning him in place." And then I was like, "well, does he think that or is it true? As a result of this person watching him, he's froze. It's not like a thing, it is that thing."

Oh and "almost"! I'm always going, "He felt almost relieved that it hadn't happened." Well, did he feel better that it didn't happen or didn't he? Or "somewhat", I'm always going, "she felt somewhat perturbed."

And like none of that is wrong, to be clear. I don't know if it'd improve your writing, I don't even know if it'll improve my writing, but I use this sentence structure all the time so every viewpoint is from a voice that thinks about what it thinks, hedges its statements, and offers the same ability for wry little jokes formatted in the exact same way. And I have a lot of writing like that and I think (!) that they're good, but read as a whole, I'm like, "god, they all sound the same." Like there's one melody that I write songs to, so even with different lyrics, it's almost (!) the same song. Something I've been struggling with in regards to my writing and why I've felt so blocked is how boring I found writing my usual way. I'd read something and enjoy the individual parts of it, but then I'd step back and I didn't like the whole. And I got good at this enough at seeing that I didn't like it to do it in real time as I was writing, which as you can imagine didn't improve the process of writing because now I was bored AND dejected about being bored.

There's this sentence-level structure fact that I use unconsciously. A pattern I find easy is short sentence, short sentence, short sentence, long sentence. So I write that. "He [verbed]. He [verbed]. Then he [verbed]. As he [verbed] to his [consequence], he [verbed] that [noun] was [statement of condition]." Which could work, it often does make for a nice rhythm, but it's something I reach for often because it's easier for me.

Just last sentence, I originally typed, "I find it easier for me." But if what I mean is "using this pattern is less effort than another pattern," then it's easier for me. One voice is hedging its bets and the other asserting. Either is fine! But they're different! And, again, GOD you would not believe how many words I've cut out of this paragraph as I write it. I'm so chatty. I love using twelve words when six will do. And that gives my writing a specific tone to my ear.

So if I am bored of that tone, why not try using just the six words? Why be understated? Why be afraid of stronger opinions? So right now with my fiction, I'm experimenting with cutting out as many self-reflective words as I can. Sometime you do need to draw attention to the face that this is the character's interpretation, but like you definitely don't need to do it as much as I naturally want to do it. You don't need to always go out of your way to allow the possibility that the narrative voice is wrong. During editing, I trim the weaker ones (I originally typed, "what I consider the weaker ones" Is that more accurate?). But I think them being there in the first place shifts my language which shifts my character's which shifts my plot. It's sentence structure all the way down!!

(this barely applies to my writing on here, btw. i try to do good but yknow this is a tumblr blog. i'm not trying to get a lit mag to accept it.)

Anyway blah blah (chatty!) the point is I've been trying to write in a way opposite of my interests. Something that doesn't take itself too seriously, that emphasizes EMOTION and ACTION instead of minimizing it, and that clips through scenes at a good pace. Doing this been amazingly fun. I've been having such a good time doing it. I am writing so much because I really enjoy doing it. The process of writing is so fun again.

This post is about two things. One is my new mood stabilizer and therapy day camp. The other is about the benefit of pretending to be MXTX.

[bluegekk0]

Finished designs for the FPK Dragon AU! Very happy with how they turned out, I'm definitely going to draw more art for this side AU in the future

Some short info and close-ups below

General AU stuff:

I don't have many story or world details yet, but in general it would be quite simplified and changed in a lot of ways

The vessels are not a thing, though The Radiance does exist and the infection would still happen in some shape or form (I haven't thought of the details yet). Holly's purpose would still be to put a stop to it, but the whole aspect of emotionless void beings is not included

Humans don't exist in this world, so the one above is simply to get an idea of their scale. The dragons in that world are sapient and live in communities, a lot of them can use magic and similar powerful abilities

More info to be added as I brainstorm it, and I might design more characters for the AU in the future

Character specific stuff:

Vyrm - a lot of his backstory is very similar to the main AU, his kind is considered extinct (the reason would most likely be different), though he never changed his form to be smaller, which means his large wyrm form does not exist here. His relationship with WL was also basically the same, as was his journey of discovering his love for Grimm. And just like in the main AU, he ended up losing his status as a leader and hibernating. Unsure whether he would also lose all his powers, since I want to keep his workshop hobby and I like the idea of him having powers that he learned specifically for that purpose (not to mention, doing any kind of precise engineering would be difficult with his dragon anatomy). So we'll have to see.

Grimm - once again a very similar backstory to his main AU counterpart. He is one of the most powerful dragons to exist, and The Radiance is still his sister in this AU. He was banished from his homeland and stripped of many of his powers, losing his status as a higher dragon as a result. I'm still brainstorming how NKG comes into the AU, as of now my idea is that it would be closer to a god-like beast form than a being in another realm, but it may still change. And I'm still thinking how to reconceptualize the ritual to fit this version. Even though he's much weaker than in his prime, he's still more powerful than an average dragon, especially in the NKG form (if that is the direction I take with him).

Lewk, Asta and Milo - basically the same as in the main AU. Lewk and Asta can fly just fine, Milo however is incapable of it (and will likely remain that way even as he gets older, with his wings being too small and weak for flight).

Hornet - in most aspect she's the same, though her half-spider origin would be changed to something else; Herrah is not a spider in this AU, though she would still be quite beastly and unique in her appearance. She has two pairs of wings, which are a trait inherited from her mother's side. She knows silk magic, which she learned as a young dragon.

Zote - he's the most unique here body plan wise, I based his design on pterosaurs. I loved the mental image of him being this annoying, bird-like dragon. In basically all aspects he's the same as his main AU counterpart, though being a dragon I imagine he would have a more impressive lifespan than an average bug in the main AU. He's a herbivore dragon, his mouth resembles a beak, and he has no powers, only a nasty attitude.

Holly - as mentioned before, they are not a vessel in this AU, nor a void being. Instead, they're a hybrid of Vyrm and WL, who is a powerful higher dragon, and were trained to stop The Radiance and put an end to the infection from the day they hatched. Though they did end up learning void magic to aid them in the fight, I think that would be a nice way to preserve at least some of that aspect and it would explain the color of their body in this version. They have a mouth, though they are still mute, likely as a result to battle damage. Like in the main AU, they lost one of their eyes and a limb, and I'm considering designing a prosthetic wing for them at some point to mirror their counterpart.

[cripplecharacters]

How should you write/draw burn survivors? I know this isn't a drawing blog but I don't know of one that I could ask this question to.

Hello!

I'm not a burn survivor myself, so I'll mostly talk about facial differences/visible disability in general and link some stuff made by burn survivors.

First thing, I think it's important to remember that being a burn survivor changes a lot of things - not only appearance. Very important part is the psychological one, but I'm not a burn survivor so I will just let the resources linked below speak.

From the physical aspect, burns can also come with: chronic pain, limited range of motion due to scarring, tightened skin, problems with regulating temperature, itching, skin irritation, and even different nutritional needs during the initial healing process.

There is also specific everyday care associated with burns - something you basically never see in fiction. That could be things like occupational therapy, physical therapy, skincare (like heavy moisturizing and scar massaging), wearing sunblock, wearing splints, or stretching to prevent contractures or tightness.

There are also different types of burns and they (unsurprisingly) differ from each other - for example, electrical burns have a much higher rate of amputation than any other type. Chemical burns can cause eye issues. A burn caused by a fire in a closed space might result in a brain injury due to the lack of oxygen. A much larger portion of people than you (probably) assume have survived burn injuries as small children, and if they were young enough they might not even remember the event at all, unlike older people who might be very affected by the trauma.

Experiences of a person with 80% body surface burns, a person with quadruple amputations from an electrical burn, a person with a facial burn, and a person burnt very recently will be different from someone who has a 5% body surface 2nd degree burn in a spot that’s usually hidden, who has lived with their burn for a decade - despite them all being burn survivors.

When it comes to more thorough research, I recommend going through Phoenix Society’s and Face Equality International’s websites to learn more about both real burn survivor’s perspectives, and face equality as a social justice topic. I think the 3rd link (see below) puts it very well when talking about burn survivors being represented in fiction:

“Most likely, these characters were not created by someone with lived experience. The result is an increasingly garbled game of telephone [...] To avoid contributing to this false narrative, embrace research as part of the process. Explore interviews, first-person accounts, and articles from reliable sources.”

I personally think that the links below should be mandatory reading for writing not only burn survivors, not only people with facial differences, but visibly disabled people in general - because the treatment we get is often so similar the advice still holds up just fine. And if you don't plan on writing any of these, you should still read them to see how prevalent of a problem ableism in media is.

Lise Deguire's Hey Hollywood - scars don't make you evil.

Face Equality International's International Media Standard on Disfigurement.

Niki Averton's Tips for Writing about Burn Survivors.

The main sentiment that you will read from basically any first-hand source is that if you're writing the burn survivor to be either:

evil (just throw the whole character away)

a guy with the "World's Saddest Most Tragic Backstory Ever and It's So Sad and Tragic" (because he revealed he has a scar)

a helpless victim who is there to be The Helpless Victim

...then you're already doing it wrong and need to make some major changes.

From our blog's reblogs and posts, you might want to look at tips for writing a visibly different/disabled character and tips on drawing people with facial differences. Neither are specific to burn survivors but cover the topic of visible disability and facial differences.

Now for tips on drawing burn survivors (that weren't included in the last link);

Reference real people. 99.9% drawings of burn survivors seem to go through the same "increasingly garbled game of telephone" that Niki Averton mentions with how burn survivors are written, in that the newer the drawing, the less in common it has with how real people with burns look like because people reference from each other and none of them ever think to actually check if their depiction is accurate. If you just google "burn survivor" you will very quickly notice that burn survivors don't have that damn red overlay layer put on top of their skin. It just doesn't look like that, and basic research (aka Google Images search) will tell you that - and still, people color a hand with bright red and think that's how it looks like (it doesn't).

In the same vein, maybe don't just draw an able-bodied person and then put some scarring on top (or maybe do exactly that. No burn scar and no burn survivor is the same, and there are people that fit what I just described... but hear me out for a second). Think about how scars interact with their features - do they have both of their ears? Do they still have all of their hair? Do they only have parts of their eyebrow? Do they have all of their fingers? Can they move the same as before their burn, or are their scars limiting their joints? How did their body react to the post-burn hypermetabolism? Lots to think about. Take into account what type and thickness of burns your character has.

Ditch the mask trope. Just ditch it. There's no need to cover your character's scar from the world unless you as the author think it requires to be hidden, is too scary to show, or other ableist trope that seems to always come up with drawings of visibly disabled people, especially burn survivors. The one exception I will mention is a transparent face orthosis/mask (TFO) that facial burn survivors might wear while awaiting a skin graft early after their injury. But as the name suggests, it's transparent and doesn't work for the "scary facial difference, better cover it up and only reveal it in some hyper dramatic scene!" trope because you can see right through it. (I will also mention that TFOs are a very modern thing. Your medieval burn survivor wouldn't be wearing one).

No "body horror", no "gore" tags or trigger warnings or whatever. That's a human being. If you feel the need to warn your followers before they see a disabled person existing, you're better off not drawing them.

Some last notes;

Throughout this ask I used the term "burn survivor" rather than "burn victim" because that is, to my knowledge, the general community preferred phrase. Individual opinions will differ (because no group is a monolith) but "burn survivor" is generally the safest term to use and probably the best if talking about a fictional character.

Similarly, I used "facial difference" rather than "disfigurement". Just as the above, opinions will differ on what is the best to use but I personally, as someone with facial asymmetry and a cranial nerve disorder, heavily prefer the term "facial difference" over "disfigurement". (I am in this case The Individual Opinion Differing because you can notice that in the links above, facial difference and disfigurement are used interchangeably. The general community uses both, some people have specific preferences. I'm some people). When talking about a fictional character, "facial difference", "visible difference" and "disfigurement" are all probably fine. Just stay away from calling a person "deformed".

mod Sasza

[foldingfittedsheets]

Hey! If you don't mind sharing, I'd be interested to hear more about your chronic illness diagnosis journey (I also get that it can be a private thing!).

I've been struggling for the last 5 or so years with chronic fatigue, muscle weakness, muscle pain and brain fog, and my doctors have checked a bunch of different things. EBV, thyroid, vitamin D, "are you sure you're not just depressed" and they've now gone for ME/CFS. A part of that just doesn't feel right to me because I feel like they should have done more tests or walked me through alternatives before settling! Especially because it fluctuates so much. Sometimes I can't leave the house, sometimes I have to borrow a wheelchair if I'm in a shop, sometimes I can walk 5000 steps??

Love and support for you and your gluten free adventure - potatoes, rice and polenta tend to be pretty good for me when I want something bready! (Doesn't quite hit the spot as well as buttered toast does though...)

My decline was really painfully gradual. I didn’t realize why things were getting so much harder. It manifested first with friction between my beloved because they were frustrated I was always too tired to run little errands myself. I went to the doctor and talked about my fatigue but was assured I was fine. I went on Chinese herbs and they buoyed up my reserves so I could keep functioning.

That went on for months, just getting more and more tired. I’d wake up sobbing because I wasn’t any more rested than I’d gone to bed. I went to a new doctor at that point. I got diagnosed with anemia until my blood work came back normal and then I was told I was fine.

Then I started fainting. My hair was falling out. I went to a different doctor. She ran my blood. I got told I was fine, but that maybe I had a food allergy. She slapped me with a full elimination diet that broke my spirit. I did feel some minor improvement but I wasn’t healthy by any means.

Finally, my good friend who is a doctor said that’s enough. She was in a different state but she was furious that I wasn’t getting any help. She ran my blood on a bunch of different ailment tests that were less well known. She tested for antibodies to EBV. If you have over 20 they consider you to have an active infection.

I had over 700 which is when they stop bothering to count.

I was so chock full of virus I was pound for pound virus by that point.

Then came the hard part. Knowing you’re bursting at the seams with a virus doesn’t make it easy to treat. The virus was living in me, in my cells. Too much of the medication and my body would start siccing it’s defenses against its own tissue.

I went on a bonanza of supplements. There was syrups to boost energy, pills to increase my immune system, antivirals, iron and vitamin D because those were kinda low. It was a three times a day regime of medicines.

My initial dose of antiviral was too high. I experienced a pain unlike what any mortal should bear as a result, dropping to the ground to writhe in agony when it hit. My dosage got lowered and my progress crept along.

I started school sometime in there and barely kept my head afloat above coursework. My stress load from school correlated to how much energy I had and I longed to finish my degree and just prioritize feeling better.

Then things got worse. My original doctor friend let her prescription rights for my state lapse, it didn’t make financial sense to keep them. A different friend from yet another state wrote my antivirals for a while but eventually I needed a new doctor.

I found another, this time a naturopathic doctor like my friends, hoping I’d keep receiving good care in that scope of practice. I didn’t. I had the most painful blood draw of my life in her office, writhing in agony, then didn’t hear back from her. I got ghosted by my doctor. When I pestered her for results she wrote me a script for antivirals but that was all.

I’d find out about eight months later when my health was declining and my friends demanded to see my blood work that my iron had been dangerously low but she hadn’t bothered to tell me. I got on iron supplements and staggered along.

Through precision time management I could budget my functional time into schoolwork then collapse to recuperate. It was working, but barely.

When my scrip on antivirals ran out I hunted once again for a doctor. This time I’d realized that any good care I’d gotten was when I’d made a personal connection with the doctor, a rare privilege not many people got. So I sought out a friend of a friend, someone I’d seen on occasion in the doctory social circle.

I have never been more happy with a doctor. She tested my viral numbers and pronounced herself satisfied that it was in check but was suspicious that although my thyroid numbers always looked normal that something was going on there. She ran more tests and lo. A thyroid imbalance.

Around that time I’d sunk into needing the chair. I stopped functioning, it was almost as bad as my first collapse. And yet again the fun part of getting my thyroid in balance was a delicate balance of making sure I wasn’t taking too much and hurting myself.

That balancing act took about a year to stabilize. I was still so weak from years of fatigue and inactivity. An able bodied person cannot imagine how hard it is to build up from ground zero on all your muscles. And the worst part was any time I felt tired I was terrified I was going to slip back down into the depths of exhaustion.

Then my beloved and I got Wyvern the puppy. And before we realized we had both somehow developed allergies to dogs and had to break our hearts giving him up, he saved me the last time.

Potty training meant I had to get up every two hours to take him out. I didn’t have to walk far but I had to do it consistently. Every single day I’d go to bed aching in every muscle, terrified to wake up. But every day I woke up with energy and was able to do it again.

It was like puppy boot camp, and I was able to go longer and farther every walk. By the time we realized we couldn’t keep him I was mobile again, I hadn’t needed my chair at all. When we said goodbye to him I promised I wouldn’t lose the progress he helped me make.

Now I finally, for the first time in six years, feel healthy again. I can go on long walks, I can run little errands for my beloved, I can fill my days with activity and wake up to do it again the next day. It’s the most amazing thing.

I hope you can stumble upon a doctor who can listen to you and help you. I know how hard things can get, but sometimes they can get better.

[dogtoling]

General life- and blog update , since I assume at least a few people might have been wondering where I've been and what i've been up to recently. I obviously haven't been posting or drawing much this year in general. This will probably be an important post if you care about stuff on this blog, and I already rambled on Sheezy, but that site isn't very populated yet and it's also very good at hiding journals so let's just ramble again...

The summary of this post if you hate reading: I'm heavily considering just stepping away from Splatoon. That decision obviously would affect this blog (mostly, my OCs, which is kinda most of the blog at this point). I don't think the blog itself will go anywhere, and I'll probably use it for something in the future... alternatively i'll cherry pick stuff from here into an archive for people who like the worldbuilding.

Longer post under cut:

So what have I been up to this year? The answer is quite simple: NOTHING. Like, actually absolutely nothing. Aside from Art Fight, this has probably been one of my worst art output years of all time, which is really frustrating. That's between my horrendous mental health and depression chasms this year and a complete lack of both focus and inspiration (which can also get chalked down to the depression to a degree, yeah). So the very real reason to why there hasn't been much activity on this blog this year is because I just haven't Done Anything in general.

Now because I know there will be a few people who think "that's fine! you shouldn't judge yourself based on productivity!" you're right! I also agree. However the issue for me specifically is that most (if not all) the time I spend NOT drawing or creating, I spend sitting around wishing I could start drawing or creating, because that is like the 1 thing that keeps me sane on this freaking earth. Unfortunately coming up with OC scenarios in my head doesn't really result in output I can feel fulfilled by in any form as much as I wish it did, lol.

Now; The Issue. It doesn't take a genius to see that if you spend 9 months trying to finish like a dozen OC pages that you COULD do in a week or 2 if you wanted to, then there's probably more than just the problem of executive dysfunction (even though that's at least 60% of it for sure). Obviously my other major problem is that I live by imaginary rules and structures that make sense, but aren't actually useful at ALL in reality and are more than a hindrance if anything (the mental to do-list in my head that says i can't do X until I've done Y doesn't do very much if task Y takes 10 months and I also don't want to do it, and it also has no structured ending).

How does this tie into stepping away from Splatoon, you may ask. Well, the issue is that I have foreseeably fallen out of love with the series. Which isn't exactly news lol. Currently, I'm not even sure i will get the next game, if and when the time comes. Yes, the loss of interest is also expected, given that Splatoon 3 has ended and every fandom has this kind of downtime and lukewarm in-between-titles period. But the truth is that modern Splatoon (almost 10 years old!!!!) is tangibly different from the way the series was back when I fell in love with it. That was Splatoon 1, and while the series has improved in a lot of aspects and is thriving, it's grown in a direction that I just don't really like. Splatoon 3 had the most freaking horrendous, immersion breaking story mode they could've done, then they followed it up with a DLC story that was pretty cool but also compounded a lot of my fears about the series' future and played into every single thing i do not want Splatoon stories to be - fully character focused, random fucking villain, mundane event that's unrealistically world-threatening just because a kids video game needs a scary climax even though it's immersion breaking AGAIN, the whole thing taking place in cyberspace and thus offering basically no worldbuilding even though there is SO MUCH WORLD. I COULD GO ON.

The gist of it is that nowadays, rather than playing Splatoon and being inspired and excited at what comes next, I mostly find myself dreading what dumbass plot they will do next to throw a wrench in the otherwise good stuff. And when that's like THE main approach I have to what's supposed to be my favorite series, it is HARROWING. I can't even really blame the game for this; the story is NOT its selling point, the developers probably do their best to get the bits to us that they really want to tell, and at the end of the day the game is unfortunately a product. Worldbuilding for Splatoon is fun to a point. It's less fun when in order to actually write or create something coherent, instead of filling in the blanks, the blanks are 90% of the freaking thing. At that point you're just better off making something of your own instead of being anchored onto an IP that gives more problems than answers and occasionally shoots you with like a machine gun. Working in the realm of Splatoon is frustrating because more often than not, the questions I have ARE NOT MINE TO ANSWER, and the likelihood that the specific-ass questions I need answers to will ever be actually addressed is really low.

Tying this back to my OCs. Obviously I love my OCs more than I love myself which admittedly isn't that high of a bar but you get the point. The problem is that I spend a lot of time mulling over worldbuilding that, again, frankly isn't mine to do. Because if I want it to be Splatoon, then it should be mostly accurate to how Splatoon is! But the problem with that is that there's really not THAT MUCH worldbuilding in the series that you can work with, and most of the core game mechanics are just abstract enough that it's actually horrendous to try and come up with workarounds and ways for things to make sense that don't require just constructing a full knockoff version mirror dimension of the game and saying fuck everything that's in place here because Inkopolis Plaza literally has no roads in or out of there and I have no fucking idea how that's allowed when your only option is to jump the fence (or, nowadays, take the train which also isnt connected to a street as far as I remember). Between the face value issue and the lack of REALLY IMPORTANT worldbuilding, like - I will always come back to this - THE INK TANK'S FUNCTION 10 YEARS DOWN THE LINE - there's a goddamn ocean of plot holes and things that end up being obstacles to creativity rather than inspiration. I feel like I'm pretty solidly at the point (and have been for a while) where hanging onto Splatoon is really only contributing to creativity block and frustration with lack of freedom and the ability to actually do things.

So I guess those are my reasonings that I've put together just sitting here for the time being. The TL;DR is that I wish I could just do stuff without Splatoon's canon getting in the way, which is a really stupid problem to have if you're making Splatoon OCs. I feel this frustration extremely strongly every time I have to work with actual bigger aspects of the world; we still don't have an Inkopolis map, we don't know what the world around Inkopolis looks like, we don't know what the wilderness is like aside from Just Normal Forest and Desert and very few snippets as to what modern wildlife MIGHT be, I still don't know how the fuck the Inklings teleport to the goddamn arctic ocean to play a turf war at Shipshape Cargo co. These are all actually really important things if you're trying to establish a setting in any kind of storytelling that's outside of immediate city bounds (and even there, you need to know the layout of the city and its important areas). Also a fucking mutant bear and a baby salmon and a squid not wearing suitable gear went to space and fought on a rocket in space. These are some things that would give me peace of mind to not have to deal with in my own writing, probably.

So where do we go from here? Unsure. I haven't really made a decision on this front yet, though right now I'm leaning more towards actually going ahead with trying to do my own thing. That will result in obvious design and setting changes for my OCs whenever I get around to it. This blog probably won't go anywhere (again, unless I impulse delete it during a mood swing like i've almost done on like three separate occasions this year), but it will probably get less use, and I will probably end up making a new blog to post about whatever I end up doing once I get to a point where it feels like it makes sense. There's a chance that I will delete this blog and put all the interesting stuff on an archive blog for the people who are here just for the worldbuilding. My actual true passion for a long time now hasn't even been Splatoon anymore, it's just been cephalopods. I'm kind of done having Splatoon get in the way of the cephalopods, as thankful as I am that it introduced me to them...

If you read this to the end heres a treat for you = 🍪

[ohno-the-sun]

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

How do you draw art so good

Like

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

you've activated my trap card

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

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

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

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

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

I consume good art, it feeds me

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

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

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

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

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

I really don't like doing lineart lol

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

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

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

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

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

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

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

Next is what I call the "silhouette" layer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall this is what my layer set up ends up being

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

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

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

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

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

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

You'll eventually get very good at drawing them pfptpf

[milkie2]

I've been really admiring your ava art; I REALLY REALLY ADORE THEM SO MUCH!!!❤️😭💕💕 and I’m kinda interested in your ava art style. Could you do tutorials with tips or techniques on how to draw in your “ava art style”? I'm really inspired by your work and would love to incorporate some elements of your style into my own art style practice. I don’t want to force you to do this. It’s fine if this is something you prefer to keep to yourself. Btw, Love your work! ❤

AAAAA HIHIII Here's my art process of how i render stuff^^^

Entire explanation and process here:

I make a sketch first and then do base colors underneath

(occasionally I might skip the sketch entirely and go straight into colors, but thats a bit more complicated)

I then merge the layers and start painting on top of it (on the same layer), using the lineart of that sketch as a guide

The reason why I am doing this all on one layer is so that the colors mix and blend together in the way seperate layers just won't do.

I paint two layers of shadows, each with a slightly different hue (usually shifted towards the cooler tones)

After that, I paint the lighting. This time the hue I will use is to a warmer one, painting over the shadows with a warmer tone for the reflective lighting as well

I also do fixing and cleaning up (which is what I really like about coloring on one layer since its easier than doing it with multiple)

Then I do shading again, this time with another layer clipped with 'multiply' on

as well as add another layer for the 'overlay' and edge the shadows

I clip two more layers, one for 'multiply' and one for 'add' for lighting using the gradient tool

Occasionally I will also add an extra 'add' layer and put a color gradient on the shadow for that extra oomph on the lighting

Final result :33

Hopefully this isn't too confusing and fast FJDKSLFLSD Im pretty bad at explaining stuff 😭

[beauty-and-passion]

Love Olympus: the "charming" lessons we learned from it

Hi! Are you searching for a good story, filled with creativity, care, coherence and beautiful art style? Then please, turn left and you will find something worth your time.

Here we will talk about that beautiful, terrible disaster that is Lore Olympus. Ah, it's always so nice to read a new retelling of Greek mythology and find out it's basically the same 200 stereotypes slapped together into something that's way older and staler than the original. What did my ancestor ever do to the world, to be treated like that.

But I've already talked about what a waste of potential Lore Olympus is, how pathetic the writing is and how bad the protagonists are. I've spent more than enough words commenting on why this series could've been great and came out like this.

Now there's only one thing left: to make fun of it. To draw our conclusions on the whole thing and the finale and find out what "wonderful" messages we got from it.

Don't worry: the messages are absolutely wonderful and I'm not sarcastic, not at aaaaall.

_______________________________

Planning in advance is for the weak

Don't you know how to fill your third season, after the "battle" that closed season 2? No problem! People will read you anyway, so instead of planning and moving the plot forward, waste everyone's time writing chapter after chapter of pure nothingness: your characters can have discussions so stupid, that people will question if they have been written by using ChatGPT. That will surely prove what a great writer you are!

And don't worry too much about the plot: just wait until inspiration magically falls from the sky. That's how it works, isn't it? Stories are just random events slapped together, with no planning, care or coherence whatsoever. When we write a story, we don't want to treat our readers like intelligent human beings, oh no: people are idiots, so we can just throw them the first shit that pops out of our minds and everything will be fine.

_______________________________

Coherence is for the weak

After waiting for inspiration (that somehow hasn't fallen from the sky yet, jeez I wonder why), you still don't know what to do with your plot? Easy, use one of the villains! Like the rapist guy! Now he's running for President.

Yes, we know there is a monarchy in this land, because there is a king, but it doesn't matter. The rapist is trying to be President now. President of what, you ask? It doesn't matter! Presidents exist, right? So he's trying to be one, that's all you need to know.

Will he become President? He's running from it, that's all! You don't need to know what happens after that! As we all know, stories do not have closed plot points, they're just random shit thrown around. So why care about solving a problem you just raised? Just forget it, it's not important.

Is the story supposed to take place in Olympus or, at least, in Greece? Well, what's the problem? As we all know, Europe and the US are basically the same thing, so how different can Greece and America be?

I mean: one is a huge country with many climate zones and wide areas, the other is a small, hot country mostly made of mountains and islands. One has a millennia-years-old culture that influenced the entirety of the West, the other is literally called the New World, to emphasize how young it is. Same place.

So, since they're so similar they're basically identical, just fill your Greece with American stuff and give your characters English names. Greece is notoriously full of English names. It's not like there are millions of people with similar names because parents give their own parents' names to their offspring and sometimes all siblings give their parents' names to all their children and the result is that your cousins all have the same goddamn name and you all came up with nicknames to distinguish between them.

No, that's not based on personal experience, what makes you think that.

_______________________________

The protagonist is better than anyone else

Is Zeus telling you he wants to give his child to some nymphs, because he knows won't be a good father? Well, clearly the most normal thing to do is steal his baby. No, not because you're a psychopath, but because you clearly know how to handle the baby better than some nymphs. Remember: you are the protagonist, hence you are better at everything anyone can do, especially a stupid nymph. You will care for the baby more and better than anyone else, no doubt.

Is the child you stole running around without supervision? But you took care of him! You even hired a babysitter! No, of course you didn't spend time with him, you were busy! What? It could've been better to leave the child with the nymphs as Zeus wanted, because at least they would've spent their time with the child and not hired someone else to do it? Listen, we don't work with logic here and you are the protagonist, so of course all of your decisions are perfect and should never be questioned.

Speaking of kids: is your mother telling you she had a son who died? Time for some favoritism! Your husband is the god of the dead, so death isn't a problem anymore. What? Death is supposed to be impossible to overcome? But you're the protagonist, so the mere mortals' rules do not apply to you. Death is nothing, compared to your perfection.

Oh no, you accidentally caused winter! And a genocide! But remember: you're the protagonist, so of course you're always perfect. And you didn't do it on purpose, so you're automatically innocent and people attacking you are just mean and jealous.

See? You're so perfect, you found a way to solve the problem! How? Easy, by believing in yourself ✨✨✨ And by talking (badly) about how life and death are linked. Yes, we know it's the equivalent of saying that 2+2=4, but we don't want to treat our readers like intelligent people, here. All they have to do is just revel in your perfection.

_______________________________

More villains! Because Yes!

Do you still have no idea what to do with your plot, after too many useless chapters? Easy, use the cartoonish supervillain! He will do the trick! And throw another naked woman to defeat him: it worked once, it'll work again.

Is your cartoonish supervillain actually useless? No problem, make another villain even more useless. And make him appear out of thin air for two chapters. And since readers are stupid, just tell them that he was the evil mastermind behind everything. They'll eat it up.

Oh, and President Loser is in cahoots with SuperMegaVillain now. Why? Because Yes, of course.

You don't know how to defeat SuperMegaVillain? 🧑‍🤝‍🧑Avengers Assemble🧑‍🤝‍🧑and you're done. It worked for Marvel, it'll work for your story too. I know it's settled in Greece and fertility goddesses do not have resurrection powers or whatever the fuck they're doing, but shhhhh.

_______________________________

Random justice is good

With all those villains to defeat, you forgot your story is supposed to be a retelling of the myth of Hades and Persephone? No problem, just stick a "Gaia Ex-Machina" here and let her solve the story with a power and authority she doesn't have. No one will notice the difference.

Speaking of justice: is the rapist gonna get the punishment he deserves? Sure, get this: he will fall in love with you and turn himself in. And he will get community service as punishment.

Are you saying that this isn't a real punishment? But of course it is! He turned himself in! The victim isn't allowed to expose him, nor to see him actually getting punished. All the victim can do is walk away. It's not that lack of control is a big deal for a rape victim, right? And seeing the rapist finally get punished won't give them the catharsis they need, right? And it definitely won't free them of the huge weight they carry on, because of the awful, horrible act they suffered from, right?

Of course not, so ah ah ah, the rapist gets to build places, very funny. And aside from that stupid punishment, of course he's free to walk around and, who knows?, maybe rape someone else. Wow, justice truly works well in this place! I would feel so safe to go around there!

_______________________________

Queer people are stupid too (and ghosts, sometimes)

All those villains could've been great in a story centered around Zeus? We don't work with Zeus here: we hate men, all men except for the capitalist hubby of our dreams. So Zeus is a useless piece of shit and he will keep being a useless piece of shit until the end. Also, he's not a real king anymore, because apparently democracy popped out of nowhere and everyone just rolls with it. I wonder why it too centuries to accept it all over the world...

And Hera is a lesbian now. Why? I already told you we don't work with logic here. She's a lesbian because queer people are idiots too, so thrown them a queer character and they will like it, doesn't matter if it makes zero sense.

Uh? Are you saying that asexual and aromantic people exist too? No, of course not: they're just waiting for the hot lesbian of their dreams or for the hubby that will turn them into wives and mothers.

Hence why the organization centered around celibacy closed: it was just a cover for lesbians after all! And we all know that women can only be lesbians or mothers. A woman doesn't want or feel any romantic attraction? She doesn't exist, then.

Wow people, I don't exist! I'm a ghost!

_______________________________

Feminism means gender stereotypes

As Wikipedia says, feminism is:

"... a range of socio-political movements and ideologies that aim to define and establish the political, economic, personal, and social equality of the sexes."

But Wikipedia is stupid, while we won a shit ton of prizes for some reason, so we're the good authors here. And we decided that feminism means "women good, men bad". This definitely isn't a point of view based on a warping of the original concept of feminism, that focused on helping women because, since societies are patriarchal, men already have a powerful position. Hence why, feminism fought (and fights) to give women a powerful position too: to make both genders on the same plane.

But nope, this is all stupid and wrong and doing research is underrated - after all, we wrote a story entirely based on the first shit that popped into our mind, so why do research about this? Let's focus on the superficial vision of feminism and fight for women's equality, by making them lesbians or mothers.

Because sure, feminism is good, but capitalism is better. And since capitalism wants you to have kids, go home to your rich hubby and have a ton of kids you definitely won't neglect, like the child you stole or the supposed godson you never cared about and only after he's an adult "sometimes" you have a conversation with. That's how a perfect, traditional family works, after all. And we know this didn't lead to any generational trauma at aaaaall.

_______________________________

In conclusion

I don't know if you noticed the teeny tiny veil of sarcasm in my words. I know, it was so subtle, almost invisible. I made it oh-so-hard to find it, please let me know how hard it was.

But you know what? This story is over and I needed to let some sarcasm out. I am finally free to read something else, possibly (hopefully!) better.

And the next time I will approach another retelling... who am I kidding, I know I will fall for it like an idiot because that's what I do every time. They get me with something I love and once I find out it's shitty, I keep reading because I want to see how bad it is.

In this, Lore Olympus didn't disappoint: I expected something bad, I got something bad. And, sometimes, it was so bad, to make me laugh, so extra points for the stupidity: I appreciate something that makes me laugh, way more than something that makes me angry.

And, as I said in my previous posts, even something bad is useful, because it teaches you how NOT to do something.

So thank you, Lore Olympus, for being a terrible teacher. And thank you for making me appreciate the original myths even more. There's a reason why they still stand after millennials and can still capture the popular imagination, while this series will probably be forgotten in a couple years.

To you all, my readers: if you managed to reach the end of LO like me, congrats for surviving it, I hope you learned something useful about how to make better art.

But if you never approached Lore Olympus, don't do it: it's not worth the time you will lose.

Unless you want to see with your own eyes how does it look a story with zero planning and random ideas thrown everywhere. In that case, please, be my guest: read it and learn how not to write. You will learn a lot from this.

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(How about a coffee? ☕)

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[nrdmssgs]

König x tattoo artist reader

Masterlist

This started as a headcannon, but has grown into a brief scenario. There is a bit a of pet play happening down there, but i've tried to keep it light

Once he found out about your job, there is no way back. Man practically begs you to show him any new thing, you're working on. Congratulations, you've got your biggest fan from now on.

In Königs` opinion, not only was he lucky enough to get the best person out there, he was the luckiest one to see how your ideas are born! And he LIVES for that moments.

He sees your projects as something, that should be displayed in a museum.

Yes, Louvre, he is looking at you. It's high time you open new rooms for his Schatzs`* works to be displayed in!

"König, I thought, I threw out that sketch. C`mon, man, it's garbage, nobody needs it!"

"Nein! I'm keeping it! It's mine from now on!"

Secretly keeps a whole pile of scraps of paper, crumpled sheets, napkins you threw away while sketching.

He is interested in your entire creative process: from the first sketches to photo sessions with healed works. Bombards you with questions. "Is there any differences in a result if you draw two same sketches with a pencil and a thin brush?", "What do you like to tattoo the most?", "Where do you draw inspiration from?".

He brings albums with views of the nearest cities and just books with beautiful photographs and reproductions from every airport and train station when he travels (which is really often).

If you had not a huge library of inspirational sources before meeting him... you better buy a few new bookcases.

He never considered getting inked, especially not by you, no... To put your masterpiece on his calloused and scarred skin would be a sacrilegious act. No, he can't even dare to think of it...

Until one day, when he is sitting at your tattoo studio, minding his own business waiting for the end of your working day, like a good boy, when an old customer of yours arrives. You greet them warmly, give them a hug. And you say this one phrase, which is an old and silly joke between you and that customer...

"C`mon, lets get you marked." You say and take the customer to your room.

At this moment, something clicks in Koenig's head.

He tries not to think about it for the next few weeks, but fails. Because when you put it that way... To be marked as yours by your divine art, to wear that traces of your touch for eternity... His heart flips every time this idea reappears in his head.

You notice that lately he is often lost in his thoughts, and a light blush touches his cheeks.

So one of these times, you're having breakfast and can't help but notice that look on his face. "Koenig, are you alright? You look... lost."

"Oh?", he shudders. "No-no, I'm fine, just thinking..."

After some persuasion, you manage to draw out an indistinct "How much do you think it will cost ... to get a tattoo at your place?" out of him.

"It depends on which artist you have in mind... but you know, there are some perks in dating one." And before he is able to process that, you add, "I'm not taking your money, love. Tell me, what was on your mind, what you wanted to see on you?"

His answer was ready long ago. "Anything! As long as it's yours. Anything you could leave on me."

You try to get anything more specific, but he is really happy for any piece, that will remind him constantly, that you are not a figment of his imagination, that you exist, and you want him by your side.

You decide to start with something small, so that he can always cover that, if he feels like it.

Later that week you flip the pages of your album, that you are using just for ideas for his body (as the professional you would never try to convince him to get inked, the decision must be fully his, but nobody can stop you from fantasizing, how could you decorate that gorgeous body of his) in your studio, as he comes.

"Hi there, love. Haven't changed your mind?" you greet and embrace him. He is so excited, he almost shakes. "Nein, Schatz! I would never." he answers, pulling you in a tighter embrace.

So far he is your most trusting and content client. You barely make him look at the sketch after you made its copy on his arm. He wanted the reveal to be a surprise for him after you finish the whole tattoo, but you refused to proceed with the main process without obtaining his consent to this particular idea.

But when he sees the sketch on his skin, the man is speechless. Yes, you were always so very gifted in his eyes, but this... So simple, yet this idea is exactly, what he's been dreaming of. Two words superimposed on each other. Curves of letters, merging into the most intimate sounds that have ever flown from your lips ...

Good thing, he isn't afraid of blood, and has a pretty high pain threshold. So he sits there absolutely still, admiring every second of you working on him.

He is almost afraid to move, he desperately tries to calm his rushing heart down. What you do to him right now is sacred and divine to König. You are leaving your mark and you are not to be interrupted in any way.

So even when a little sweat drop slides down his temple, he doesn't flinch.

You notice it and decide to give the man a break. You give him a towel, pour a glass of water and ask him if it hurts. He tries to answer, but his voice is raspy because of dry throat.

"I-I... khhhmm, I'm fine. Go on, please!"

It's when your gaze slips down his body and you notice it. He enjoys it, he painfully enjoys it.

That's when you put your machine away and lean closer to him.

"I see, someone is having a good time...", you whisper, putting your hand oh sooo close to his hardness. "Looks like a pet just wants to be branded so badly."

Königs face grows bright red. He tries to mask the fever burning under his skin, to not disturb your work, but it is impossible, when you are so close, and you have him completely at your mercy. Your hand is almost touching him. Almost, but not yet. He looks away, embarrassed, aroused, panting. Silently praying for your mercy.

You grin. Poor thing is desperate for your touch in any way. "Now you be good and let me finish this work, ok?"

König nods quickly and covers his erection with the free arm.

"Did I let you hide yourself, pet?" you seem to look in the other direction, but notice his notion and correct him in a flash.

"You will sit here still as I work, you will look at me, and you won't cover yourself unless you're said so", you purr as you continue working.

When you are done, the man is a mess. He is breathless, he can only mumble and curse under his breath. You wipe off blood trails from a fresh tattoo on his arm and lean away to appreciate the result.

It's nothing really fancy, but it is a good start, if he ever decides, he wants more ink (he already has, believe me).

"You like it, love?"

Königs eyes are completely transfixed on your work. He slowly looks up at you. "Schatz... am I dreaming? This is ideal. H-how can I?"

You cut him off: "You'll thank me by caring right for it. No rubbing, no swimming, no touching the bandage till I let you... and no extensive physical activity for you for today. I'll bring you the lotion this evening, so be good and wait for me at home."

He looks at you with the most obedient eyes and just silently nods.

"One last thing." You go behind him, he is still sitting in the chair. You lean towards his ear and whisper, "Don't you dare touch yourself without me. Furthermore, you sit and wait for me." Your hand slides down his torso and his breath hitches. "This is all mine, pet. And now you have a constant reminder of that." 

*Schatz - treasure

[rhiaarrow]

I've seen ppl talking abt it on twitter and here and I wanted to sort of contribute my thoughts towards it,

Ppl aren't 'forgetting' about qTubbo's death. It's just that the situations of qBad and qTubbo's deaths, while they had the same outcome, were completely different for multiple factors.

(This isn't targeted at the ppl who think the death is being overlooked because that's their analysis and it's totally fair. It's just that people saying that got my analyst brain drawing comparisons between the deaths and I ended up with this big wall of text so...yeah :') )

1 - The build up (from outside POVs)

With qTubbo from most Povs he just sort of... died with no clear build up. Most ppl didn't see the true extent of his self spiralling because he hid it or they just simply didn't spend a lot of time with him in order to pick up on the stuff that we the viewers picked up on. And then all of a sudden he just died with no obvious lead up (unless you watch his pov in which case there was an obvious lead up) but from outsiders who barely saw him, it just happened.

Whereas

With qBad there was a more obvious build up on other Povs, he told the ppl he loved he was dying or at least they knew that something was wrong. They knew that his death was inevitable and as much as they hate to admit it a lot of them had already come to terms with the fact that he would be gone soon. (Again unless you watch his pov the whole build up from the past few months is less obvious but it was more developed with other players before his actual death) Most Povs at least recognised that there was something wrong with the blue spreading across his face because well...it was pretty fucking obvious

2 - The way they told people

qTubbos "I'm an egg, I only have one life left." while true sounds like a joke because well... he's obviously not actually an egg. Ppl joke abt stuff like that the whole time, the Eggboyhalo joke for example or calling Foolish 'egg coded' early in the server. How were all players meant to immediately go 'ah yes, this player is definitely an egg. Yesyes, this makes perfect sense'. It's easy to see how it wasn't taken seriously by a lot of characters when only a few of them were ever given an actual explanation besides "yeah I've only got one life"

Whereas

qBads "I'm fine, don't worry about me." while actively coughing up a lung, covered in blue infection and regularly having memory issues is an obvious lie. Even if people only saw him for a couple of minutes or even seconds it was pretty damn hard to ignore the blue spreading on his body. They'd ask what it was, he'd try to avoid it or redirect them and that person was hit with an immediate red flag of 'oh, so something is wrong with Bad.' which most shelved away and didn't actively investigate but it caused many characters to express being worried about him

3 - Outward visibility

qTubbo died due to his internal issues; self doubt, lack of self worth, suicidal tendencies, etc (I feel bad writing etc but I know there were other factors I just can't remember them) which resulted in him chosing to live using the life system and later chosing to gamble his last life in a game of Russian roulette with Richas.

(None of this being clearly outwardly visible to bystanders even if he wanted them to notice)

Whereas

qBad died due to external issues; parts of his soul physically leaking out of wounds on his body which caused his body to degenerate so far that even as an immortal he couldn't hold on and stop his corporeal body from just giving out on him and forcing him to reset.

(Which was very clearly outwardly visible despite how much he tried to hide it)

4 - The methods of their return

(Honestly I think this part is what's making ppl think that qTubbo's death is being 'ignored' compared to qBads)

With qTubbo, Creation told them that in order to 'restore' him they need smth that they CANNOT craft. Creation did not elaborate further, so they have very little to work with/very little they can actually do in order to try and help him. So most players while they have expressed they want to help, they know that if they do try to help they'll be running at brick walls because they just cannot obtain what is needed and they need to just wait for Creation to show up again.

Whereas

With qBad they know he'll be back (because he's a demon and that's just how they work) and they know what they have to do. They have to wait and be patient when he does return because he might not remember them and he'll probably need pictures to remember. He told them all of this before he died.

On one hand you have qTubbo: Wait for a prompt from Creation or an NPC to help them craft the item to get him back

On the other you have qBad: Wait for him to come back on his own terms

And for the people used to Bad providing a metaphorical example to prove his point in a clearer manner;

When playing a video game you have more hope when waiting for a loading wheel to stop spinning so you can play the level, than you do looking at a level blocked behind a currently unobtainable paywall :/

In other words, dwelling on things you don't know how to fix sucks ass and no one likes thinking about it until they have a tangible idea for a solution and right now only one of the two deaths has an even remotely tangible solution even if it is just to wait and do nothing.

(I understand that ppls reactions to qBads death have seemed more proactive than qTubbos right now but today was the first qBagi and Em learned of him actually dying so it makes sense that today was sort of centered around that. Tbh it just sucks that qTubbo died on an event day bc I feel like if he didn't we would've got a lot more focus and angst out of it but what can you do. But also it's seemed a lot more proactive because qBads kids are actively searching the server for him for 3-4 hours a day which is just depressing as hell, kudos to Pommin and Dapmin for pulling that off :') )

Wall of text over!

Have a flower for your troubles, after all our cubitos have done to us, I think we've earned some flowers without angsty connotations ;-;

❀❀❀❀❀

[chilewithcarnage]

I, a very white and somewhat privileged person, am absolutely terrified to draw colored people. Because I don’t know if I’d cross the thin line of tasteful and authentic or racist and stereotypical…

Lol for starters don't refer to us as coloured people. This ain't 1955. Secondly my best advice to you is to use references of actual people of color. I would highly recommend staying away from those white men art station youtuber type artists for tutorials because they get a majority of their techniques and style from main stream video games and comic books, which to put it nicely don't have the best reputation for representing women and poc. tangent over, so yeah references. real life photographs of brown and black people.

pinterest is a site that a lot of current, especially younger artists like to use, but in all honesty it's not a very good source for someone trying to learn the fundamentals. it'll mainly show you 20 something year old ig and twitter models which is okay if you wanna just draw pretty people; but not the best if you wanna like I said learn fundamentals + have a portfolio that's varied. also it's rife with ai shit and stolen art, so yeah would only recommend that as an initial starting point/using it to make your own personal board for your saved images.

stock photo sites are my go to for refs. getty images, istock, alamy, etc. a simple right click save image or screenshot will work to get the images you want for free. of course there will be the watermarks, but they're honestly a very small issue to bypass. as long as they're not opaque and nearly covering the entire subject; you're good. a nice thing about stock photo sites is they usually give you the option to filter the image search results. say for instance you want to draw an elderly asian woman cooking or a young black man painting a picture or an indigenous child playing with dolls. you can look up certain terms you want in the search bar & specify gender, age and ethnicity to narrow down your search to what you want.

another awesome place for references i discovered during college is posespace.com

like with getty images, it gives you the option to filter your searches. they also have their models in clothed or nude shoots in the event that you want to practice some bare bones anatomy.

also also, get your info from artists of color. there's a decent amount of tutorials ive found over the years on here and youtube on coloring skintones, drawing certain hair types, how to avoid caricatures and stereotyping, different facial features, cultural hairstyles. the list goes on. don't be afraid to depict people outside of your race. literally just go about drawing us the same way you would a white person. don't be scared, as long as you remain respectful and make an honest effort to learn; you'll do fine.

resource links by and from artists of color:

'how i draw south + southeast asian people'

an example of what to avoid when stylizing east asian characters

'drawing asian people, source: i'm asian'

'lessons from drawing I: what is asian anyways?'

'how to draw indians'

'how to draw arabs'

'How I draw skin Part 2: DON”T DRAW NATIVE PEOPLE WITH RED SKIN!!!! A tutorial' (the link to the first part of this tutorial is broken sorry)

How to Draw Native People: a Tutorial/Reference Guide

How to Draw Black People by peachdeluxe

tips for drawing black people by rosheruu

drawing east asian faces by chuwenjie

how to draw black people series by Artistik Freedom (youtube)

✏️How I draw black hairstyles (simple) 🌱 by Likelihood Art (youtube)

there's also a bunch of black and brown artists on twitter and tiktok, so checking those sites for tutorials would be a good additional resource

good luck on your illustrating melanin endeavors 👍🏾

[sanhatipal]

"Noble d'Apchier"

A little watercolor painting of Chloe,with the Zorn palette! I found out about this palette a while ago and I really wanted to try it out! (More on that below )

Chloe's hair is something I adore, it's gotta be one of my absolute favourite character designs ever,I love how swirly and fluffy it is,very fun to draw. I've drawn her normally before,I wanted to do one with her vampire eyes and fangs too. I decided to try to draw a white fuzzy rim around the foreground against the plain background,for a change,like in some of the VnC panels.

The Zorn palette,or Apelles Palette was a colour scheme used by Anders Zorn in the late Victorian/Early Edwardian era. It ,or something similar,might have been used by artists of old civilizations too, because it avoids the use of blue and green entirely: which would eliminate the need for rare pigments . It's essentially a colour mixing challenge,to draw the entire paintings with 4 pigments,2 basic colours: Ochre yellow, Vermillion,and Black and white,which can be mixed into different shades. It can be an excellent exercise and means for portrait painting

Modern artists use red instead of vermillion,but the essence is the same. So that's what I did too. I considered using vermillion,but I realised that it would introduce a lot of yellow tint, making the picture very warm. Which is usually something I prefer honestly,but not what I was going for here. Also,I need to consider the fact that I'm a watercolour artist,which is very different from the original intended palette. Zorn used oil paints,but other artists use it fine for gouache and acrylic too, however,that too is different from watercolor, because instead of mixing with white, I'll be diluting with water,which changes the composition of the palette considerably. So I went with these supplies: ochre yellow and red watercolor pencils (for me, basically watercolor pigments,I don't use them to draw,I grind and dissolve them in water),white and black watercolor tubes,and white ink. In addition: lineart with sepia,grey and black brush pens,which are well within the bounds of the palette

To be honest,I ended up not using the white paint tube at all,water makes more sense to me. I didn't use anything else though,and stuck with the original materials.And the results:

Does it work? Hell yeah. It's not perfect,but I'm happy with how she turned out

Was it restricting? That's kind of the point,to paint with some limitations

Was it hard? Honestly? No. Not at all. It's definitely very different from what I'm used to,I use a lot of colours both as is and mixed,but this was surprisingly easy. Perhaps because of my subject,which didn't have much colour to begin with

Do I recommend it? If you want a small challenge,or to experiment or practice colour mixing,definitely

Will I do it again ? Absolutely. I feel like I haven't utilised much of the potential of this palette. I ended up using mainly red and black, hardly any yellow at all. So I'd like to do something more colourful with this palette, perhaps a sunny painting of a gingerhead girl with flowers,and for this I'll probably use vermillion,not red

Anyways, that's all! If you read all this,thank you for your time!!

[ordinaryschmuck]

Full Family AU Part Eight

Camila sat at the family computer, with Vee sitting at the other end of the room, observing her.

"Bass...Ill...Isk," Camila muttered as she typed it into a search engine. "Hm, did you mean 'Basilisk,' sweetie?"

Vee responded with a short nod. Camila clicked the "Did you mean" button and got a more accurate list of results.

"Of course the first thing that pops up is Harry Potter," Camila groaned. "This might take a minute, Vee. Here."

She opens a drawer and pulls out some crayons. Then, moving to the printer, Camila takes out some paper. It made Vee curious of what she was going to do, and then Camila slowly walked over to hand the paper and crayons to Vee.

"You might want to color for a while."

"Color...?" Vee asked.

"Yeah, it's what I have Luz do when I need the computer for important reasons. Helps to keep her entertained and use that creative mind of hers right. Watch."

Camila demonstrated by drawing a little squiggle on the paper with a blue crayon and then handed it to Vee to take a turn. Vee sniffed the crayon a bit, took it, and tried making a squiggle of her own. Satisfied with this perfectly planned parental distraction, Camila went back to sit at the computer to continue her research. She scrolled past the Harry Potter wiki and went straight for the wiki about basilisks.

"'Legendary reptile reputed to be a serpent king...who causes death to those who look into its eyes?'" she read. Camila turned to Vee, who looked up from her coloring to make eye-contact. "Well, I'm not dead, so that's not accurate. Are you sure you're a basilisk?"

Vee nodded again. "It's...what they called me."

"You said that before. Who's they?"

"Men...In robes...And big noses..."

Camila hums in thought and then got an idea when she looked at the crayon in Vee's hand. "Could you draw what they look like?"

Vee looked at the other crayons Camila gave her as well as the few sheets of paper she had left. She grabbed the paper, the crayons, and started drawing the best as she could. As for Camila, she turned back to the computer.

"Let's see..." She scrolls through the rest of the article. "Can leave a venomous trail--Hope that's not true...Lots of stuff about kings...Weakness is the smell of the weasel? I can't tell if some of this is true or people are making things up for the heck of it."

After some more time scrolling, Camila feels a tug at her pant leg. Glancing downward, she noticed Vee holding up a paper she drew on.

"The men," she said. And to Camila, it looked like...nothing. It was a bunch of squiggles of different colors, mostly black, dark blue, and light blue. And a bit of red in some spots.

"I...don't think any of this is accurate," Camila told her, which got Vee to pout a little. "But it's fine. You're a baby who likely never drew before. Nothing you can't handle without a little more practice."

Vee sniffed. "Not baby...Bas-ill-isk..."

"Whatever you are, it looks like only you know the answers to it." Camila sighed. "All the internet seems to have are fantasy stories or weird facts that do not line up with what I've seen of you. Unless you are allergic to weasels or something."

"What's a weasel?"

"It's, uh, well..." Camila did another web search and then lifted Vee up to sit in her lap. On the computer screen was a picture of a weasel. "It's a type of mammal. A lot like a ferret, in fact?"

"Ferret?"

"Yeah." Camila did another web search to pull up a picture of a ferret. "Like I said, the same thing. And while some might call them rodents, that's a whole different family together. You see..."

Camila did a lot of other web searches, showing Vee a vast array of animals and all the fun facts that Camila knew about them. All while Vee just sat, her eyes shiny and astonished to see this new, wide world in front of her.

[greekceltic]

FAQ Page

She/her | 38 | I like cats and rain. My comic: https://catswaycomic.com/ My Patreon: https://www.patreon.com/greekceltic My Ko-Fi: https://ko-fi.com/greekceltic Other links: https://linktr.ee/greekceltic Sorry in advance if you send me a message and I don't get back to you, I tend not to stress over messages/asks. I do try to read them though, and I'm always open to being asked questions about characters or my headworld/stories. I am already aware that my art is being copied. They're blocked. Please stop telling me about it. Rest of my FAQ is under the cut >

Can I repost your work? I don't mind as long as I'm credited. I'm less okay with my work being used as a pageviews grab, but it's probably not worth my time to care. If it's something I've selected to take down and don't have posted anymore, don't. If it's something you commissioned, go for it. You don't need to credit me every time you share it. Once in a while is cool.

Are you okay with fanart? What about OC interactions? Can I post it? Sure, just don't profit off of it and please credit me. If you want to draw my OCs interacting with yours that's also fine (and fun!)- though I prefer situations where their actions make sense. Alf wouldn't make your character cry, for example. He's grumpy but not cruel. Posting it is fine. Is it okay if I take inspiration from your art and concepts? I've been in a situation in recent years where another artist has taken far, far too much. It's a subject I'm pretty burnt out on. I recently saw another artist's take on this and it looked sensible to me. I'm just going to quote theirs. I have tried to find my own words, but right now I find myself more comfortable using someone else's. "Well, if you’re having to ask me for permission, either your design is too similar or you’re being overly nervous about a normal artistic process. You’re absolutely free to use my work as a source of inspiration but I’d strongly encourage you to think about the details from my design you like most, and remix them with other concepts into your own unique take."

Taking inspiration is something everyone does, but please don't become a shadow I get bi-weekly alerts about. Ideally your pool of inspiration will be many artists and concepts re-imagined into something unique to you- and that you're being honest with yourself about the result.

Your art is being copied! / Will you tell me who the copy cat is? I get a lot of messages about this and am tired. I'm sure if my art ends up somewhere it shouldn't be or there's something really worth my attention I'll find out through friends. Otherwise, I'm just sayin' get a second or third opinion before coming to my inbox. I probably already know about it.

I sent you a message and you didn't respond. Sorry about that. I tend not to stress about messages because it can be a drain. You're more likely to get a response if you let me know from the get go what you want, but nothing is guaranteed. Sometimes I didn't see it, sometimes I got busy or forgot, sometimes I plan to do it later, sometimes I just opted out. It's not personal. Where do you Rp? Are you looking for more partners? Discord mostly. Roleplay consumes a lot of time so these days I mostly only play with my buddy Thema. I probably wouldn't have time to play, but I like to hang around people that do and I don't mind being asked. Just please don't be sad if I never get around to responding! I'm most compatible with people who are comfortable with radio silence.

Can I use your characters in roleplay/as roleplay refs? Considering I actively roleplay my OCs and there's a potential for confusion, I'd rather you didn't. Though I think there's a difference between linking to my art and saying 'this is my character', and linking to it to say 'this has the mood I'm going for, but here's what's different about my character--'. The latter is fine.

Can I make Fan OCs for your setting? Thinking about this makes me tired. Maybe I'll get to a point where I'm more comfortable later, but for now I'd rather you didn't make something directly from my worlds. But lets be real, you don't need my permission to draw cat monsters and I take a huge amount of inspiration from ancient history. Many of my concepts are inspired by things that you can read about and be inspired too. If you see something and are curious if there's a historical source, just ask. Hopefully I'll remember.

Do I have permission to draw NSFW art of your characters? No, for a plethora of reasons, some easy to explain and some not, but I probably can't stop you. Just don't profit off of it or show it to me.

Do you have a website for your OCs? I have RP pages for them scattered all over the place and many of them are outdated, but as I type this I recently put some up on Toyhouse. https://toyhou.se/GreekCeltic

Do you have a website for your comic? Sure do. It's an expensive fuck. https://catswaycomic.com/ When does your comic update? Sporadically. I work on it when I have time. My income is solely freelance commissions and Patreon- mostly commissions.

There's other places you could post your comic! Yeah, I know. I may do that someday, but for now I like having my own house, even if it's an expensive fuck. (Not really, the renewal just hits around tax time, Lol).

[weirdkpopgirl]

Promise | Jaemin Imagine #8

Title: Promise

Genre: Angst

Warnings: mentions of anxiety and breakdowns

Word Count: 1.3k

Author's Note: I'm aware that anxiety often takes center stage in my stories, and yet, here's another one I've penned, this time focusing on Jaemin. Drawing from my own struggles, I aimed to portray the challenges of being close to someone dealing with mental health issues. Even with a strong support system, it doesn't guarantee that your problems will vanish miraculously. To all those who grapple with similar issues, I hope this story encourages you to seek help if possible because you deserve happiness and good health.

˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗

From the beginning, you and Jaemin had a fairly healthy relationship that was envied by your friends and family. Apart from the initial awkwardness (primarily on your side) during the early stages of dating, both of you treated each other with plenty of tender loving care. 

You could truthfully say that Jaemin wasn’t just your boyfriend, but also your closest confidant. Perhaps it was the fact that the two of you had been friends for a substantial period before dating. Being each other’s partners allowed a deeper understanding of one another, resulting in almost no arguments between the two of you. That being said, because he knew you so well, there was one factor that occasionally led to turbulence in your relationship.

Anxiety has been a constant companion throughout your life. It was much like a friend you recognized as toxic but still chose to spend time with. Lacking a proper support system during your childhood, coping with life as an adult became significantly more challenging. For you, anxiety has been this silent struggle you had been battling alone. However, you didn’t realize the effect it was having on your otherwise, perfect relationship.

The irony was that Jaemin was the most supportive presence in your life. However, the issue lay in your reluctance to accept his support. Whenever you were in a state of distress, you tended to distance yourself from him and withhold your true feelings. He had witnessed you break down before, and it bothered him that you pushed him away.

One evening, after returning to your apartment late, Jaemin could see in your eyes that it was more than the part-time job that was taking a toll on you. He could discern from the restrained smile on your face that you had no intention of sharing it with him. At that moment, Jaemin reached the point where he couldn't bear it any longer.

The warmth of his hand atop yours gained your attention. Gazing at you softly, he asked, “Princess, can we talk?”

“Why? Did I do something wrong?” you responded with a tinge of concern in your voice. You searched your memory for anything you might have upset him, but couldn’t think of anything specific.

After taking a deep breath, Jaemin met your eyes brewing with perplexity. You had no idea what he was about to say, which made him briefly consider retracting his words. However, he knew that he couldn’t allow anything to stop him.

“It’s about your anxiety, (Y/n),” Jaemin began to explain, using his most gentle tone. “I’ve noticed how much it’s impacting your physical and mental health. And I think that seeking help from a professional can make a difference.”

Yet no matter how delicately this subject was being brought up to you, your shoulders tensed and you withdrew your hand from his grasp.

Your eyes flashed with frustration. “Jaemin, therapy isn’t necessary—I’m fine.”

“But you don’t have to pretend you’re fine all the time. It’s okay to ask for help and lean on others. I just want what’s best for you, (Y/n),” he stressed. He could sense you retreating behind your wall, and he refused to let you block him again.

That was how this conversation escalated into the most intense argument you had ever experienced with Jaemin. He made a sincere effort to stay composed, but it proved challenging when you continued to shut him out and maintained your insistence that you could handle everything on your own. 

Nonetheless, voices were raised from both parties and the words that left your mouths stung immediately after they were said. So as quickly as the argument had started, it ended with you pushing away from him and storming out of the living room with your eyes glossed over with tears.

Guilt quickly consumed him and his previous frustration dissipated. After waiting a few minutes to give you some space, Jaemin quietly moved down the hallway in search of you. His feet stopped at the bathroom door when he saw the faint light seeping beneath it.

On the other side of the door, your shoulders shook as silent sobs wracked your body, leaving you barely able to catch your breath. 

Eventually, you heard a gentle knock on the door. “(Y/n), please let me in.”

A part of you wanted to tell him to go away and leave you alone. You could tell by the tone of his voice that he was done fighting. Yet, you couldn’t convince yourself that you deserve forgiveness. Not when the entire argument was your fault. Even though he had been nothing but patient and loving, it was you who didn’t have the courage to acknowledge your mental instability. You were the problem.

When you didn't respond, Jaemin decided to take matters into his own hands and cautiously pushed the door open. Inside, his heart ached when he found you seated across from the sink, your face buried in your knees, every part of your body trembling. He hadn’t intended for things to go this way.

Without any further hesitation, Jaemin joined you on the bathroom tiles, scooping you up into his arms. The comforting feeling of being held made you instinctively cling to him. Your tears soaked his shirt, but that was the least of Jaemin’s worries.

“I’m sorry, Princess,” he whispered, his chin resting against your forehead as he stroked your hair. “I didn’t mean to pressure you like that.”

You grimaced inwardly as your voice wavered. “I'm the one who should be apologizing. I... I know I just push you away when I’m having a hard time. But you already do so much for me, and I just don’t want to be a burden."

“You could never be a burden, (Y/n),” the tips of his fingers lifted your chin slightly, allowing you to meet his sincere gaze. “You’re my everything, and I can’t stand to see you hurting alone.”

His simple, yet sweet words made you feel so warm inside. It was that moment you realized Jaemin was never going to leave your side, even if it meant seeing you at your worst. Your wall of emotions remained resolute, refusing to crumble any time soon. However, the better half of you wanted to let Jaemin break down those barriers.

Before you could say anything, Jaemin could feel the resistance in you slowly fade away. Your hand slipped into his, intertwining your fingers as you released a light exhale. “The idea of seeking help is terrifying. But if you’re with me, I think I can do it.”

“It makes me so happy to hear you say that,” Jaemin smiled and squeezed your hand reassuringly. “And I promise, we’ll face your anxiety together.”

Your cheeks warmed when he pressed a soft kiss on the back of your hand. Then, he leaned in for a tender kiss on your lips, his fingers gently weaving through your hair. Your grip on his sweatshirt tightened as the kiss deepened, conveying all the love and understanding that words could never fully express. Jaemin's other arm remained securely wrapped around your waist as if it could shield you from all your worries.

When you finally pulled away, tears in your eyes had transformed into tears of happiness. "I love you, Jaemin."

"I love you too, Princess," he replied in a sing-song voice.

In that heartfelt moment, as he held you close, you both understood that your love had the strength to endure any storm, even the ones that threatened to tear the two of you apart. Despite the relentless assaults of your own mind, the love you shared with Jaemin served as a reassuring reminder that you could overcome it all, together.

˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗˗ˏˋ ♡ ˎˊ˗