#i've just sorted out my process actually

[tincta-aurum]

my process is loosely as follows:

get a reference and look at the values and colors and get a bunch of markers (i use ohuhu alcohol markers) for the lightest value and ones in between. i usually don't set a darkest value from the get go because a lot of it is layering and experimenting, but i want to at least have some colors to start with and lay down a base. usually i get a bunch of skin tones and two to four cold tones, depending on what the reference seems to call for. the colors don't have to be an exact match because you're never gonna be able to exactly match the tone with a limited palette. keep in mind that this is mostly a face rendering tutorial because portraits are about the only things i've done with markers lol, but i'll try to keep it applicable to other things as well?

(also, something important to keep in mind is wet vs dry - this is less of a thing with alcohol markers - if you're layering over a part that you've just colored on the marker is going to bleed. this is a good thing for blending!! but if you want cleaner shapes i'd wait a bit for the page to dry before coloring to do smaller details or different parts of the drawing like skin bordering hair, etc. the wet/dry divide is more obvious in mediums like watercolor, but it's still a useful thing to take advantage of and be aware of.)

so i generally use a lot of layering for each portrait. the first layer is coloring in some shapes of where the darkest shadows are, using the brush tip of the marker. (keep in mind that i also spend a while sketching out a guideline) then i use the chisel tip to color the entire face in, while it's still "wet". (save the eyes, although you could do that too because this is a light color and eyes are generally in shadow anyway. also to be noted: keep these first strokes brief because layering the same color can darken it.)

now that all the white space has been covered for the subject i go in with either a darker shade of a skin tone or a cold tone. i find that lighter, cold tones (like blue and purple) elevate shading a lot if used right. ("right" being where light might be reflected onto bottom-facing facial planes or where shadows intersect, or just as light shadows.)

then i just layer various colors i've selected, (while selecting more sometimes lol) keeping in mind facial planes and structure and looking at the values of my reference until i'm satisfied. generally then i push myself to darken the shadows a bit more and add details as necessary. the hair is similar - lay down a foundation color, analyse shapes and values and layer.

i usually also outline stuff with a pen (forgot what brand it is but i'm sure any pen works lol) and add highlights with a white acrylic pen! (sometimes i color over the white and or dab at it while it's still drying so it's not as bright) this is. quite lengthy but it's the short and long of it. ^u^

some mechanisms marker drawings ;0;

[rawbin-hsr]

OMGGG Your latest smut fic is so amazing!!! The smut is absolutely delicious! but....the angst is breaking my heart so...could you please write a continuation or part two where the reader confronts Aventurine's dark internal thoughts and comforts them? A fic where they actually get him to believe that they love him for real, where they tell him that he's not a monster and that he wasn't ruining them.

You've got it ! (˵ •̀ ᴗ - ˵ ) ✧

Aventurine x Reader

You treat Aventurine with more respect than he deserves. (Part 2)

Read part 1 here !

CW: dehumanisation (internal, thoughts Aventurine has of himself, referring to himself as a “monster”), lots of mentions of death, passively suicidal Aventurine, violent imagery (through metaphors, nobody is actually physically harmed), intrusive thoughts, Aventurine thinks kind of vicious things about you (refers to you as "stupid", "brainless", "naive" etc), cursing.

Lmk if there’s anything else I should warn about !!

Small note: Spoiler alert sorry, but you will not completely fix Aventurine in this fic. Making any real progress would take YEARS. The trauma he's gone through and his beliefs about his own humanity are EXTREMELY deep-seated, just one conversation would not be enough to make him truly believe he was loved. Super sorry since I'm sure that's not what you wanted (you specifically requested they "truly get him to believe that they love him for real", but this does still end on a hopeful note so I hope you won't be too disappointed (•ᴗ•,, ) )

Sometimes Aventurine gains enough clarity to remember where he stands. More importantly, he gains enough clarity to remember where you should stand. That is to say, as far away from him as possible. Unfortunately, you are never keen on doing that. 

In these moments of clarity, he distances himself. If you won’t do it, he has to. He needs to. He needs to even when he can feel the little pieces of him that you’ve managed to haphazardly glue together splinter into tiny shards again, even when it feels like every step away is a step walked on shattered glass. He can hardly be called a ‘person’ anyways, what does his suffering matter? He has already lost so many good things, why not add another loss to the tally?

He reads your texts, but he doesn’t respond. He hangs up on you the moment you call. By doing this, he makes sure you know he is alive. Both because he knows it would devastate you if you thought he died, but even more so to make sure you know he is intentionally ignoring you. He hopes at least some part of you hates him. He thinks part of him hates you.

But he can never stay away for long. Like a werewolf called by the full moon; like a vampire to blood; like a siren to a sailor. Thoughts of you always cloud his mind too much to do what is right. He reminds himself he will destroy you. He comes back anyways. He is too selfish not to. 

And you welcome him with open arms every time. Sure, sometimes you yell. Sometimes you berate him. Sometimes you cry. But he never does something beyond the bounds of what you’ll forgive, even though he tries to. You’re patient to a fault. Though he feels bad, he never takes it fully seriously, because you always hold him with so much sweetness, even when your words are filled with righteous anger and justified hurt. You always end it by reminding him that you love him. Something clenches in his chest; something that is not his heart, because he has none. He claims he is sorry, but you both know he will do this again. He always does. You know he will hurt you over and over, even if you don’t know the extent. You know he will test you, that he will ignore you, that he will cling to you and that he will taunt you. You don’t know he will drag his claws through you and tear you to ribbons; you don’t know he will sink his teeth into your neck and drink all your blood; you don’t know he will lure you to sea and drown you. You are never aware of the true danger you are in. 

Maybe that’s why you one day feel comfortable enough to corner the creature that has taken on the appearance of a lover. You sit down next to him in bed one evening after one of his many attempts to push you away, your expression grim. You look straight ahead, right into his dead eyes, unaware that a monster is towering over you. 

“We can’t go on like this,” you say. For one moment, the crushing relief and devastation threatens to consume him, and he’s not sure which of the feelings is stronger. For one moment he can’t breathe. 

He hacks our a laugh, his skin straining. Something is shifting beneath his flesh, something ugly and dangerous. He needs to leave and he needs to do it quickly. 

“You’re right, we can’t,” he agrees, his voice a lot more steady than he feels. He feels the urge to grab you and shake you until you pass out. He feels the urge to suck out your life force until your body is an empty husk. He feels the urge to slam your head into the bathroom sink in the next room over. He feels the urge to shoot himself in the head, because he does not want to do any of that. 

“I love you,” you say, unexpectedly. Or maybe it’s not unexpected. You always say such stupid, brainless things. (You say it with sweetness. The only sweetness he can offer in return is the sweetness of bacteria digesting rotting meat. Is the flesh his, or will it be yours?) He laughs again. 

“I thought we were breaking up,” he says. Smirking, as if it’s funny. (It isn’t.)

“No, we’re really not,” you say firmly. He snorts. 

“Maybe we should.”

You don’t answer. Instead, you come closer. 

Get away, he thinks. Run, you fucking idiot. 

You don’t have many flaws, but the ones you do have are insurmountably big. You are too forgiving, you are too kind, you are too selfless, you are too naive. You will kill yourself doing this one day. You will let him kill you.

Your arms wrap around him. He can’t help but relax. The thing lurking under his human disguise grows more restless. 

“I don’t hate you,” you say, unexpectedly. And this one really is unexpected, because what made you say that? Your arms squeeze around him tighter. “I thought I was being obvious enough about that, but you’re so bad at understanding it.”

The feeling he has is the same as the feeling he gets when he realises a deal is going awry. You are the highest risk stakes he has ever made a bet on: will he ruin you, or will you ruin him? What you could do to him is so much more serious than death. He knows that he is holding a losing hand. He doesn’t even know what he stands to win.

You kiss his neck. He shudders. 

“Why are you so scared of me?” you ask. 

Scared? He is not scared. What an outright laughable concept. Neither of you are scared, but if one of you was, it should be you, but you aren’t, for some reason.

“What gives you that idea?” he chuckles, but his voice is not as steady this time, and he can feel his smile slipping. (What is wrong with him? He doesn’t want to think about it. The answer is always ‘everything’.)

“Your hand is shaking.”

It is, but that is not because he is afraid. Fear is a human response, borne from the desire to live. It is instinctual. It means kicking and screaming, it means clawing your way out of hell for the chance to see another day, it means fighting for the life you don’t want to end. He cannot die, you see. Death cannot occur twice. Just because his body reacts, that does not necessarily mean he can truly fear any longer.

(Then again, maybe his reaction does not come from the thought of his death.)

“I’m not scared,” he says, and his voice sounds a lot weaker than he had expected. You pull him closer, cradling his head against the crook of your neck. His blood is pulsing too quickly.

“It would be okay if you were,” you murmur. “I know you don’t know how to be loved. That’s okay. I’ll teach you. You just have to let me.”

Squash. Slice. Tear.

Maybe you are the monster. He can feel your claws prying his chest open; he can feel your teeth dig into his flesh; he can feel something that is not air fill his lungs. The biggest difference between you and him is that he devours, while you give. You painfully shove something back into the cavity meant to contain his soul, you pump blood back into his system, and you fill whatever gaps are left in him with something that is first cold but quickly warms. 

(He realises, belatedly, that something is pumping inside his chest again. But it can’t be a heart, can it? He lost that so long ago.)

“I’ll kill you,” he manages through gritted teeth, claws digging into your shirt. It is not a threat. It is not a warning. It is just the truth.

“You think too much,” you admonish him. Your tone is as gentle as your words are cutting. “I wish you would trust me more. You’re so determined to ruin your own life, and I don’t like it.”

“That’s just how I am. Deal with it or leave.”

“I’ll deal with it, then.”

Like a werewolf called by the full moon; like a vampire to blood; like a siren to a sailor. He will destroy you. But you accept it. 

He has tried time and time again to push you away, but he is weak. So incorrigibly weak, and though your flaws are insurmountable, his are all-consuming. He is a monster in all the ways that matter. But you stubbornly will not leave despite that. 

(Maybe that makes him a little more willing to try to change his nature. Just a little. Just for you. If you will not leave anyways, maybe he could try to make his presence a little less torturous.)

“Just… please stop ignoring me,” you sigh, nuzzling into his hair. Tenderly, tenderly, tenderly, so tenderly it makes his skin crawl. Your claws are softly piercing into him and he is helpless, unable (unwilling) to fight back. “I can deal with everything else. I just hate it when you do that. I can’t keep going weeks without speaking to you. I know you have some kind of… weird ideas that I’d be better off without you, but that’s not true. I love you, and I love being around you. I can’t help you when you cut me off at every corner.”

Cut, slice, slash.

Something in him breaks. Something he knows cannot be salvaged. Something he knows you would not want to salvage. Something he is not sure if he wants to salvage either, now that it is broken anyways.

He breathes a shaky breath, his fingers — his fingers, not claws, not this time — digging into your back. He buries his face into the crook of your neck, and he does not feel the urge to bite down. Though his eyes feel wet, it would not be enough water to drown you. 

He knows your line of logic is wrong. He knows the fact remains unchanged: he is a monster of a man. He will ruin you. But maybe your presence sparks enough electricity to keep his heart pumping, just for a little while, and maybe he can wait until things actually start going downhill before he lets you go. Maybe he can remember how to be a human for a bit, maybe he can pretend he is. 

“I just… don’t want to do something I can’t take back,” he whispers. “Not with you. You’re the… the only good thing I have left. I don’t know what I’d do if I…”

“That’s sweet, but I’m not as weak as you think I am,” you reply. “I’ve held out this long, haven’t I? Put more faith in me.”

He smiles.

“Yeah, I guess you’re right.”

---------------------------------------------------------

My inbox is open, feel free to send in asks or requests, I'd love to ramble about things <3 Also reblogs are EXTREMELY appreciated the final push I needed to finish this was from a very kind individual who reposted and analysed my writing I've been riding that high ever since they did that ily bro

[icewindandboringhorror]

I've referenced before how I have a big google document to keep track of every media I've ever seen in my entire life (just for reference because I like to track everything possible lol… I am the Data Collector), but recently as I was updating it, I thought of actually evaluating them to find out random percentages (like for example, out of Total Shows Watched, what percentage did I finish vs. stop watching, what percentage did I like or dislike, etc.)...

Evaluating these things is made easier by the fact that I already place everything on each subsection of the list into 6 broad ranking categories, so I don't have to go back and guess to figure out how I feel about them or anything. The categories are: Ranking 5 - overall best* (despite some criticisms of course because I'm too much of an Analyzer to ever find anything Perfect lol) Ranking 4 - more positive than neutral, but not good enough to be 5 Ranking 3 - either the good + bad negate each other, OR it's just not memorable/interesting in any way enough to be ranked higher or lower (this is the Default category ALL things are placed in if no other rank applies) Ranking 2 - maybe a few redeemable elements but largely more negatives than positives Ranking 1 - So bad that it circles around to being fascinating to observe in some way (not necessarily Funny, or Good, but just interesting somehow) Ranking 0 - Bad in a genuinely frustrating or obnoxious manner

*("best" primarily defined here as most interesting, rather than most good in a technical sense, or some other measure. I tend to value more highly whether there's something novel or thoughtful about the worldbuilding, tone, writing, base premise, etc - than about whether it's actually executed perfectly.)

And here's the amount of shows that have so far been placed into each category -

TV shows ~ Rank 5 (highest) - 20 shows ~ Rank 4 (mid-high) - 28 shows ~ Rank 3 (neutral/default/meh) - 114 shows ~ Rank 2 (mid low) -33 shows ~ Rank 1 (low low but intriguingly so) - 14 shows ~ Rank 0 (iredeemably low) - 2 shows

This would make for a total of 211 TV shows overall. However, there are 57 shows within these list marked as "didn't finish" (typically meaning I quit on the very first or second episode - but log them still to keep a record that I at least had a brief view of them).

So my total of genuinely fully watched shows would be more 154. 211 Total, but a More Accurate Total of 154.

Counting them all and using the Total Number Of The List (211) -- that means roughly 9.5% of all total shows I have ever watched (or at least attempted to watch) have been Mostly Good, 13% have been Moderately Okay, 54% have been either entirely Forgettable or some mix of good + bad that lands them right in the Neutral Middle, 15.6% have been Mostly Bad, 6.6% have been Bad (but in an interesting way), and 0.9% have been Terribly Bad.

Additionally, I didn't even get past the first two episodes of about 27% of the total.

Sooo, discounting ones I didn't finish, my total TV shows ever watched in my life would be about 154 (maybe give or take a few, assuming I might have forgotten some from very long ago).

But instead of entire life, let's just say this is the total for 'About 20 Years' (so, not counting very early childhood when I likely wouldn't remember things I saw/have no detailed recollection of them (like for example, I'm sure at some point when I was like 4yrs old I must have seen an episode of Spongebob or something, but I have zero distinct memories of it, can't quote anything of it, and barely recall the premise - so I don't count it on the list, etc.)).

In that case, 154 divided by 20 would be roughly 7.7 shows a year.

Which is actually surprisingly low considering that I often have stuff on in the background for hours whilst I make sculptures and do costumes and stuff (maybe I should have also marked some distinction between 'things I fully paid attention to' and 'things I kind of half listened to whilst sculpting', but that would further split the categories too much probably lol), but I guess a lot of that is youtube videos or random documentaries, so .. eh.. maybe I get it being lower.

Now, doing the same thing for movies-

Movies ~ Rank 5 (highest) - 4 movies (3.4% of total) ~ Rank 4 (mid-high) - 12 movies (10.3% of total) ~ Rank 3 (neutral/default/meh) - 91 movies (78.4% of total) ~ Rank 2 (mid low) - 8 movies (6.8% of total) ~ Rank 1 (low but interesting) - 1 movie (0.8% of total) ~ Rank 0 (irredeemably low) - none in this category (0%)

That makes 116 for a Total (Actually Remembered) Movies Watched In Lifetime (Or At Least In 20 Years).

116 divided by 20 is roughly 5 or 6 movies a year (I feel this has probably been skewed though by adding everything since like elementary school onwards, as I remember a lot more movies from child/teen years.. Whereas, the past 3 years I feel like I've barely seen maybe even 5 movies?? lol). I also have "Didn't Finish" marked on 18 of them. Which means I quit halfway through about 15% of the total movies.

So, a for broader summary stuff..

I seem to be less forgiving to movies than tv shows, by far. Which makes sense to me, I guess, because I love elaboration and details, so "short form" things that only last an hour or two are often lost on me a bit. My biggest complaint with movies is indeed usually walking away just wishing there had been more exposition, more scenes where characters are doing nothing, more "mindless bantering" conversations, more Quiet Downtime and Lore Elaboration and so on lol, so... of course most 1-2hr films end up feeling a bit Not Enough To Draw My Interest/Nothingy to me.

If you count 5 and 4 as "like" and rankings 2 to 0 as "dislike", then for TV shows I at least somewhat liked 48 of them, and at least somewhat disliked 47 of them.. So it's almost exactly the same lol. I'm just about equally as likely to find something bad as I am to find something redeeming about it. But overall, the largest chance is that I just won't really care much for it at all and it will be tossed into the 'neutral' pile, forgotten forever. Movies have a bit better of a balance, "liking" 16 of them, and "disliking" only 9 of them. So I'm slightly more likely to enjoy a movie than to find it annoying - though still VASTLY more likely to just not find it anything in particular, possibly not even finishing it.

ANYWAY.. this is vague and literally pointless, but like I said, I just really find information fun. Like my document where I've rated every apple flavor I've ever tried (like 40 of them now?), or reviewed every oreo flavor (32?), or ranking data from my entire 10 years of Trying To Make Friends process (out of 100 people, roughly 8% chance of a moderate compatibility, 3% chance of high), or etc. etc.. I love to have random pointless things to analyze I suppose lol.

I doubt anyone tracks things in their life in this same exact way, but I'd be interested in hearing any at least somewhat similar data !!! (like, how many TV shows you watch a year on average, and what percentage of those you like vs. dislike (if you keep track of that sort of thing), etc.)). I guess it might be easier with movies, since I think some people use those websites where you curate a list of movies you've seen and you can rate them or something, so maybe the numbers are already available on those places. :0

[deoidesign]

Look at these stickers my brain is literally so huge. God. I love them so much.

I hadn't tried to do a sticker sheet at home before because I knew it would be difficult, and I was right! Getting the cut lines to line up with the print was super hard and there were many failed attempts, but it was so worth it I'm so happy with them!!!

This sticker sheet is for my patrons this month ^^

[ifindus]

Kaptein Sabeltann and all the antagonists!

[ourceliumnetwork]

y'know. i don't often hate the way my brain is and how difficult it makes certain things for me.

i do a little today though.

[ontologic-catgirl]

Sighhhh, one of these days I'm going to figure out I'm capable of maintaining a effective and fun dominant persona. For grappling, sword-fights, and debate. But cannot for the life of me actually keep it up for actual kink. You'd think taking immense joy in slowly peeling back someones defenses, before slamming my leg into there throat and throwing back the arm bar. Would translate well, but apparently not!

[ame-to-ame]

Rereading ayaka is in love with Hiroko senpai!!! Last time I read it I don't think it was finished/I didn't finish it but ack. Now I also want to be in love 😭😭😭

[gallusrostromegalus]

The Van Has Officially Declared It Spooky Season

---

I've got my parent's van for the week and it seems determined to establish my status as The Local Cryptid by terrorizing an innocent 7-11 clerk.

...I might need to back up a bit.

My mother is an eminently sensible woman who knows herself well, and when The Plauge hit, she knew she'd need some sort of mentally and physically engaging craft project to keep herself from going insane and massacring the local zoning and water management boards (even if they have it coming). So she and Dad acquired a utility van and converted it into a camper van because while they love camping, they're past the age where their joints and immune systems will tolerate sleeping on the cold ground in a nylon tent.

They did a terrific job of it and my mom taught herself woodworking and carpentry and now the van has it's own cabinets, fold-away dining table, and removable queen-sized bed with memory foam mattress. My Dad was already a computer engineer, but he learned the dark magics of automotive software and electronics to install after-market backup cameras, a media player that would take a terabyte hard drive and a solar-powered battery and outlet so they could wake up and just turn on the kettle and griddle for breakfast without having to exit the van into a cold morning on an empty stomach.

Truly, the height of Camping Luxury.

My parents are both in their mid-seventies and my primary life goal is to be at least half as cool and hale as they are when I get old.

Anyway, they take it out at least a dozen times a year and it works fabulously, but, being as I am on good terms with my parents and also finishing the process of moving house, I've been borrowing it to move large and cumbersome objects that will not fit in the back of my equally lovely but minuscule Honda hatchback.

It's a Great Van. Very easy and comfortable to drive. Stunningly good MPG for it's size. The best cruise control I've ever had in a car.

It's just also. Quirky. Mischievous, even.

---

If this van has a fault its that it bears the unfortunate affliction that all lightly used white utility vans have in that the combination of an utter lack of branding features and the large dent/scrape I accidentally put on it while trying to escape a Denny's last Thanksgiving means that this vehicle is one addition of a Badly Spray-Painted "FREE CANDY" on the side away from being the sort of vehicle you see in an edgy horror movie.

It's got the same issue that Doberman Dogs have where they look like the sort of creature that likes to snack on toddler's faces whilst actually having personalities made of marshmallow fluff. This vehicle is unnecessarily menacing and I think nothing short of an airbrushed Epic Van Wizard will correct this. People see this van pull up and lean over and squint suspiciously at me when the driver's side door opens, and then look moderately confused when, instead of Charles Manson, a small, potato-shaped creature with neon purple hair and a statistically unlikely assortment of dogs emerges.

My own two dogs, Herschel the Hanukkah Goblin/Corgi and Charleston Chew The Taco Dumpster Dog, Do Not Like The Van. Even with the bed in it, they have a tendency to slide and roll around in the back, and both WILL chew through dog saftey belts or other attempts to secure them in there.

On the other hand, my house mate's dog, an exceptionally tall standard poodle whom we lovingly call "The Creature", loves the Van because SHE wears her doggy seat-belt with only mild complaining and gets to sit up in the passenger seat like A People.

Also like A People, The Creature likes to stand and walk around on her hind legs. It doesn't hurt her and it's entirely voluntary, but every so often I will feel a hand on my arm and instead of my husband or friend, it's a canine that's taller than I am on her hind legs who wants to stare at my face with soulful, concerned eyes. The Creature's favorite thing is that she is exactly the right height for me to hold her arm in Genteel Fashion and walk around the pet food or hardware store with her like I'm a count escorting a debutante around a royal ball.

---

As it stands, I am set to inherit this vehicle whenever my Honda gives up the ghost, and I fully intend to paint an Epic Van Wizard on it when that time comes.

The other peculiarity of The Van is that while Dad did manage to successfully install all his after-market electronics, not all the electronics get along. Sometimes, they fight for Dominance. The Terabyte Music Player and the Backup Camera have a particularly contentious relationship, and turning on the music has about a 25% chance of turning on the backup camera as well, and turning on the Backup Camera is equally likely to turn on the music.

Firthermore, The Van has a favorite song.

I am not kidding that Dad filled an entire terabyte hard drive with music and the software to sort it via the radio controls, but of all the Early Boomer Dad Rock (Kingston Trio over The Eagles) and Irish Folk and Symphonies and the entire discography of Weird Al Yankovic, The Van's favorite song- The one it picks to play as victory music every time it beats the Backup Camera at their weird electronic game of rock-paper-scissors -is The Liberty Bell March by John Phillip Sousa.

You all know this song already.

...but in case you've forgotten the tune:

Yeah.

The Van's favorite song is the goddamn Monty Python's Flying Circus Theme Music.

It does not play this song at a normal volume.

Every time I turn on the Backup Camera and it manages to turn the music player on as well, The Van insists on absolutely blasting this nonsense on at the maximum volume it's physically capable of producing, which I know is loud enough to be heard from the Denver International Airport's Pickup zone when they Van decided to start playing it from the economy lot about half a mile away.

Perhaps it's The Van's way of honoring the aesthetic sensibilities and sonic enthusiasm of Mr. Sousa.

...I can't help but wonder if the purpose of an Epic Van Wizard is to control this sort of faerie-like malarkey, and channel these chaotic energies into things like Spell of Don't Break Down In Nevada or Enchantment Of Always Have Good Parking.

---

So last Friday the 13th, I get a call from my friend and housemate, at said airport.

It's roughly 11PM at night, and I have already retired for the evening. I am in the exact minimum of clothing required to be a decent housemate and not scandalize the neighbors should I happen to walk by a window. My feet are up. There is a cat in my lap and fictional British people murdering each other in highly inventive fashion on the tv. -But my friend has returned from her friend's wedding,and either American or United Airlines has managed to lose her luggage, including, among other valuable possessions, the keys to her car. ...So she cannot just drive home as originally planned.

There are, as luck would have it, her spare set of keys not eight feet from me.

Being a good and decent person, I agree to bring the spare keys to her so she may get home before daybreak and not spend a semester's worth of tuition on an uber across the greater Denver traffic jam.

Being also that she Loves Activities, and it's her mom we're going to pick up, I elect to take along The Creature.

I am primarily focused on remembering how to get to the airport and not leaving my friend's spare keys on the counter, so I throw on a pair of flip-flops, step outside, remember that it's AUTUMN and my minimal evening attire is not sufficient thermal protection, step back in, grab the first coat in the closet I lay hands on, pull it on, check that I have her keys again and leave.

The trip to the airport is largely unremarkable, save that it becomes necessary for me to put on sunglasses to drive, despite it being nearly the witching hour and almost entirely darker than the inside of a cow.

It's necessary because this blissful darkness of night is violently punctured by a startling number of cars that seem to have installed miniaturized but no less powerful lighthouse bulbs in where their headlights ought to go so the oncoming traffic and sports cars that insist on tailgating me in the slow lane alike illuminate the road and my mirrors with the kind of radiance I'd normally associate with the arrival of a Seraphim.

I arrive at the distant highly discounted airport car lot where my housemate is waiting, deeply apologetic. It's nothing. I say. Once I see that your car starts up, I'm gonna go to that 7-11 across the way that I parked in front of, get a slurpee or something and I'll see you at home.

While she is retrieving her vehicle (an equally eccentric but much more stately Subaru that is old enough to be elected to congress) I rifle through the loose change in the glove box and discover that I have exactly $6.66 in small bills and coins. The Subaru, continuing it's long voyage into vehicular immortality, immediately starts up.

Upon her return, we all remember that my friend had all her camping gear in the backseat of the car and there is no room for The Creature to ride home with her parent, so I again assure her it's nothing, and will just take The Creature into the 7-11 with me. She is trained as a service animal and needs the practice after the plague.

I wave my friend off and turn to enter the 7-11.

I promptly trip over the jutting back bumper of The Van and fall, cartoonishly, face-first onto the sidewalk.

Fortunately, I have a lot of practice falling on my face, and have learned not to throw my hands out but instead cover my face, so my unexpected self-inflicted attempted curb-stomping lightly scrapes my hairline and nothing else -my sunglasses even stay in place- and I get up and resume my quest for a slurpee.

It's well known that the airport is a lawless place, and the 7-11 across from the discounted airport parking at the stroke of midnight is no exception.

I know it's the stroke of Midnight because there's one of those Audubon society bird-call clocks that makes bird noises, and my arrival is heralded by the twittering call of a Summer Tanager. I am almost charmed enough by the unusual choice of chronological device to excuse the exorbitant Airport-adjacent mark-up of Slurpee prices. I stand at the machine for some time, trying to decide on a size for the price and guess what the fuck "Blue Lighting Blast" is supposed to taste like.

The Creature is being Very Polite but is somewhat agitated, I assume because she *just* saw her mother for the first time in three days and then she LEFT with no explanation, so The Creature is on her hind legs, staring woefully into my eyes, asking to be escorted around the 7-11. Even though that's not what she's not supposed to be doing, there's nobody else in here, so I let her hang off my arm and discuss various Slurpee Flavor options with her.

We eventually decide on an experiment in which I try a Small Blue Lightning Blast, and discover it tastes a bit like licking a nintendo cartridge but in a pleasantly satisfying way.

I go up to pay and realize something is amiss.

The Cashier is a young man staring at me with wide eyes, one had over the register and the other wrapped up in his rosary.

I look down at myself.

In my haste to reunite my friend with her spare keys and service animal, I had left the house in the following accoutrements:

Flip Flops. Not matching. It's below freezing outside. That last part is not particularly odd footwear for the weather in for Colorado, but it's an important detail for the rest of the ensemble.

Assorted scrapes, bruises, cuts and welts on my arms and legs that come with doing outdoor work and living in a house with three dogs and a fully-clawed cat that all want to be in my lap all the time. It's cold out, so vasoconstriction has pulled the blood away from my skin, a trait that served my ancestors well during the last Ice Age, but leaves me with pale skin to contrast the various wounds and I look like a corpse that fell out of the back of a pickup truck.

The black Bootyshorts with "CRYPTID" painted in bright red gothic font across my ass, that @theshitpostcalligrapher gave me for my wedding present.

A peculiar but extremely comfortable garment that straddles the line between "Lacy Camisole" and "Industrial-Strength Sports Bra" like the Ever Given straddling the Suez Canal. It is also Bright Red. with black accents.

The Jacket I had grabbed out of the closet, which is in fact, a black Velour Dinner Jacket.

The Tokyo-Ghoul inspired reusable anti-covid mask a friend made me with the set of Coyote Teeth.

My sunglasses, which are shaped like a Halloween Bat. The lenses are the wings and the body is the nose bridge. It is ALSO bright red.

A Very Large and remarkably Humanoid Poodle that I have been audibly affectionately calling "Dear Creature" who is hanging off my arm like she's my Prom Date.

The Very Large and remarkably Humanoid Poodle is ALSO dressed up in a black Dog Sweater that has white bones printed on it to look like its an X-ray jacket showing off her skeleton.

I look like I am taking my Very Fancy Werewolf Girlfriend to a particularly casual Dinner Party for Vampires, but the thing that's really selling it and probably alarming the kid the most is the fun accessory I acquired in the parking lot not five minutes earlier:

The "Small Scrape At my Hairline" is actually a painless but PROFUSELY bleeding head wound that I had somehow entirely failed to notice covering my face, neck, decolletage and magnificent cleavage with blood like a Tarantino Film Extra.

This does explain why The Creature has been delicately trying to use her bodyweight to push me down onto the floor for the last ten minutes. So I don't injure myself while we wait for the paramedics she hoped this kid called to arrive, you see.

The Creature has such a High and Naive Opinion of humanity.

I decide this social situation is already fucked, and the only way out is through, and with haste, before I start dripping on the floor.

"Hi there!" I say cheerfully, to indicate this is a visually alarming but not terribly serious situation. "Just a Small Slurpee!"

The Cashier has entered the relevant code into the register before I finish the sentence. His gaze flicks off me just long enough to look at the total, and he grips his Rosary harder.

$6.66

"Oh cool! I have exact change!" I say, taking the money out of my as-yet-unsanguined pocket without looking and slap it down on the counter. "You have a good night and be safe out there!" I wave, leaving.

I get in The Van, mortified, buckle The Creature up, and as I make to leave, I have to put it in reverse, which automatically turns on the backup Camera.

It also turns on the music player.

I make eye contact with the cashier as the dulcet tones of John Phillip Sousa boom from the van hard enough to make the windshield and the windows of the 7-11 rattle for the nine-and-a-half seconds I have to wait to be able to turn the volume back down. Not knowing what else to to, I give him a thumbs up, and leave.

Anyway, now I know what my Future Van Wizard has got to be dressed like, and what their familiar is.

---

If you enjoyed this story, please consider donating to my Ko-Fi or Pre-ordering my Family Lore Funny Stories book on Patreon

[vetyr]

hi, i ireally love your work and i don't know if you've answered this before but, what kinds of studies do you do or how did you learn color theory? i wanna get better at rendering and anatomy but im having trouble TT TT

Hi! Long answer alert. Once a chatterbox, always a chatterbox.

When I started actively learning how to draw about 10 1/2 years ago, I exclusively did graphite studies in sketchbooks. Here's a few examples—I mostly stuck to doing line drawings to drill basic shapes/contours and proportions into my brain. The more rendered sketches helped me practice edge control & basic values, and they were REALLY good for learning the actual 3D structure behind what I was drawing.

I'd use reference images that I grabbed from fitness forums, Instagram, Tumblr, Pinterest, and some NSFW places, but you could find adequate ref material from figure drawing sites like Line of Action. LoA has refs for people (you can filter by clothed/unclothed, age, & gender), animals, expressions, hands/feet, and a few other useful things as well. Love them.

Learning how to render digitally was a similar story; it helped a lot that I had a pretty strong foundation for value/anatomy going in. I basically didn't touch color at all for ~2 years (except for a few attempts at bad digital or acrylic paint studies), which may not have been the best idea. I learned color from a lot of trial and error, honestly, and I'm pretty sure this process involved a lot of imitation—there were a number of digital/traditional painters whose styles I really wanted to emulate (notably their edge control, color choices, value distributions, and shape design), so I kiiind of did a mixture of that + my own experimentation.

For example, I really found Benjamin Björklund's style appealing, especially his softened/lost edges & vibrant pops of saturated color, so here's a study I did from some photograph that I'm *pretty* sure was painted with him in mind.

Learning how to detail was definitely a slow process, and like all the aforementioned things (anatomy/color/edge control/values/etc.) I'm still figuring it out. Focusing on edge control first (that is, deciding on where to place hard/soft edges for emphasizing/de-emphasizing certain areas of the image) is super useful, because you can honestly fool a viewer into thinking there's more detail in a piece than there actually is if you're very economical about where you place your hard edges.

The most important part, to me, is probably just doing this stuff over and over again. You're likely not going to see improvement in a few weeks or even a few months, so don't fret about not getting the exact results you want and just keep studying + making art. I like to think about learning art as a process where you *need* to fail and make crappy art/studies—there's literally no way around it—so you might as well fail right now. See, by making bad art you're actually moving forward—isn't that a fun prospect!!

It's useful to have a folder with art you admire, especially if you can dissect the pieces and understand why you like them so much. You can study those aspects (like, you can redraw or repaint that person's work) and break down whether this is art that you just like to look at, or if it's the kind of art that you want to *make.* There's a LOT of art out there that I love looking at, probably tens of thousands of styles/mediums, but there's a very narrow range that I want to make myself.

I've mentioned it in some ask reply in the past, but I really do think looking at other artist's work is such a cheat code for improving your own skills—the other artist does the work to filter reality/ideas for you, and this sort of allows you to contact the subject matter more directly. I can think of so many examples where an artist I admired exaggerated, like, the way sunlight rested on a face and created that orange fringe around its edge, or the greys/dull blues in a wheat field, or the bright indigo in a cast shadow, or the red along the outside of a person's eye, and it just clicked for me that this was a very available & observable aspect of reality, which had up until that point gone completely unnoticed! If you're really perceptive about the art you look at, it's shocking how much it can teach you about how to see the world (in this particular case I mean this literally, in that the art I looked at fully changed the way I visually processed the world, but of course it has had a strong effect on my worldviews/relationships/beliefs).

Thanks so much for sending in a question (& for reading, if you got this far)! I read every single ask I receive, including the kind words & compliments, which I genuinely always appreciate. Best of luck with learning, my friend :)

[keferon]

So the Mech AU is something and it's captured me too.

Set sometime after Prowl discovers Jazz is a pilot but before they go to Earth

———————————————————————

"Do they all look the same?"

Sat in a makeshift chair made from a tarp thrown over a spare tire, Jazz was in the middle of refueling from a small plastic baggie when Prowl broadly gestured to the inanimate body of his mech.

"The mechs? Naw, at least not the ones that last. I've had mine long enough that it's gotten all sorts of unique design changes and upgrades. There's no other mech that looks or moves just like mine."

The reassurance that Jazz's mech form was an individual creation was pleasing for some reason. Perhaps Prowl didn't like the idea of a dozen identical blank visors, the body of his friend replicated and filled with someone else.

"There's like. three or four classes of mech I think?" Jazz continued unaware of Prowl's secret anxiety.

"There's Rescue Class, those are the smallest, and they actually aren't built for fighting but for digging through rubble and cleaning up chunks of alien. Plus, sometimes those tentacle freaks have parasites that drop off when they die so the R-class kill 'em before they can become an invasive species."

"I thought you said they weren't designed for combat?"

Jazz finishes their fuel and shrugs.

"Its a war. Nobody gets out of fighting completely. Before I left I heard they were sticking a medic into- into fuckin' Vortex."

There were, many questions Prowl had concerning that last sentence. How desperate were the humans to be making their caregivers into soldiers? Why was this Vortex so infamous?

Why did Jazz sound angry at first, but by the time he got to saying "Vortex" the name came out as a rush of breath rather than a proper word?

What stopped him from pressing further on the topic was how Jazz seemed to shrink. And sink.

And stare at nothing at all.

It was so nauseatingly not Jazz that Prowl nudged the tire a bit and guided the conversation back to familiar territory.

"So what class are you?" Prowl said, while crossing his arms on the table and resting his chin on them. It was, very off model posture for the Praxian, but without the ability to pick up EM fields, exaggerated body language seemed to be the best way to get through to his human.

On a hunch, Prowl lightly waved his door-wings as well. Jazz smiled at them, and at him and Prowl preened with a modest smile back.

"I happen, to-just-so-be-the-Top-of-my-class-a-thank-you-veeery-much!" Jazz said popping each syllable like a song, resting his chin on his knuckles to match Prowls gaze.

"In terms of mech?" He nodded in its direction.

"I'm Striker Class baby, we're the fastest, the most agile and in my personal opinion the the most effective fighters in the whole program."

"And you do not personally feel as though you are an outlier bringing up the average?"

Mouth agape in mock shock, Jazz placed a hand over his spark- Flesh? Flesh-spark? Prowl deleted the line of thought and focused on the performance.

“I assure you Prowler, there are plenty of other Striker class pilots out there that do good for our name. I mean, there’s Blur for one thing. The guys basically the poster child of the whole program. Ridiculously fast mech. There’s also Hot Rod. His mech had the funny little quirk of CONSTANTLY CATCHING ON FIRE, buuut he turned it from a bug into a feature and now that’s just his thing.”

“Just his thing?!”

“Yup.”

“Being on fire?”

Jazz sat up straighter and pointed a finger at Prowl, “Look. I don’t know the full story and I shouldn’t be the one to tell it either, but trust me when I tell you this guy earned it.”

Leaning back, Prowl processed the new layers of insanity humans would apparently subject themselves to before filing it under “Bizarre conversations with Jazz” in his processor and carrying on.

“So what’s your special quality?”

“Me? I’m freakishly good at syncing up with my mech. Like, Blur is faster, but I’m smoother. Like, like that really is me. It just, I dunno, feels right. Fits me.”

Jazz looked over to his mech for a long time. Frowning at the fuel packet in his hands and solemnly crushing it into a ball.

“In terms of mech?” Jazz looked looked over to Prowl, smile returning with ease.

“I think I might be the only one that’s built for the stars.”

Their conversation continued into the evening like a leisurely dance. Discussing Pool Time, the war, cultural differences , the quintessons, their homes, what remained of them, and all the people they know and once knew.

Prowl never brought up Vortex again, though perhaps he should have.

__________________________________________

"What," Prowl choked out, his voice more static than sound. "Is that?"

The sky was green. The quintessions were in chunks. A mech, matte black with a blank visor, caaaarved into the body of the last living invader. A blade that massive was too big to keep a clean cutting edge, so the mech made up for the lack of delicacy with brute force.

It. It wasn't killing the damn thing. It was vivisecting the aliens spinal column from its body, each rib snapping off with a supersonic POP that shook Ratchets hangar and barely carried over the fucking awful sound of the thing screaming in terror.

Prowl would have never thought a Quintession could be a Victim before that moment.

Spine and brain case finally extracted, the mech lifted its prize to its opening vi- mouth.

That is its mouth. It's head was the size of his entire chassis. Inside, a stranger. Over bright eyes, straining and shaking against restraints within to get a better look at what was being held up to him. The mech moved without any input, tilting its helm back and cracking the skull to fill its open maw with cerebral fluid.

A funnel cloud touched down in the distance.

"That.? Jazz said, leaning against Prowls good side. “Is Vortex.”

TH A T. IS VORTEX

Man……I think Cybertronians would consider themselves big and scary compared to primitive earth life. And then meet Vortex. And then see Vortex in their nightmares for the next five million business years

Previous Next

[starsturni]

use me*- chris

analysis: when having a casual hook up with chris, you start to wonder about how deep your feelings actually go.

song: 'i wanna be yours' by 'artic monkeys'

wc: 2k

warnings: cursing, SMUT (if not obvious), slight dumbification, spanking, oral (f recieving), talk of hook ups, p in v, unprotected sex (be responsible!!), degradation, aftercare, praise and size kink!

authors note: btw, i have absolutely no idea if someone else did this idea already, but if you did something similar please tell me!

i'm not even sure how it started. all of this, it went from longing glances and travelling eyes, to the slight touch of hands when you pass by.

there was tension, and we both knew it was there. we chose to ignore it, not wanting to ruin what we had.

i've known chris since preschool. although i'm close friends with nick and matt, something about chris made me want to stick by his side. he felt it too.

'we were practically conjoined at the hip', my parents always remarked. they were right, and i knew they were. but i never caved, always defending myself with a smile and awkward laugh. "no way!"

but now, it's something more than that. more than just an innocent friendship, friends don't make out.

friends don't hook up.

but here we are, chris ushering us into my bedroom, his lips latched onto my collarbone, sucking at it, leaving dark purple marks for the world to see. he shuts the door behind us with his foot, his lips never stopping their work

they inch up to my neck and soon my jawline, leaving soft wet kisses. i feel the back of my shins hit my bedframe, gently lowering myself onto the messy white sheets. my head hits the pillow, a soft whimper of surprise escapes my lips as chris follows me, his mouth trailing down to my cleavage, his soft lips feeling angelic against my tanned skin. "chris-" i say, a slight hint of a whine coating my tone. his thumb slips into my mouth, silencing me.

"shh, ma i know, no teasin' tonight.." he mumbles gently against the curve of my breast, his hands gently slipping under my shirt, cupping my chest through the lacy white bra underneath the silk feeling of my dress.

a soft moan escapes my lips, my eyebrows furrowing at his slow pace. "chris.." i say in a tone that speaks, 'stop messing around.'

he smirks, his eyes meeting mine "what ma?" he says, acting clueless to the way he makes my legs clench everytime his warm breath fans over my stomach. chris's right hand sneakily dips under my dress, two fingers swipe at my panties, collecting it's slick. i gasp softly, not expecting the touch.

i try to close my thighs up, but chris pries them open. "open up." he mumbles, looking into my eyes. he keeps the intense eye contact, his hand trailing down my stomach to my wet heat. he moves my panties to the side, his eyes landing on my folds. his warm breath meets my core, causing me to whine.

i gently buck my hips towards his face, desperate for any sort of friction. his palms grip my thighs tightly, pushing them down toward the bed. "quit it." he says with a dominance that could make me moan. i nod obediently, biting my lips to hold back a comment that could make the process of getting any pleasure even longer.

he starts with gentle kisses and bites down on my inner thighs, gently kissing above my needy core. he lays a gentle kiss on my clit, a whimper falls from my lips as a flash of pleasure shoots through me. "oh fuck- chris, please."

he smirks at my neediness, the cockiness of his expression is practically radiating off of him. "patience baby, patience." he finally reaches where i need him most, his mouth working magic on my weeping hole. his tongue flicks between my folds, dragging long slow stripes as his fingers curl and pump in and out of me, stretching me out in preparation for his lengthy cock.

as he works me out, he stares deeply into my eyes, examining the way my face contorts in pleasure, and how the pretty sounds leave my soft lips. "look at this fucking pretty pussy baby, you see that?" he mumbles against my cunt, the vibrations of his deep voice making the experience all the better. he fingers me more roughly, pumping them in more harder and faster. "huh? you see how dripping wet you are for me?"

i nod wordlessly, my eyes rollling back as i try to grasp onto the sheets below me. he pulls his mouth away abrubtly, his fingers stopping their rough movements. "fuckin' answer me with words."

"i-i see how wet i am for you, i love it so much baby." he smirks condescendingly, scoffing. "sit up." i quickly sit up on my knees, gnawing on my lip as my core aches with need, eager for attention. chris lies down, his hands grabbing my thighs, tugging my forward to hover his lips. i gasp softly at his dominance, but i don't make a sound about it.

he pulls me down to sit firmly on his face, as he starts working his mouth again. i throw my head back as his tongue slips inside me, his lips sucking on my bundle of nerves, all of his actions working beautifully together.

the room fills with the sound of slurping and moaning, the noises sinful, but feeling so good. "chris- please, fuck, l-let me move." to which my surprise, his hands let go, falling next to his head. i instantly start to rock, grinding down relentlessly against his mouth. as i grind down on his face, his hand lays a harsh smack against my ass, causing me to whimper. "f-fuck, feels so good."

his hands continue to leave marks against my ass, roughly spanking me.

as i start to grind sloppier and slower, chris pulls me off him by my waist, forcefully arching my back and stuffing my face in the pillows near my headboard. i gasp at his roughness, whimpering, "chris-!" my arms try to support me by holding myself up on my elbows, but chris rejects it as he grabs my wrists, pulling them behind my back as my face drops down onto the mattress.

he takes my wrists into his left hand, his right hand tugging down on his sweatpants, leaving them at his ankles while his feet kick off. his tip peeks out from the waistband of his boxers, a small patch of precum stains the grey fabric from his leaking slit.

he hisses quietly as he pulls down his boxers, the cold air hitting his hard shaft. he lines his tip up with my entrance, swiping it teasingly through my folds, but never once going inside me. i whine, wiggling my hips towards him, needy for some sort of pleasure. chris's hand lands roughly on my ass. "stay still. be a good little slut baby.."

i moan softly from the pain, tears brimming from the sting. "p-please, i need it." he spanks me again, his hands trailing up to grab my hair, roughly pulling it back. "what do you need baby? cmon pretty girl use your words, 'know you can.."

"mmph, fuck- need your cock so badly." he smirks, gently rubbing my red ass, his handprints marked all over it. "mmm, good girl.." he says, positioning himself to my sopping wet cunt. he uses a little bit of his spit, gently fingering it inside me as a natural lube, before then roughly slamming into me.

i moan out in pleasure and pain, feeling the way his cock molds into my stomach, stretching me out in such a way it feels good.

"o-oh shit!" i say, my face stuffed into the pillow, courtesy to chris. he pulls out almost all of the way, making me feel empty, just before slamming right back in, stuffing me. "fuck, you like that baby?"

i nod, moaning dumbly as tears fall from my face. "f-fuuuck, yes! it feels so good!" he chuckles before groaning, the sounds of my wet cunt filling my bedroom. "oh yeah, shit, like this pussy's made f' me..." as his words fill my ears, i feel a coil starting to tighten in my stomach. chris then pulls out, flipping me over so i'm laying on my back. he roughly slams back into me, pulling my left leg over his shoulder, his hands tightly holding onto my ankle as he pounds into me.

i cry out into the night air, my back arching off of the bed at how good chris can reach spots in me i didn't even know were in my body. his tip repeatedly taps my cervix roughly bruising it everytime. "fuuuck, your ex didn't fuck you this good, did he?" he says. i whimper out his name, my eyes meeting his. his right hand gently presses down on my stomach, looking at the way his girthy length has it's own outline inside me. it even makes chris let out a groan, his head falling back as his thrusts get even sloppier.

the coil in my stomach gets even tighter, as i can tell i'm about to release. "o-oh fuck, chris 'm gonna cum."

he smirks, his thumb coming down to my clit, rubbing quick circles onto it, mumbling nonsense as he almost reaches his climax. "oh yeah baby, just like that, go ahead. make that pretty noise." his words of reassurance making head swirl with emotion. "f-fuck, chris!" i moan out, as my back left off the bed, my back arching. the coil snaps in my stomach, my climax washing me over in an overwhelming state of euphoria. "c-chris!!" my legs shake, chris quickly following my release with his own.

he groans out, "oh fuck, shit y/n i'm cumming!" he moans out loudly, his thick warm spurts of cum shooting inside me, coating my walls. chris collapses onto me, him leaning on his elbows as to not crush me under his weight. we both lay together, still connected in a beautiful way.

he gently pulls out after moments of rest, him wincing as i whimper, my cunt still sensitive. "sorry ma. you did so good.." he says, gently running his fingers through my hair. "you okay? i didn't go to rough did i?"

i catch my breath, shaking my head as i swallow. "no, you-you did fine." he smiles, feeling reassured. "thanks, you did too..sorry if i was rough.. do ya' want me to get some water?" he says sweetly, his thumb rubbing subconscious circles on my hip. "if you could that'd be amazing baby..." i say, tired and fucked out.

he nods, sitting up. "i'll be right back." he gently kisses my hand, standing up and leaving my bedroom. as he leaves, i stare up at the ceiling, taking in deep breaths, contemplating everything that happened in the last 30 minutes.

what are chris and i?

are we just fuck buddies?

does he even feel the same as me?

as soon as he left, he arrives back, shutting the door behind him. he gently climbs onto the bed, holding the glass, "here ya' go..i even added ice." he adds, smiling, trying to get a reaction out of me. i giggle softly, smirking. "wow, so thoughtful of you." i take a sip, his eyes trailing down my figure.

as i finish my sip, i wipe my lips, setting down the glass on my nightstand. i gnaw on my lip softly, thinking. "hey, uh chris?" he looks at me with tender eyes. "hm?"

"uhm..what are we?" he seems to pause at that question, not really knowing an answer. "..well, what do you wanna be?" his question stumps me. i mean, i wanna be his. i wanna be called his girlfriend. i wanna be the one he wakes up to in the morning, not just someone he comes to when he's horny. but i'm not gonna say all of that. "..i don't know."

the lie makes my tongue thick and burn, fighting the urge to spill my feelings. "..i mean, i like you, alot y'know? like more then just a hook up." he adds on, his tone sincere. when he speaks, i feel shocked but relieved at the same time.

i look away, nervous. "..me too. i like you alot." he smiles softly, his earlier cockiness gone from his expression. "..so what are we?" i add, nervous for the answer he'll give.

"..well your mine, and i'm yours."

i'm actually kinda proud with this fic, cause i also got it two 2,000 words!! <33

-love, starsturni

currently tagging:

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[shigarosie]

Match His Energy part three

Kirishima's phone has been ringing nonstop for the past ten minutes.

Finally, after trying to just ignore it and hope the problem goes away, Bakugo throws down his book onto the sofa and heads into the kitchen, bitching about his best friend leaving it behind before meeting up with Tetsutetsu and-

If course it was you who was calling.

He stared at the caller id, debating if he should just let it ring. Eventually you would get the hint, right? But then again, if it was some sort of emergency...

He grabs the phone and swipes to answer, unable to even get out a "what" before you hiccup a sob in his ear.

"I fucking hate men they're so stupid," you cry angrily. "I didn't ask this prick to buy me coffees and shit, but I go out with him to be nice and somehow I owe him an invite back to my place?"

Bakugo's jaw clenches. He doesn't fuck with douchebags like that, who think they're entitled to someone's body.

"And now he's telling people at work that I've been talking about them behind their backs? Like what the fuck?!"

You start sobbing again, more from rage than sadness.

"I'm coming over." He hangs up the phone before you can even process that it wasn't Kirishima you were talking to.

Bakugo didn't really know why he was coming over. He could always text Tetsutetsu and tell him that you need Kirishima to come over for some best friend emergency bullshit. But his feet moved on their own and he was grabbing stuff from the fridge and shoving his feet haphazardly into his shoes before he was out the door and in his car.

You were still crying when you opened the door, but you were definitely confused to see Bakugo outside your apartment.

"What-"

"Kirishima left his phone at home," he says. "You sounded like you were going through some rough shit."

You stare at him, blinking tears away best you could, but a few managed to escape and were making a break for it down your flushed cheeks.

He holds up a tinfoil covered pan. "I brought brownies. Made them last night."

At that, you were letting him in.

He sets the pan on your counter and shoos you off to go sit on your couch, going through your cupboards and your fridge.

You feel awkward, even though you're in your apartment. "I didn't know it was-"

"I know."

He's good at that; shutting you down. For once you're grateful for it.

When he finally leaves the kitchen he has two plates in hand, each with a turtle brownie covered in ice cream and chocolate sauce he sourced from you.

"Comfort food," he grunts, holding one out to you. "Eat."

You don't have to be told twice, you lip beginning to quiver again.

"Report that asshole to hr," he says. "Record any further interactions you have with him. I know a good lawyer if the harassment continues."

You start crying again. Bakugo's eyes go wide- did he say something wrong? He was actually trying to be helpful for once.

"Thank you." Your voice sounds squeezed, like you would say more if you could but the shakiness of of your breathing made it hard. "You know, I wouldn't have expected this from you. You like to pretend like you hate me."

"Who's pretending?" He asks, obviously joking despite his serious tone. "Just needed the phone to stop ringing."

"Well maybe if Kiri didn't leave his phone lying around everywhere-"

"How does he fucking do that? Every morning he leaves for work and then walks back in a minute later. Every morning."

"Clearly he's unreliable," you say, scooping up a pool of chocolate sauce on your spoon. "I'm starting to think I should just call you next time, but I don't have your number. You know, since you hate me and all."

"Yeah, I- um. That would. Shit. Fuck."

"Or I can just keep calling Kiri and hope you pick up?"

His face is pink. It's the first time you've smiled all day.

"Whatever. I guess that's fine."

[jonnywaistcoat]

Hey, Horrormaster Sims. I have a wildly different question that barely relates to TMA (Sorry about that) but its about your own process. Please, if you could, can you tell me how your first drafts made you feel? I'm on the fence about writing my own thing (not a podcast, and again, not Magnus related, though I have a million little aus for that delightful tragedy you wrote, thank you for that!) But I'm discouraged by the collective notion that first drafts are always terrible, because there's no ... examples I can solidly use to help the dumb anxiety beast in my brain that tells me everyone who is in any way popular popped out a golden turd and not, well, you know. One of my friends said 'Oh I bet Jonathan Sims's first draft was nothing like what he wanted' and I got the bright idea to just. Send you an ask, since you're trapped on this hellsite like I am. Anyway, thanks for reading this (if you do) and if you'd rather ask it privately, I am cool with that. Alternatively, you're a hella busy man with Protocol (you and Alex are making me rabid, i hope you know) and you can just ignore this! Cheers, man, and good words.

To my mind all writing advice, especially stuff that's dispensed as truisms (like "first drafts are always garbage") are only useful inasmuch as such advice prompts you to pay attention to how you write best: what helps your workflow, what inspires you, what keeps you going through the rough bits. There are as many different ways to write (and write well) as there are people who write and so always consider this sort of thing a jumping off point to try out or keep in mind as you gradually figure out your own ways of writing.

On first drafts specifically, I think the wisdom "all first drafts are bad" is a bit of unhelpful oversimplification of the fact that, deadlines notwithstanding, no piece of writing goes out until you decide its ready, so don't get too hung up on your first draft of a thing, because a lot of writers find it much easier to edit a complete work than to try and redraft as they go. It's also important to not let perfectionism or the fact your initial draft isn't coming out exactly how you want stop you from actually finishing the thing, as it's always better to have something decent and done than to have something perfect and abandoned.

But the idea of a "first draft" is also kind of a fluid one. The "first draft" you submit to someone who's commissioned you will probably be one you've already done a bunch of tweaks and edits to, as opposed to the "first draft" you pump out in a frenzy in an over-caffeinated weekend. For my part, my first drafts tend to end up a bit more polished than most, because I'm in the habit of reading my sentences out loud as I write them (a habit picked up from years of audio writing) so I'll often write and re-write a particular sentence or paragraph a few times to get the rhythm right before moving to the next one. This means my first drafts tend to take longer, but are a bit less messy. I'm also a big-time planner and pretty good at sticking to the structures I lay out so, again, tend to front load a lot of stuff so I get a better but slower first draft.

At the end of the day, though, the important thing is to get in your head about it in a good way (How do I write best? what helps me make writing I enjoy and value? What keeps me motivated?) and not in a bad way (What if it's not good enough? What if everyone hates it? What if it doesn't make sense?) so that you actually get it done.

As for how my first drafts made me feel? Terrible, every one of 'em No idea if that's reflective of their quality, though, tbh - I hate reading my own writing until I've had a chance to forget it's mine (I can only ever see the flaws). I suppose there's theoretically a none-zero chance they were pure fragments of True Art and creative perfection, but Alex's editing notes make that seem unlikely.

[parisoonic]

How the hell do you manage to superimpose the hilariously exagerated proportions of the tf2 mercs into a cohesive 2d style? I always struggle SO much with like, the way the mercs' models have huge hands, the way they have relatively low-poly definition on things like arms, shoulders, and legs... and Especially the way like, the models are kinda janky when you pose them for art purposes- when using movement tools, things like armpits and seams between body parts get all deformed... Which makes the study of form and silhouette rather difficult.

I assume that a lot of your ability to translate the concept of the mercs from their original mediums into your own works of art comes to you quite naturally- through experience you have with drawing and art style stuff, as well as through intuition. I was simply wondering if I could poke at your mind and get some insight into your process, any thoughts you have about the proportions and silhouettes of the mercs, any quirks you've found while drawing the mercs, or simply what you enjoy drawing about them. Like, don't be afraid to infodump about something just because you think people wouldn't find it interesting- I am here, I am sitting, and I am listening- if you so choose to speak.

I am utterly fascinated and enraptured by the more behind-the-scenes aspect of art. The mundane things that come second nature to great artists yet seem so revolutionary to less experienced artists.

I love your work, I look forward to seeing more of it, and I hope you have a nice day :]

Sorry for the late reply! I've been a little…stuck on how to answer this but that's mainly because to me, drawing is composed of SO many different little skills - you have form, anatomy, shape language, silhouette, appeal, rhythm, acting and posing…not to mention everything AFTER your raw draughtmanship like line style, rendering and colour theory. Trying to distill a multiude of small skills into some pithy advice is overwhelming to my brain. So I'll take the invitation to ramble instead :))

I don't think I have any new or revolutionary insight into the tf2 guys specifically - more I'm using them as work horses to excercise general silhouette/posing/shape-language and further my skills when it comes to drawing characters!

I do agree though the proportions are rather silly when you stop and think about them realistically…they can be kinda tricky if you follow their 'actual' proportions. what looks great individually was maybe never meant to be directly compared (ie: Heavy's hand size against Spy's lol). It would've been funny if the TV show exsisted and we had more content to review…would the animators have had rules like Spy and Heavy can never shake hands? Would they cheated the proportions for shots? Or would they have said WHATVER it's gonna look weird and embraced it? (Like Kingpin in Spiderverse lol)

Paul Lasaine for 'Into the Spiderverse' This is AWESOME. But it's also one of the silliest designs I've ever seen comitted to screen. The varied scales of the characters work because of the unifying treatment (lighting, rendering, consistant hand anatomy, consistant clothing fold treatment etc) and because they are sort of proportional within themselves. A common mantra is that hands should be about as large as a characters face....which they all are here!

Human brains are very flexible and forgiving though. It's totally fine for you to put a character with huge hands and head next to a teeny tiny character! Vanellope and Ralph from Wreck-It Ralph look grand next to each other! And in that film you even have varying levels of stylisation sitting against each other (unified by the look dev treatment of the shaders and lighting). I think as long as the chracter is proportional within themselves it sort of works out. IE: a general rule is that a hand should be as large as the face so…you can have some large arse hands as long as their placed on a body with a big arse head. Unifying characters with the same treatment (ie: lineart brush, colouring style will also help them look cohesive next to each other :) )

I don't actually reference the 3D models/animations very much at all and instead draw their proportions based on my tastes for stylisation following their general vibes/silhouette profiles. I don't stick THAT close to their in-game looks and there are artists who do that are so so so much better than me (Creedei and Flapjack come to mind). I'm not amazing at body-type differentation and TBH they're all wearing chunky clothes all the time so I usually draw the guys as one-of-three body shapes: Heavy is the uniquely wide guy; Sniper/Scout/Spy are all tall and slim and Demo/Soldier/Medic/Engie have a little more of the generic 'hero' bodytype with varying tallness and broadness of the shoulders

Something like this! You can vary all these individual elements in terms of size, thickness, taper amount etc to create different characters. If you ARE going to reference the 3d works though you'll need to apply some anatomy knowledge to overcome the weird shoulders, armpits and knees which desperately need blendshapes to correct the 3D volumes and approach it a little more like an animation supervisor. There's a reason why you see in making-ofs and art-ofs character designers, character leads or animation supes doing drawovers of the models. These are character models that have had great effort put into their 'base' silhouette but it still needs to be reinforced in every frame for maximum appeal.

Shiyoon Kim for 'Raya' This sort of thing will occur at multiple stages during the animation process. Shiyoon Kim's notes are post final model but pre-animation. Most likely for internal rig tests, exploring what blend shapes and alt shapes are needed for the rigs etc. If your production has time, this will continue all the way to final anim. IF! But it's interesting to see how he emphasises the shapes and enhances the character acting of the 3d model.

As for 'mundane things' - I wouldn't say they're second nature! (If that makes you feel better!) I have to actively really persue certain advice and try to figure out how to best apply it. This can sometimes involve redrawing and redrawing an element of the drawing until I've grasped the nettle of whatever I'm after or…..until I get frustrated and either delete the drawing or just call it done lol

Here, I'm looking for a really specific flow of the head that sells both the acting and a subtle head tilt. I'm also trying to apply the general mantra regarding faces that converging lines (set by the eyebrows and mouth) are more appealing than parallel. It's tough! I also tend to use a drawing I've already done as a template/reference on the page too. Oh! This page is an amazing example of why I'm not an animator or storyboarder…consistancy? Who is she? 💅

Converging lines (that form tapered shapes) are always more appealing than parallel. Using this logic you can loft the facial features across converging lines to create dynamic appealing espressions. Combining this with anatomy, perspective and rotation is the tough part though. I'm still learning o7

The things I probably think about MOST are always flats vs curves, simple vs complex and general line of action/flow...and then eliminting tangents. Each of these can be a dedicated visual-essay on their own - hence my stumbling as to answer your question. Anyhow, not sure if it's ever come up on this blog but I looove dinosaurs :)) so i'm using a wee piece to demostrate these ideas! (but also to demostrate these concepts apply to everything from humans characters to animals, props and background design)

Okay, I'm getting self-aware that this is getting really long :') I have a wee tutorial tag for my blog if anyone wants to comb through my garbled art-thoughts. Learning, studying, repetition and practice will always be the greatest teachers! I'm glad you like my art- thank you so much for the lovely comments - I feel like such a noob still and not qualified to give people advice but we're in it together learning! High-five! 🙌

[inkskinned]

sometimes we just need someone to pay enough attention.

for the longest time i had been trying to read The Lord of The Rings. everyone had sung the praises for it, over and over. i'd seen clips of the movie and it seemed like it could be fun, but actually reading it was fucking horrible.

my parents had the omnibus - all the books squished into one big tome - and in the 4th grade i started sort of an annual tradition: i would start trying to read TLR and get frustrated after about a month and put it back down. at first i figured i was just too young for it, and that it would eventually make sense.

but every time i came back to it, i would find myself having the exact same experience: it was confusing, weird, and dry as a fucking bone. i couldn't figure it out. how had everyone else on earth read this book and enjoyed it? how had they made movies out of this thing? it was, like, barely coherent. i would see it on "classics" list and on every fantasy/sci-fi list and everyone said i should read it; but i figured that it was like my opinion of great expectations - just because it's a classic doesn't mean i'm going to like experiencing it.

at 20, i began the process of forcing myself through it. if i had to treat the experience like a self-inflicted textbook, i would - but i was going to read it.

my mom came across me taking notes at our kitchen table. i was on the last few pages of the first book in the omnibus, and i was dreading moving on to the next. she smiled down at me. only you would take notes on creative writing. then she sat down and her brow wrinkled. wait. why are you taking notes on this?

i said the thing i always said - it's boring, and i forget what's happening in it because it's so weird, and dense. and strange.

she nodded a little, and started to stand up. and then sat back down and said - wait, will you show me the book?

i was happy to hand it over, annoyed with the fact i'd barely made a dent in the monster of a thing. she pulled it to herself, pushing her glasses up so she could read the tiny writing. for a moment, she was silent, and then she let out a cackle. she wouldn't stop laughing. oh my god. i cannot wait to tell your father.

i was immediately defensive. okay, maybe i'm stupid but i've been trying to read this since the 4th grade and -

she shook her head. raquel, this is the Silmarillion. you've been reading the Silmarillion, not the lord of the rings.

anyway, it turns out that the hobbit and lord of the rings series are all super good and i understand why they're recommended reading. but good lord (of the rings), i wish somebody had just asked - wait. this kind of thing is right up your alley. you love fantasy. it sounds like something might be wrong. why do you think it's so boring?