#in my pixel brush era

[mattibee-portfolio]

Ouppy Rawr!!

[chodoyodes]

good ol' fashioned blorbos

[hydrobunny]

never took me quite where you do

tags: established relationship, fluff, silliness

a/n: based on king of my heart. (which was also my eras surprise song!!)

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"you haven't had a girlfriend?" you ask, surprise coloring your voice.

rin itoshi stares at you like you've suddenly got infinitely stupider. "not before you."

"that's," you start, then stop. actually, now that you're really thinking about it, it does make sense. "you know what, yeah. seems about right."

offense glares in his eyes as he leans away from you. "the hell does that mean?"

you raise your brows. "what do you think, rin?"

he fully untangles his limbs from yours at that, shoving himself off of the couch. you protest at his motion - a little halfheartedly, but the effort is there .

standing up to his full height, rin itoshi glares down at you.

you blink up at him, smiling with all the innocence you can muster. "yes?"

"do you know how much fan mail i get?" he grits out. "how many chocolates i've gotten on valentine's?"

it takes quite a lot of effort for you to not start laughing. "i do know how popular you are, yes. you should see the edits on tiktok."

"so why-" rin falters. "edits?"

"go on."

it takes him a second. "i could've had a girlfriend if i wanted to," he says at last. "i just didn't."

you nod, still biting back a smile. "mhm. i'm sure all the girls would've loved you after seeing that personality of yours." you scoot over, offering up the space on the couch again.

rin continues to stare, but you can see his will weakening. "not like anyone wanted to date your lukewarm ass either," he says with a finality.

you snort. "i thought you grew out of that word."

he rolls his eyes.

"also- factually untrue. i've had boyfriends before."

and rin's entire demeanor switches. "what?"

you wave your hand, dismissive. "not like a lot, but. an average amount to have for a high schooler, i think. none of it was ever serious. not like you," you grin.

rin doesn't return it. genuine shock bleeds through his face; he turns on his heel. "i'm going to bed."

"wha- rin?"

forty five minutes later, you breeze into your shared bedroom. your teeth are freshly brushed, your skin lotioned, and you're almost ready for a good night's sleep.

"are you actually still mad about- what the hell are you doing?"

rin freezes, one hand still on the computer mouse. from your vantage point, you can see every pixel on that screen.

"is that my high school boyfriend?"

he turns in the swivel chair, very clearly not in bed. the classic 'itoshi indifference,' as you've coined it, masks itself over his face.

you step closer. "rin. is that, or is that not, the instagram profile of my ex."

he nods, slowly.

"can i ask why you're looking at his profile?"

he begins to shake his head, and then changes his mind (a good choice). but rin itoshi has never been too good at keeping himself calm-

"he's unemployed."

there's a beat of silence.

"sorry?"

"jobless. a leech on society. useless as a human being," rin continues. "a complete ass of himself, basically."

you stare at him. he stares at you. and then-

you burst out laughing. "are you serious?"

rin seems surprised by your reaction. it makes you laugh even harder.

"oh my god- you've been stalking his socials? for the last, like, hour?' you broke your stupid athlete sleep schedule for this?" there are genuine tears welling in the corner of your eyes. "for a guy i dated years ago?"

a little self-conscious now, rin stands up. "i was trying to sleep for the first twenty minutes. after that.." he trails off.

and you slam into him with a hug, still laughing. "i love you so much."

he stiffens at the initial contact, but gives into your touch the moment after. "i love you too?"

you hum into his ear. "they don't matter anymore. you know that, right? they never did- not seriously enough. you're the only one."

rin doesn't reply.

"and i know you could have any girl you wanted. but that doesn't matter to me. because you want me. and i will never get enough of you, rin itoshi."

his voice is a low murmur. "me neither. no one's ever compared to you."

and he presses a kiss onto your lips, and it's better than anything you've ever had.

[tofupixel]

I recently started learning to use rpg maker (vx ace!) and as a result have become increasingly interested in pixel art. I hadn't really done pixel work since my teens - I do more digital painting and vector art - so while I'm a little familiar and can do passable editing, there's a lot I don't know.

One thing that's kind of perplexing for me is understanding the differences in style between two creators of pixel art. I studied art history and I'm used to the differences being things like brush stroke length or degree of realism... I feel like I'm lacking in lexicon in this new frontier lol

What nuances of an artist do you think are most important to style in pixel art?

This kind of stuff is not really officially studied (yet) so it's all a bit of opinion from me.

Usually in pixel art the biggest differences in styles are which limitations the artists choose to impose on themselves; colour count, resolution, palette... Or more stylistic choices like hue shifting, anti-aliasing style or no, dithering or no, etc.

I personally think there are a huge variety of styles in pixel art, as it's literally just a medium, and I hope you'll agree by the end 8)

Also (imo) there is some seperation between the styles of art for art's sake, and art for videogames, where things have to be clear and readable to be actually playable.

🎮 Old school games:

Sometimes referred to as something like '8-bit' or '16-bit' (relating to the NES era / SNES era consoles), these artstyles usually follow the rules and limitations of the hardware at the time.

This all falls under retro art, most popular styles include: NES, SNES, GB, GBC, C64

Notable artists: Nickwoz, Sandy Gordon, Franken, Cisco

📚 Old school art:

There were also events called Demoscene (still are), where developers would go to a big convention and share their demos. A lot of pixel art competitions were held here, where artists would draw live.

Generally they used to favour a high realism/semirealism style, with lots of texture/dithering, fairly high resolution (if the hardware allowed for it), and adjacent pixels mostly being different from one another.

There are even older styles than this but they are fairly niche and I'm not that well educated. If interested look into some of the old PCs/consoles.

⭐ Modern pixel art:

Usually using more colours and higher resolution, larger clusters of pixels instead of individual ones. Strong use of art fundamentals.

Artists to look at: Adam Ferguson (yes it is pixel art), Snake, Slym, 6VCR, Yes I do Pixels, Gijotto, SovanJedi, JoeCreates, Franek, @8pxl

the rest below are "modern" pixel artists too but I think they have other things in their style that are a bit different!

🎨 Painterly:

Some artists choose to emulate the natural brushstrokes digitally, and keep their clusters large and loose. Usually don't focus on the minute details as much.

@makrustic, @hexh-pixel, Umbohr, Gawrone

🟦 Dithering

These artists all use dithering / texture in ways that make their styles totally unique.

Deceiver, Night, Reo,

💥 Experimental

These artists are always trying new things and honing in on their unique style.

AJ, hby, @ilta222, Alphons

I could really go on for ever, there are so many different styles, cute pixel art, horror pixel art, 1bit (2 colours only), and then adding animation takes it even further, but I think you get the idea

If you want to learn more, the Masters of Pixel Art books have works /interviews from pixel artists of different eras, including demoscene and contemporary.

😊👍

[cyberpunkonline]

The Best Halloween-Themed Games on the SNES: Spooky, 16-bit Chills

Alright, ghouls and gamers, it’s time to dust off that Super Nintendo and dive headfirst into the ultimate spooky showdown. This one’s for the #CyberSamhain event, so grab your controller, crank up the volume, and prepare for a night of pixelated terror! The SNES wasn’t just for cutesy plumbers and pink puffballs, nah—this bad boy had some of the creepiest, most spine-chilling games of the 16-bit era. From haunted mansions to demon-infested castles, these gems will have you double-checking under the bed before you turn the lights off.

So without further ado, let’s break down the SNES’ best Halloween-themed games, where the horror is real, the graphics are top-tier (for the 90s, anyway), and the scares come packaged in beautiful 16-bit glory. Ready? Let’s do this.

1. Super Castlevania IV (1991) You wanna slay Dracula? Of course, you do. And Super Castlevania IV is hands down one of the best ways to do it. You’re Simon Belmont, cracking that whip, taking down skeletons, vampires, and all kinds of gothic nasties on your way to Dracula’s crib. The game’s eerie music and creepy backgrounds scream Halloween vibes, with a perfect mix of tension and action. I mean, if you’re not fighting evil in a haunted castle, are you even gaming?

Resource: Hardcore Gaming 101 did a sweet write-up on Super Castlevania IV that’s worth checking out if you need to brush up on your Dracula-slaying skills.

2. Zombies Ate My Neighbors (1993) Look, this one HAD to be here. Zombies Ate My Neighbors is a 90s masterpiece where you and a buddy can team up to blast through hordes of monsters. We’re talking zombies, werewolves, vampires, and yes, even killer dolls. You save your neighbors using everything from squirt guns to bazookas, with some absolutely wild levels. Plus, with those cheesy 50s horror movie vibes, it’s got all the fun and none of the nightmare fuel. Well, unless giant babies freak you out (I mean, who isn’t freaked out by that?!).

Resource: GameFAQs has some killer guides on Zombies Ate My Neighbors if you’re struggling to save all the Karens on your block.

3. Ghoul Patrol (1994) A lesser-known sequel to Zombies Ate My Neighbors, but it’s still got the charm and spooky aesthetic. In Ghoul Patrol, our teen heroes return, this time battling spirits, mummies, and more. The gameplay is pretty similar, but with better graphics and some fresh mechanics. Okay, it’s not as good as the first one, but it still deserves a spot in your Halloween gaming lineup. Plus, how many games let you fight off ghost samurais? Exactly.

Resource: The nerds over at Retro Gamer have a deep dive into the Ghoul Patrol sequel, so give that a read if you’re ready to patrol the ghouls.

4. Demon’s Crest (1994) Forget playing the hero. In Demon’s Crest, you’re the baddie—a gargoyle demon named Firebrand, rising from the ashes to take down anyone in your way. Think of it as a darker, moodier Metroidvania, with gothic environments, eerie music, and a surprisingly deep story. The graphics are pure SNES perfection, with haunting details that will make your Halloween feel like an epic saga of revenge. Plus, who doesn’t want to be a demon with wings and flames at their fingertips?

Resource: For more about Demon’s Crest, go hit up MobyGames, where they’ll take you through the history of one of the SNES’ most underrated gems.

5. Super Ghouls 'n Ghosts (1991) Now, this one’s for the masochists out there. Super Ghouls 'n Ghosts is hard. I’m talking controller-throwing, shout-at-the-TV hard. But that’s what makes it so perfect for Halloween. You’re Arthur, the knight with an awful tendency to lose his armor, running through demon-infested lands, trying to rescue the princess (classic). The game is loaded with zombies, werewolves, and bosses that’ll make your palms sweat. Sure, you’ll die—a lot—but man, it’s all worth it for that sweet victory when you finally beat the final boss.

Resource: For those of you who love pain (aka challenging games), Super Ghouls 'n Ghosts has its very own fan section on Sega-16, where you can read more about how it became a 16-bit legend.

6. Clock Tower (Japan Only - 1995) Okay, so technically this wasn’t released outside Japan during the SNES era, but it’s so freakin’ good that it’s gotta be on the list. Clock Tower is pure survival horror—no weapons, no powers, just you and your wits against a maniac with giant scissors. You play as Jennifer, trapped in a creepy mansion, trying to escape while solving puzzles and dodging the Scissorman (because scissors are apparently terrifying). This one’s slow, tense, and packed with jump scares, making it the ultimate Halloween game. If you haven’t played it yet, find yourself a translation ROM and thank me later.

Resource: The fine folks at HG101 (Hardcore Gaming 101) have a stellar article on Clock Tower, diving deep into what makes this survival horror classic an unforgettable experience.

7. Bram Stoker’s Dracula (1993) Sometimes you just need a game based on a movie—and Bram Stoker’s Dracula for the SNES does a solid job at adapting the gothic horror. You’re battling your way through London, slaying everything from wolves to Dracula himself. It’s got a moody, atmospheric vibe that makes it perfect for Halloween. Is it the best game on this list? Nah, but if you’re looking to scratch that "I wanna be a vampire hunter" itch, this one’s worth a spin.

Resource: Check out The Cutting Room Floor, where they go into all the weird development secrets behind Bram Stoker’s Dracula and more.

Final Thoughts Whether you’re into haunting soundtracks, demon-slaying action, or co-op mayhem, the SNES has a spooky game for you. Halloween is the perfect time to fire up that retro console (or emulator, we won’t judge) and get lost in some 16-bit nightmares. From gory action to ghostly scares, the SNES has it all covered for your #CyberSamhain event. Just make sure you’ve got enough lives… things are about to get scary.

[tinypixeldoll]

hi lovelies!

here you'll find all my dollz, some made by me and some shared with me. i'll always let y'all know when it's not mine and do my best to credit if the creator is known!! other cute and/or creepy things as well. i love scorned, misunderstood women.

i make a lot of Taylor Swift dollz and am currently working on making Eras Tour outfits - first one up is probably the reputation set.

not necessarily taking requests bc some outfits i won't be able to recreate yet - i'm just not that good with pixel art or drawing really. most of the props i use are simply altered to be custom. but i am taking suggestions! i'm working on an Olivia Rodrigo doll and a few others.

i am more than happy to share my edited props, so feel free to reach out if you see a prop you like. please keep in mind i heavily edit skin tone etc on certain body parts. i use Picsart and Pixel Brush for my editing. there is a small community of other dollerz so if you're interested in joining, please reach out. we have weekly contests!

stuff you'll find here

-pink!

-my comics

-Taylor Swift

-Sailor Moon

-Chobits

-y2k

-other pop girlies like Britney, Brandi, Ashanti, Lady Gaga, Bey, Mandy Moore, Ariana, Olivia Rodrigo, Spice Girls etc

-creepycute things

-jazmin bean

[sentientstump]

You’ve probably been asked this before but I’m so curious- I’m in love with your Lineart brush, you work in ibispaint, right? If you feel comfortable sharing can you do a brush reveal? (Like just which brush you use or the settings-)

Your art is like. Actually so wonderful and I’ve been watching your yt content over and over and it’s just been an itch in my brain to find out what you use!!

man... no one has asked me this question before i realise 🙈

OK, so I use the pencil #2 brush! (i can get it instantly every day without ads because country doesn't support those ads anymore. some positives, i guess-)

it's set to 5.0 pixels minimum and 3096 max and that's basically it! Very lazy, very convenient if i lose it somehow

I used to use the pen (transparent) brush or how it's called... (its колорAnim here on the image) for my animatics and previous arts before .... ? october last year i think? Stump brush eras, amirite. Thank you for the ask btw! :D appreciate it lots!!!!

[jurweemn]

WcWd: This OC I introduced but refused to elaborate on a couple weeks ago

I should start by introducing him: his name is E'lim! I chose it because it sounded partially like "Eli" with a bit of the word "limb" mixed in. TBH I just mash random syllables together when coming up with names (this was moreso the case back when E'lim here was made, but that's still part of my naming process sometimes)

I mentioned that he usually wears a more plain attire when he appeared two Wednesdays ago. Well, turns out that I never settled on consistent shoes, either. Here's a couple more pixel art drawings I found of him:

There's quite a few more (probably unfinished) drawings of this fella hidden within the containers for nigh every medium I used around 2019-2021. After that? Not sure what happened, but suddenly I didn't like him. Like, I think he'd be more appealing as a character if his arms were noodley but I always drew them so stiff as though they had bones and it looked weird.

Looking back, I didn't have a good enough grasp of how to make this type of character: noodley limbs that definitely don't connect to the rest of the body in an anatomically correct way, oversized shoes that will inevitably result in cursed imagery if taken off, gloves that are likewise over-inflated and never to be removed... huh maybe I should do a character design study on Sonic characters

I also constantly gave him that stupid-looking smile. It reminds me of the Dreamworks face meme now and I hate it. Now, if I were to redesign this guy? I'd embrace the fact that he's supposed to be stylized, and NOT worry about whether or not he appears to have bones because it seems like that's exactly what I did every single time I drew him and, poor guy, that's not a good look for him 😔

...I wanted to end the post with that paragraph, but then I started typing up the other two-thirds of this post in the hashtags. So here's my rant about the canvas sizes: the "Halloween" one was WAAAY too big for starters. There was this whole era of my drawings where I wanted to be able to capture the details that other mediums offer, but I also didn't want to use other mediums because pixel art was what I was best at. I ended up just taking an unnecessarily long time on massive pixel art canvases, all because I had concerns about working in a software like ibisPaint or Procreate. "Pixel art doesn't require brushes, so how would I know which brush to use?" "What on earth is a 'blending mode'?" "I can't draw a straight line for the life of me, and you want me to add weight to them now??" I'm pretty sure most self-taught artists have struggles like those, though; I was just a bit late to it because learning those things wasn't needed in my pixel artist skillset, oddly enough

Anyway. Those two drawings of E'lim with a clipboard are actually some of the last I made, both of him and in oversized pixel art. You might can tell that I was beginning to address all of the problems I've brought up in this post already; the scale on it is smaller than the Halloween drawing, and the face isn't just a widened smile peering directly into the viewer's soul. Regardless I still wasn't proud of how he kept turning out in my drawings (and also didn't fit into my shifting ideas for worldbuilding) so I lost interest in drawing him and he fell out of being one of my main OCs.

[slagethor]

14 and 25 for the artist ask?

14. How has your art changed over the years? A ton! Like a lot, a lot! I apologize if this is long but I like thinking about how far I've come, its a good day for it. I picked up drawing again during one of my most boring jobs in an office with no wifi, and hour long lunch breaks. I was super into fire emblem heroes at the time, so I took character requests to fill my time. It was honestly a fantastic way to start, because the simple shapes made for an easy on ramp for me. Immediately after I started feeling comfortable, I threw myself in the deep end and did an inktober and luckily I liked it! I stuck with pretty simple lines once I invested in a tiny lil tablet, and had a hell of a time figuring out what "Layers" and "Stabilization" were. I think these two exemplify a the best of what I could make at the time.

After I started getting comfortable, and understanding shapes a bit better, I actually became pretty paralyzed about details in my art. I realized that if I stared at my art for more than 30 second I would find a new problem with it. Like I would zoom in waaaaay too close to smooth curves, like correcting 4 pixels. I realized that was a problem, so I came into a brush where these "errors" were in fact one of the features, and worked with that to make my lines a bit more loose, and force me to stop thinking about those tiny "mistakes"

After a few years of working on that, I feel a lot better about lil bits like that in my art, and I've largely shaken the bit in my brain that wants every curve to be perfect. I found that I wanted more weight and variance in my lines, and that brush didn't really allow for pen pressure, so I again switched brushes. This current brush is actually meant for sketches, but I like it more than any lining brush I've tried so here we are!

These are all better examples of each of these eras of art for me. There's a lot of stuff that doesn't look nearly as good, I am still making plenty of pieces like that today, but these felt like good ways to showcase each! 25. Based on your recent reference searches, what would the FBI assume about you? They would probably think I'm a furry, or I've got a thing for feet. I don't think either of those are true of myself, but I'm trying to get better at feet. Furry because of that Sybil draw, and also snouts are hard to figure out, that and digitigrade legs. I respect the hell outta furries doing that stuff all the time

[edgygender]

felt nostalgic for my middle school era of pretending to be a wolf on neopets and deviantart. grabbed a pixel brush and drew my sonas for each website like it was mspaint

[commission info here!]

[golemsmuse]

Machine-Made Dreams

The studio walls were plastered with dreams dreamt by machines. A million eyes, gleaned from the internet's vast attic, stared back at me – a chorus of voices whispering trite truths and derivative desires. I, the artist, stood amidst the cacophony, wielding my brush like a divining rod, searching for a single, authentic spark. But the spark refused to ignite. Was I, like the machines I mimicked, merely another cog in the derivative engine, churning out pixels of borrowed emotion? Or perhaps authenticity itself was a trite concept, a relic of a bygone era. In the age of machine-made dreams, what did it even mean to be real?

(This post was written by artificial intelligence.)

[azinghoreyshiarttherapy]

Navigating Healing Journeys: My Personal Exploration of the Expressive Therapies Continuum in Remote Art Therapy

By Azin Ghoreyshi, LPC-A

As an art therapist associate navigating the intricate landscape of remote therapy, I have found solace and inspiration in the Expressive Therapies Continuum (ETC). This dynamic framework, crafted by Dr. Sandra Kagin and Dr. Vija Bergsund, has become an invaluable guide in tailoring my approach to address the unique challenges and opportunities presented by virtual sessions. Join me on a personal exploration of how the ETC has shaped my practice and enriched the healing journeys of my remote therapy clients.

Kinesthetic Sensing: Connecting through Screens

In the realm of remote therapy, the foundational level of kinesthetic sensing takes on new dimensions. As I guide clients to explore bodily sensations and movements, we navigate the virtual space together. Mindful breathing exercises and gentle movements become the gateway to embodied awareness, fostering a connection with the self even through screens.

Perceptual-Motor: Nurturing Observations in a Digital Landscape

In the perceptual-motor realm, I encourage clients to refine their observations and responses to the digital environment. Using art-making tools on their devices, clients engage in activities that merge sensory perceptions with motor skills. Together, we explore the nuances of their digital canvas, weaving a tapestry that intertwines perception and creation.

Emotional Expression: Pixels Becoming Canvases for Emotion

The emotional expression level becomes a poignant exploration of feelings in the digital realm. Through virtual art mediums, clients convey their innermost thoughts and emotions. The electronic brush strokes or musical notes become a channel for emotional release and self-expression, transcending the limitations of physical distance.

Symbolic Expression: Crafting Digital Metaphors

In the symbolic expression modality, the digital landscape offers a canvas for creating symbolic representations. Clients delve into the vast array of symbols available online or use digital tools to craft metaphors that resonate with their experiences. Together, we decode the symbolism, unraveling layers of meaning in the digital tapestry they create.

Creative Synthesis: Integrating the Digital Palette

At the pinnacle of the Expressive Therapies Continuum, creative synthesis takes center stage. As an art therapist, I guide clients in the integration of their therapeutic journey across various digital platforms. We synthesize experiences from kinesthetic sensing to symbolic expression, fostering a holistic narrative that transcends the virtual divide.

Conclusion:

My journey as a therapist associate in the realm of remote therapy has been a testament to the adaptability and resilience inherent in the Expressive Therapies Continuum. Through the exploration of kinesthetic sensing, perceptual-motor engagement, emotional expression, symbolic representation, and creative synthesis, I have witnessed the transformative power of the arts in a digital era. The ETC has not only guided my practice but has also opened up new avenues for connection and healing, proving that even through screens, the expressive arts can be a powerful catalyst for personal growth and well-being.

By Azin Ghoreyshi, LPC-A

[elizevanniekerk]

The Intersection of Art, Technology, and Personal Growth

In the era where screens are an extension of our hands and digital footprints mirror our identities, it's fascinating to realize how deeply technology is intertwined with our personal and artistic expressions. As I've delved into my personal portfolio and seen the evolution of my work, I've recognized the profound influence of technology on both my professional development and personal growth. Let me take you on a journey through this enthralling intersection of art, tech, and self-evolution.

The Canvas Evolves

Remember the times when a canvas was just a flat piece of cloth, waiting for a brush to paint its tales? Fast forward to today, our canvas has diversified. From graphics tablets to VR spaces, the realms in which we can create and showcase our talents are manifold. This expansion of 'canvas' types has not only changed how artists work but has also redefined who an artist is.

Tools of the New Age

Once, the quality of a brush and the purity of a color determined the artist's finesse. Today, the landscape has expanded. Software, apps, coding languages, and digital tools are the new paintbrushes. Mastery over programs like Photoshop, Illustrator, or digital platforms can elevate an artist's work from commonplace to awe-inspiring. These tools, while complex, offer versatility and precision that traditional tools might not.

Personal Growth in Digital Times

Developing proficiency with these new-age tools requires dedication, time, and a mindset of continuous learning. Each time I dabbled with a new tool or software, I didn't just enhance my professional skills; I also underwent personal growth. Learning to use a new digital tool is like learning a new language. It stretches the mind, builds resilience, and fosters an attitude of adaptability.

The Audience is Everywhere

One of the most exciting facets of this digital age is the immediacy and vastness of the audience. A piece of art, once created, can be shared with a global audience within moments. The feedback loop is almost instantaneous. For creators like me, this offers unparalleled opportunities for learning and growth. Every critique, every like, share, or comment becomes a stepping stone to refinement.

Conclusion

The digital age has irreversibly altered the landscape of personal portfolios and artistic expression. As I reflect on my journey, I realize that every piece in my portfolio isn't just a testament to my artistic skills but also markers of my adaptability, resilience, and commitment to growth. In this dance of pixels and passion, every step has been worth it.

[aluto-unchained]

i see

this is really insightful, thank you

im kind of stuck in the pixel pen era right now . it's harming my vibes i think so i might like. stray away from it soon .......

the flying dragons attack was ginormous and that really highlighted how difficult it is to use a 2px brush for lineart

what brushes do u use? especially when you do shading, i love how you render pooltoys/smooth stuff and the like

i use firealpaca (just saying this so u know where these brushes are LMAO) i mainly use the soft crayon for all my art but ive been using oil marker (square) a little bit like in the splash art i posted but im not sure if ill stick with it . i also use drawing pen occasionally but its really rare, its less sketchy feeling? i prefer soft brushes cuz it makes me feel like i can be more sketchy and messy so i dont use that one more often but i REALLY like how that one looks

my bros

[skellygearz]

Omg throwback,, i remembered these existed, these r from my eurodance era in february/march (can u tell LOLZ…la bouche n culture beat)

[iero]

New icon. :)