#rain divider by animated-glitter-graphics-and-more

[osleeplessflowero]

Previous Part🍪 First Part 🎃 💜Oneshot Masterpost💙

[*Notes!] - Context from the previous 3 parts is heavily recommended. Please go check those out! - Reader is gender neutral, They/Them pronouns are used by default. - CONTAINS: Swearing, Typical Haunted House Violence, Mutual Pining - ❕New Tagging Section! If you would like to be tagged when I update this or any other of my series, please let me know in the comments/reblog tags! I'm always happy to.

@xcryptk33p3rx

Fire crackles in the fireplace near the TV, keeping the living room warm against the cold November air outside. You furrow your brows in your sleep before fluttering your eyes open, glancing around in confusion before remembering you'd fallen asleep the night before. Briefly glancing upwards, you freeze when you spot Sans' sleeping face, feeling your own burn as heat rises to it.

Shit, you fell asleep on him! ..Well, he fell asleep too.. For a skeleton, his body's surprisingly pretty warm..cushioned, too. Perhaps it's some kind of magic? It's comforting, in any case. You lean on him a bit, not quite ready to get up yet.

Slowly but surely, Sans' eyesockets open. His single eyelight rests on you, and he feels his skull burn as a mix of red and blue spreads across it. Your gaze meets his, and your face burns a little more. His expression of shock soon shifts into a smile as he looks down at you, catching you off guard.

"..comfortable?" He grins, earning a playful shove from you as you sit up. He chuckles at that, sitting up a bit himself. Such a change in demeanor..you might not be the only one who's gotten more comfortable. And you're not too sure whether that's a good thing, or a bad thing..for your heart's sake.

"You're like a big ol' cushion over there. You're a skeleton, how can you be so soft? And warm? Aren't bones supposed to be cold?" You tilt your head as you wonder aloud, earning a shrug from the skeleton next to you.

"it's just magic. makes our bodies more fleshed out than they actually are. if i appeared as just regular ol' bones, my clothes would be a lot closer to 'em. want an example?" He raises a browbone, and you match his expression. It wouldn't hurt to find out..

"Yeah, sure, show me." You offer, resting your arms in your lap. He adjusts his jacket a bit, before pulling up his shirt. Sure enough, there's a faintly visible magical outline there, a mixture of two colors of magic making a typical stomach. The view flickers in and out, transparent. You can see his actual bones beneath them, still fairly large but not as much as the magic makes him. Huh, makes sense. A few seconds pass before you realize you've been staring for far too long, and you quickly avert your eyes.

"Oh.. so that's how. Cool." You smile sheepishly as he pulls his shirt back down, pausing for a moment when you feel heat rise back to your face. "Oh, uh, by the way.. I'm sorry for falling asleep on you like that. I didn't mean to overstay my welcome, and..y'know.." You rub the back of your neck, avoiding eye contact until you hear him chuckle.

"hey, don't worry about it. i don't mind. you're..welcome anytime." He averts his single eyelight, a hint of color making its way across his skull again before you both hear who is presumably Papyrus coming back downstairs. Once his tall, slender form makes it down, you give him a wave.

"Good Morning, You Two! Have A Good Rest?" He grins slyly, causing you both to flush even further before Sans waves him off as he enters the kitchen; leaving the door open so he can still hear you both.

"yeah yeah, it was good. mornin', paps." Sans coughs into his sleeve before getting up. "i've gotta get ready for work soon, so you two talk."

"Wait, where do you work? I mean, I know you had that haunted house on Halloween, but like..where do you work normally?" You rest your arms in your lap, genuinely curious.

"..i'm still a scare actor, i just move around. i do it full time." He looks back at you, raising a browbone amusedly at your surprised reaction.

"Oh, really? I didn't think you'd wanna do that full time. I was thinking like...I dunno..you worked at a pet shelter or something." You shrug, standing up to go get your coat and tie it around your waist since it's too warm to wear yet.

He lets out a laugh at that. "and let all of those traumatized dogs bark at me in fear or gnaw on my bones? yeah, i think i'll pass on that. not for me. i don't mind dogs though. they're fun little guys."

"When They're Not Stealing Your Attacks From Under Your Skeletal Equivalent Of A Nose, That Is!" Papyrus calls out from the kitchen, earning a confused look from you as you glance towards his brother for context.

"underground, there was this little white dog who would keep showing up to steal the bones paps would use in combat, so he'd have to chase it down. ever since he's been super..wary, around dogs, i guess. it's pretty funny. i wonder what happened to that little guy.." He mutters that last part to himself as he goes upstairs to get changed.

You stand still for a moment, thinking over that last statement. ..There are a lot of aspects about Sans that you don't fully know or understand yet. What happened Underground to mess monsterkind up so badly? Considering the state a lot of them were in when they came up..it must have been pretty damn bad. A part of you wonders how Sans and the others are taking being surfaced, after everything they'd gone through. Maybe someday when you're close enough, you can talk to him about it..learn some things.

Papyrus slowly slides his skull into the room from the doorway, raising a browbone at you as he observes how you're longingly staring up the stairs waiting for Sans to come back down. Once he clears his nonexistent throat, you tense in place before slowly turning and walking over to the kitchen to help him with breakfast. It's the least you could do for being allowed to stay over so late.

"I Fear I May Be Out Of Those Delightful Cookies You Baked By The End Of This Week, Would You Be Willing To Come Over To Visit Again Anytime Soon?" He glances over at you while mixing pancake batter quickly, a hopeful glint in his eyesockets. You huff amusedly, giving his shoulder a nudge.

"Of course, Paps. I'd be happy to come back anytime. Beats hanging out alone at my place." At Papyrus' hum of acknowledgement, you stare at the bowl while he's mixing it in anticipation for the pancakes he's going to make. "..What will you be up to today?"

"I'll Be Going On A Class Trip With Our Friend Aliza! You Might Know Of Her As The Monster Ambassador. We Became Well Acquainted Underground! ..Well, After A Few..Traumatic Experiences, But- What's A Few Traumatic Encounters Between Friends, Hmm?" He laughs awkwardly, continuing to stir before pouring the batter into a pan.

You raise a brow at that, before shrugging. Well, if she's willing to go on a trip with him, surely they must be on pretty good terms now. That's what matters.

Sans shortly comes down a bit later, wearing clothes smudged in fake blood and a few other practical effects minus the mask he'd been wearing when you met him. Papyrus shoos you both away to the table, where you sit patiently while waiting for him to finish.

"..So, uh..hooow would you feel if I tagged along to see you in action? I've only gotten to see you at work once, and that experience was kinda..well, y'know." You offer, earning a nod in reply.

"i don't mind. it's just one of your run-of-the-mill haunted houses. animatronics, actors, practical effects, the works. i doubt you'd be the type to get scared by too much anyway.." He rests his arms on the table. "wantin' to spend some extra time with me, huh?"

Your face flushes at his sly grin, and you wave him off.

"Well, yeah- I like your company, so.." You cross your arms. He blanks at that, a bit surprised that you didn't deny his attempt at teasing you. Heat rises to his skull, a mixture of red and blue giving his feelings away before quickly dying back down as Papyrus returns with the food.

You both don't say much while you eat unless Papyrus prompts you to, and eventually you're both on your way outside, waving goodbye to him.

"m'kay, just hold on. you might feel a little dizzy once we get there. do not let go of me until we're on solid ground." He warns you ominously, a serious look in his eyesockets as you quickly walk over to grab his arm. Within a few seconds, the world seems to flicker.

You glance around a dark, empty void, the two of you being the only signs of life within it. It's cold..eerily silent. You could only hear your own breathing and the faint hum of Sans' magic within the space. A chill goes down your spine, and your grip on him tightens a bit before you finally land on solid ground.

"..And you just..look at that every day?" You blink, before staggering a bit. He quickly loops an arm around your waist to keep you up so you won't fall. You feel your face flush a little again as you look over it..he has really strong arms. Big, too. He could practically engulf you in them.

"yep. careful now, don't want you falling." He smiles a bit, before helping you stand up straight and entering the decorated building. You quickly follow behind him, before stopping at the entrance.

"Hmm..wouldn't hurt to get the intended experience-" You mutter, before letting him go further in and paying a small admission fee, entering when instructed. This'll be fun! You're sure this'll be a breeze to get through.

As a sound effect plays to signal that it's time to enter, you walk in alone. You can't help but feel a sense of familiarity as you do, thinking back to the first time you met Sans in one of these. Only then you had your shitty ex boyfriend ruining your experience, now you can enjoy your time by yourself.

A few actors jump out here and there, earning light yelps and a laugh from you as you make your way past them. You don't seem to realize it as you're doing it, but..your eyes dart around in the hopes of finding a tall silhouette you've grown accustomed to, waiting somewhere in the darkness. You're sure he's around here somewhere, based on the screams you just heard up ahead.

You pick up your pace a bit before entering a room off to the side, jolting once you hear the door lock behind you. Ah, an escape room. Of course. Okay..time to find a way out of here. First thing's first..gotta check your surroundings.

With a sigh, Sans tugs on the mask over his skull while watching over a set of cameras. It's a normal procedure he has to go through to know when his cue to go out is, he usually doesn't linger for too long and waits for one of the other actors to give him a cue. But this time, well..this time was a little different.

You were here, so he couldn't help but watch you work your way around the escape room with a determined smile. The way you light up when you find a puzzle solution, rushing over to solve it and moving to the next swiftly. The way you hesitate to reach into a box of fake guts they made out of random solutions and slime, before your Bravery overtakes you and you grab another puzzle piece. He can't help but find it charming, leaning a bit on the desk beneath all the screens as he watches you move.

Then he pauses a second. Reflecting. Those feelings that had been eating away at him the day before resurface. ..Fondness, appreciation..admiration. Maybe something more, something he hasn't grasped just yet. He puts a hand where his teeth are, feeling his skull burn. His magic forms that familiar mixture of blue and red across his skull, hot enough to cause his mask to emit a faint glow before he calms himself down. He can't get distracted like this, he's working.

A sound cue plays since the others are out acting at the moment, and he moves to get in position behind a bookcase. He closes his eyesockets, listening to the sound of your heartbeat. A hunting skill he'd learned down Underground when hunting down prey that had carried over into his life on the surface. ..He doesn't typically use it for much anymore, aside from to tell how scared the people he's acting for are. It can be pretty amusing to him, listening to their heartbeats speeding up at the mere sight of him. And that's BEFORE he takes out the prop hatchet.

You lift a small note that hints to go to the bookcase to retrieve the key, rushing over and moving one of the books to grab it. As you do, the case begins to rumble before moving off to the side. There he stands, looming over you and covered in fake blood. A wide grin stretches across your face, and Sans can hear your heart rate pick up once you recognize him. ..It's..not from fear, though. You're smiling way too wide for that..

"..Hey." You point finger guns at him. It takes everything in him not to smile, stepping out from his space in the bookcase. "Come here often?"

"are you seriously hitting on a masked murderer right now?"

"It's totally a fear response, I swear-" You let out a little laugh as he scoffs, before raising up his prop hatchet into the air. Your smile dies down almost immediately.

"regardless.. i'm still on the clock. so i suggest you start running." A grin stretches across his skull beneath his mask as you book it out of the room, quickly unlocking the door with him chasing you out and down the following hallway.

A tension in the air picks up as you run, hearing his booming footsteps behind you in the darkness. Adrenaline rushes through you and you can't help but smile, letting out a few laughs as you make daring escapes. You're..doing the complete opposite of what one would expect in here. Sans finds that a bit more charming.

A few other actors jump out at you as you run before sliding into a room, Sans still right behind you. The door closes behind you both as you rush over to the other door to try and open it.

"..Wait, is this another escape room?-" You're cut off by Sans making his way over. As you turn to face him, you lean against the door a bit as he corners you. You both take heavy breaths from how much running you'd been doing, taking the opportunity to stare at each other. Is it getting hot in here?

He moves his prop hatchet over, lifting up your chin with the fake blade so you look at him. His mask had come a bit loose, allowing you to see his shining red eyelight just barely illuminating his face. ..And then he grins.

"caught ya."

A shiver goes down your spine, and you feel your face burn. Any response that comes out is incoherent, earning a chuckle from the skeleton before you as he moves the hatchet away. You move your hand up to where the blade had been pressed absentmindedly, staring for a second.

"..the key's on the table there. looks like you made it." You glance over, spotting the key to the door. Internally, you facepalm. Why didn't you see it when you rushed in here? Taking it in your hand, you unlock it as a sound effect plays to indicate you'd made it out.

"That was fun. Nice work, Sans." You smile up at the skeleton, who huffs amusedly in reply. "I'll have to see how it is behind the scenes next time."

"can't wait." He gives you a pat on the back as you start to make your way out. Glancing over, you notice a bit of color crossing his skull as he pulls his mask back down. Seems he's a bit flushed, too.

[aceb]

Layers

"Point, line, and plane are the building blocks of design." (Lupton 33) The point can be defined as a mark in a position of space. A line can be described as a single point that continues for a distance, or as the connection between two points. The purpose of a line in graphics is to help the artist to communicate to the viewers what it is they are supposed to be seeing or taking notice of. Layers can create a sense of depth in an image with point, line, and planes. Layers are the different levels at which one can place an image. Layers can be stacked, merged, or defined when creating a digital image. In this design, I used both point, line, and plane and layers as a way to create a nostalgic image. The person in the image is an African American singer and songwriter named is Frank Ocean. He is best known for his song “Thinking About You” on Channel Orange created in 2012. The reason I decided to draw him is his music speaks to me differently than anything I’ve heard before, you can say he is one of my favorite artist. I wanted my favorite artist to be in many favorite city, so I choose Mount Fuji in Japan.

Rhythm and Balance

In this design, I explored the power of perception or the ability to see, hear, or become aware of something through the senses. The words I choose to explore was the famous hashtag started by black Twitter “BLM’. BLM stands for “Black Lives Matters” which is a decentralized political and social movement advocating for non-violent civil disobedience in protest against incidents of police brutality and all racially motivated violence against black people. I wanted to emphasize the issue of Black lives to raise awareness of the death of innocent black bodies in America. I used a black woman as the face of this design to show the power of the black women’s role in the movement. Most of the time a black woman is defending herself and others on the front line. As Lupton said, “By exploiting the brain’s capacity to find and create order, designers construct simple, direct logos, layouts, and interfaces. In addition to seeking out clear, direct communication solutions, they can also use the processes of perception to invent surprising forms that challenge viewers to fill in the gaps.” (265) I wanted to challenge the viewer to fill in the gaps and think about why BLM is important to them by boldly presented the issue. I used eye contact as a way to manipulate perception as well.

Color

The perception of color depends on how the color is presented, the brightness, and the character of light. We can also perceive a given color in relation to the other colors. “Color can convey a mood, describe reality, or codify information. “Words like “gloomy,” “drab,” and “glittering” each bring to mind a general climate of colors, a palette of relationships. Designers use color to make some things stand out (warning signs) and to make other things disappear (camouflage).” (208) When creating the art based on Immigration and Native American land I thought about politics. During the election month, America seems to be divided into two. I wanted this design to bring awareness to the divide and create a central understanding. To create relationships between color and monotones I used the color red to emphasize the blood of millions of Native Americans and blue to express the beauty and pride that still exists. I used monotone green to create a feeling of warmness.

Boarders

A border is a design that runs lengthwise along the edge of a design.“Whether simple or decorative, a border creates a transition between image and background. Against the pale wall of a room, for example, a black picture frame sharply separates a work of art from its surroundings. Alternatively, a frame whose color is close to that of the wall blends the work of art with the room around it.” (Lupton 364) The purpose of my boarder was to emphasize my design of the Amur Leopards. These animals are one of the top ten animals to go extinct. The Amur leopard is threatened by poaching, habitat loss, and deforestation or of their land. Their natural habitat is also threatened by forest fires and the construction of new roads. I choose a black border to express boldness. I also juxtaposed the image to make a point that they're endangered.

Gestalt Principles

(5) Gestalt principals. Gestalt principles include similarity, continuation, closure, proximity, ground, symmetry, and order. “Building on memory and experience, the brain fills in gaps and filters out extraneous data.” (p. 99) Gestalt theory emphasizes that anything is greater than its parts. Gestalt principles can elevate a design that seems like it's fighting for a user's attention to one that offers a natural interaction that makes your design feel familiar while guiding users toward the action you want them to see. The goal of Gestalt’s theory is to teach people to become aware of sensations within themselves and their environment so that they respond reasonably to a situations. In this design, I used this Ghanises woman to communicate beautiful and pain. The interpretations could go in many directions but one thing you cant deny is the Ghanises flag behind her. In this flag, the star would normally be in the middle. However, she is the star. Her heart shines bright but her skin is brighter.

Frame

Framing is the presentation of visual elements in an image about other objects. Indeed, balance is a prized commodity in our culture, and it is no surprise that our implicit, intuitive relationship with it has equipped us to sense balance--or imbalance--in the things we see, hear, smell, taste, and touch.” (p. 49) Framing can make an image more aesthetically pleasing and keep the viewer's eye focused on the framed objects. “A frame can serve to either emphasize or downplay its contents.” (p. 125) In this design, I used the frame to make the perception of the camera looking down. The jacket as well as flying plane is meant to catch the viewers eye first. Jacques Derrida defined framing as a structure that is both present and absent. The frame is subservient to the content it surrounds, disappearing as we focus on the image or object on view. The mechanical eye tends to cut the camera into fields of vision. The point of this frame is to look deeper into the mind of the person in the image. The statement is that the person is at a higher level of thinking, his mind is open. This frame created a condition for better understanding of the image.

Transparency

In design, transparency can be defined as something that is nearly or completely invisible. Words, pictures, and textures can all become transparent. Lupe suggests that “…transparency suggests clarity and directness.” Yet in design, transparency is often used to create dense, layered imagery built from color and texture. In this design I used a brand name I’ve been experimenting with called “fade away”. Fade away represents the fading of the mind from the world in order to elevate and become closer with the universe. “Transparency means a simultaneous perception of different spatial locations. . . . The position of the transparent figures has equivocal meaning as one sees each figure now as the closer, now as the farther one” Gyorgy Kepes”. (Lupton 451) Transparency is often used not for the purposes of clarity, but to create dense, layered imagery built from veils of color and textures. I lowered the opacity to 17 and added red lettering to a black background to make the words stand out.

Diagram

This diagram design was inspired by anime styled drawing in a series called “Monster’’. A diagram is a simplified drawing showing the appearance, structure, or workings of a design in a schematic structure. “Diagrams allow us to see relationships that would not come forward in a straight list of numbers or a verbal description.” (Lupton 215) This diagram has both words and pictures laying out more background information. The words directly respond to the image falling under the category of either good or bad. I wanted to explore the visual aspect of the words “good” and “bad”. I used angel to represent good and devil to represent bad. Though a simple style the message was still able to be understood. The overarching message of the image was that love is above all. In all images love has been presented in some way or form. Diagrams add a layer of detail to a design that can make it look more professional.

Grid

(8) Grid. In graphic design, a grid is a structure made up of intersecting straight or curved lines used to structure content. Grids are tools for organizing space, text, images, and other elements placed in a design. Grids add structure to a design. They lead to rational standardized systems that help people absorb the information trying to be communicated. The grid serves as an framework on which a designer can organize graphic elements in a rational manner. Grids allow designers to add elements to a layout while using the grid structure. In this design, I wanted the theme to be digital so I used colors like deep blue, red, and yellow. The Grid also gives this design a digital feel with horizontal, vertical, curved, and straight lines. The lines give depth to the image but also gives the image a 3D effect.

Motion

Motion is one of the most exciting aspects in graphic design. “Motion is a kind of change, and change takes place in time. Motion can be implied as well as literal…” (Lupton 233) Motion in graphic design is often used in the film industry with Openings to movies, television shows, and news programs can use photography to make the introduction. In this design I used motion to show the process of a seed growing. Before the seed grew, it rained, the sun came out, and once the seed finished growing a flower bloomed. This process is not easy it involves patience and time. Motion graphics are pieces of animation or digital footage that create an illusion of motion or rotation. Animation is my favorite form of motion. The design is all hand drawn using the flip book method. The flip book method is basically taking multiple flashcards and combining them by flipping them to create the illusion of motion.