#silhouette painting tutorial

[evillex11]

I like this part cuz the before n after is so satisfying 😞

[cbts004]

could you give a tutorial on how you draw/shade water? Its so good the way you draw it

this is as quick + basic as i could describe it! Though in my last illus with the wave in it, i also did dip more extremely into colors as well (some shades of light green and purple were used).

[playfullygrownup]

DIY bunny jeans – oh yeah! I wonder if I have any bunny-able pants... (meaning, pants that take color well). Tutorial by Kinsey at A Beautiful Mess.

[haxkattpress]

Our Objective Remains Unchanged by @citrusses

"Harry Potter, returning member of the Oxford University Boat Club, has two goals for the spring of 2005: beat Cambridge, and beat Draco Malfoy. Perhaps not in that order."

This has to be one of the most creative and meticulously researched fics I have ever had the pleasure of reading. If you haven't read it yet, don't walk— run! Citrusses is an absolute genius, and kindly gave me permission to bind her masterpiece.

The cover of this bind is made out four different shades of Allure bookcloth cut by my Cameo 4, and the centerpiece is printed and hand foiled. The banners were machine foiled in gold and black with hand foiled rose gold shading. The endbands were hand sewn with Gutermann silk thread.

You can find more pictures and information about my process under the cut.

The amount of inspiration this fic gave me was overwhelming, and Citrusses' writing fully immersed me in the world of competitive rowing. While designing this bind, I was struck by the sheer wealth of Oxford rowing memorabilia available to me. I settled on this 1929 illustration from an official publication on the Oxford and Cambridge Centenary Boat Race for the cover.

"How hard could it possibly be?" I thought, foolishly. The answer was HARD, but I'll get into that later.

Due to the wealth of design options, I believe that this may be the best typeset I have created to date. Thanks to the help of my friend @tsurashi-bindery, I was able to learn the basics of InDesign (kicking and screaming all the way). There will be spoilers in the text of these photos, so try not to read them if you haven't finished the fic!

For the title page, I modified To See the Crews in Training by Charles Pears (1930). I believe that this was part of a series of advertisements for the race in the London Underground.

For the chapter headers, I redrew the crest from an Oxford Oars, Flags, and Arms postcard, presumably pre 1914. I also had some fun creating a mock email using La_Temperanza's How to Mimic Email Windows on Ao3. Cormac's email makes me laugh every time I read it, and Citrusses provided an appropriately pompous subject.

I also had lots of fun editing the oars from the official OUBC logo to serve as dividers and decorations for the page numbers.

Additionally, I got to edit a full newspaper page for the fic! I was very excited find an opportunity to slip Leyendecker's The Finish (1908) in.

The fic ended beautifully, so I wanted to include one last element at the end to capture the atmosphere. I settled on L'aviron (1932) by Milivoj Uzelac. It makes me feel as though Harry and Draco will continue rowing together long after I've closed the book.

I of course had lots of fun sewing the headbands, and got to do it with not one but TWO copies!

Things got tricky when I had to recreate the cover. I had a poor understanding of how vector images worked, and ended up having to redraw it three times. Once I finally cracked and taught myself how to use Illustrator, the program crashed...and I had to redraw it a fourth time!

I set the vector to cut on my Cameo 4, and I assembled the pieces together like a puzzle on my Silhouette mat. I used Allure's indigo, skylight, white, and black bookcloth in the process. I will be making a tutorial video on this method, so I will keep it brief here.

I also cut a piece of bookcloth to 8.5"x 11" and fed it through my inktank printer to print the center design. I then cut it out using the print and cut feature on my Cameo 4. Both of these methods were a first for me, and they were very scary!!

To be perfectly frank, the foiling was a nightmare and I don't want to get into it. I machine foiled the gold, and then foiled black lettering on top of it. I foiled the rose gold shading by hand, and then foiled a thin black outline along the edge of the banners to make them stand out more.

I hand foiled the spines (because I'm scared of measuring), painted the exposed board (to hide any gaps in the inlays), and used transfer tape to lift my design from the Silhouette mat and onto the cover.

One more fun detail— my copy and the author's copy are sisters! The dark blue and the light blue are inverted on the author's copy, making it distinguishable from mine. This is the first time I have made an author's copy for a fic, and I was admittedly incredibly nervous. I always worry about what authors will think of my work, but Citrusses gave me an incredible amount of encouragement and support throughout the process! Thank you for trusting me with your precious fic!

This story is a work of fanfiction and can be read on Ao3 for free. My bind and typeset are for personal use only and not for sale or profit. Keep fandom free!

[kkelsey--spring]

super quick tutorial on how i draw hair (I'm following a reference, bottom right)

establish the silhouette and hairline

2. separate it into chunks, its best to put the separating lines where the hair flow changes (ex. the top hair vs the side section)

3. draw the hair following the guidelines made, strands (details) are drawn mostly where the separating lines are

final: drawing more details + hair strands -- important to not overdo it as for my style, LESS is MORE (bcs i paint over it anyway) so i do the details in clusters (rather than filling every empty space). i tend to do two/three lines to signify hair strands

this is an extremely basic approach on how i draw hair, as mentioned, i paint over my sketches so there's no need for me to be drawing every detail, my best advice for drawing hair is to keep the basic shapes of the sections and to not draw every single hair strand there is-- this is how *i* draw hair, it's according to *my* style so i encourage you to study other artists' work that aligns with how you want to draw :D

[ohno-the-sun]

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

How do you draw art so good

Like

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

you've activated my trap card

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

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

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

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

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

I consume good art, it feeds me

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

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

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

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

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

I really don't like doing lineart lol

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

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

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

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

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

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

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

Next is what I call the "silhouette" layer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall this is what my layer set up ends up being

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

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

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

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

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

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

You'll eventually get very good at drawing them pfptpf

[tofupixel]

Hello! First i wanna say i love you color work! Second i was wondering if you could help me with finding a term//resources. i'm a digital artist and i'm aware of using like thick brushes to block out silhouettes but i cant exactly grasp the method of Blocking colors > Refine> Details...

Is there a name for this method(so i can find sources better) or maybe a tutorial you could point me instead.(a gold mine would be work process things! but no pressure! )

Thank you for you time and for always being kind to n00bs like me -^.^-

I call it blob method............. But I don't know if there is a real name for it- honestly most of the time i see it done in painting. If you watch oil painters they sometimes work the same way (keeping the whole painting wet means they can rework and refine things endlessly until it dries - similar to digital). Search 'alla prima', wet on wet

Heres a sinix video that works kinda similarly to how I do (first part not so useful)

Sometimes I do use a line sketch, mostly when working with more rigid forms like humans or buildings, then I think the skeleton is more important.

But you don't have to do something if it really doesn't work for you. I spent years trying to force myself into something I wasn't !!

Here's some gif timelapses of my process so you can see. You can download them and look slower if you want. Hopefully they help

But I think my process is just a result of not getting it right the first time around and I just keep working on it lol

good luck 💕👍

[dailyhatsune]

hi! not exactly a request but i do wanna ask, whats your process when you're rendering more paint like art? (if that makes sense, English isnt my first language so apologies hdskhsjdbd) i really love how you use the colors and im curious how you do it :0

i’ve been meaning to answer this one for a while so here’s how i painted miku in today’s post (put under the read more because yeah prepare for a long post

i’d also like to preface this by saying that i never follow a set way of doing things, so in terms of what my personal process is like, these are only broad strokes of what i do! sometimes i’ll combine or skip parts entirely, depending on how i feel. also, this is not a tutorial, just how i do things, so please don’t treat it like one :’D this will read like the ‘how to draw an owl’ picture if you do

first, like every artist, i sketch. more specifically, i’m getting an idea of what i want to paint later on. this could be how a scene is set up or in this case, how a character is posed. here i’m not concerned about details or getting everything perfectly, i’m only planning how the thing will be composed. maybe a lot of canvas size changing, or adjusting what miku’s doing (note how busted miku’s right hand looks from all the transforming!) however, i still have to be concerned with how clear the sketch will be to future me, because the sketch won’t be any good if i can’t read what miku’s doing

after that, i lay down a flat gray under the sketch, mainly focusing on giving miku a clear silhouette. this is also a good time to make adjustments to the composition on the fly if i suddenly feel like something can be improved upon, like shortening miku’s left arm from the sketch!

after painting a flat silhouette, i start shading in grayscale, focusing only on lighting. i usually do it in two passes, one for the lightest and darkest tones i’ll use (not black and white) and then a second for midtones to blend them better with the base gray but i forgot to screenshot the result of the first pass 🗿 nevertheless, here is where i can start adding some amount of details. i’m not including any extra accessories yet, just focusing on the base design of the outfit and the character herself (for anyone wanting to draw characters from That Gacha Game, this is how i personally make the process more bearable for myself.) i still use the dark gray to separate where certain details (like the facial features and fingers) begin and end, mainly to make colouring more bearable later.

now here’s where i get the Good Colours. it’s a cheat lol. i put a gradient map layer over the grayscale painting so that there’s a little bit of color to start. some gradient maps can be applied as is, some need the layer settings adjusted to make it look good. this one, for example, is a (free) gradient map set from the csp assets store that needs you to set the layer opacity to 20% and to set the blending mode to color to achieve this result. in general, i tend to pick which gradient map i want to use based on vibes, or basically whether i want the work to be warmer or cooler, colour-wise. but this does do quite a bit of lifting for the colors in my stuff.

and then, finally, i add the colours. i add flat base colours in an overlay layer. at this stage, i’ve made the character silhouette clear enough that i don’t need to refer to the sketch anymore for what miku looks like. also, the gradient map layer does its magic by making the shading a bit more vibrant than it would’ve been without it. after that i paint over with a new layer to add details like the lace.

and then i put some extra shading on top. basically this is where the ‘better lighting’ happens. again, this isn’t a tutorial, so i’m not here to say what each part of the lighting is, but i’ve labeled which layers do which job. in other works where the lighting within a scene is more defined (from a window, from a small crack in the walls, etc) the glow dodge layer may be more opaque and sharper, but since this isn’t a work with that, the lighting was applied using an airbrush. the linear burn layer is also there to make the whole thing darker so the glow dodge doesn’t end up oversaturating miku. i also usually match the lights to the vibe i want, and use a complementary color for the shadows. so here you can see i have warm colors on the glow dodge layer, but light purple on both the linear burn and multiply layer.

and that’s it for the character—here’s a gif showing how each layer adds to miku! (sorry it’s so toasty)

as for the background, depending on the complexity, it may go through a similar process, or if i can settle with flat image backgrounds, i just go for that. it’s ok to use external image materials. i didn’t have a background in mind for this miku in specific, so i got some default csp materials and threw together something

and that’s about a rough overview of what my process for more finished works looks like! again, art is a fluid process so i never specifically stick to certain steps all the time, and you shouldn’t either. i can probably answer why i’d pick this colour over another in one particular work, but it’s something that kinda has to be learned on a grander scale. i think everyone can already feel what colors work with what atmosphere or what setting, even if they can’t immediately explain why. colors and composition do take some level of experimentation to find what works best!

[forgingtheblade]

TECHNO BUILD PART . SOMETHING. WAS I EVEN NUMBERING THESE? ANYWAY WE’RE STARTING ON THE HEAD

You’ve seen the profile picture already, so I guess I’ll show you how we got there. so here’s the head base!!

i started with a pretty standard bucket head base based on Skye High Studios’ tutorial. I use a thicker foam but that’s literally only because I don’t actually have any 1/2” foam on hand. Because of that I added like 2 inches to the length she suggests to make it fit well (as i learned from my last head, which is just slightly too tight ;; )

at this phase i like to sketch out the silhouette of what i want it to look like over the blank base. i also install mesh panels to allow for just a touch more ventilation if needed later down the line!

then comes the building up the shape i’m going for, and carving it down! there are patterns you can find out there for specific species, but honestly i just like eyeballing it to make “pattern pieces” and then tracing that twice for symmetry.

i use an electric kitchen knife for carving foam which is, honestly, endlessly amusing to me.

at this point i’ll put it on to make sure it fits well and check the movement when it’s actually worn, just to make sure it’s looking how i want!

then comes carving out the eye holes—at this point i wasn’t sure exactly what i wanted from them, i was between using the actual eye holes as eyes and doing separate eyes further back and painting mesh to match the fur for the actual eyes. more on this later.

after the eyes are cut out, i cover half of the head with duct tape inside and out, which will be the base for all of my patterns later.

once it’s covered, i’ll draw in where exactly I want my seams to go. first off is figuring out markings—techno doesn’t have any markings in the fur but I did know I wanted a different material for the inside of the ears and the end of the snout. then it’s a matter of figuring out where it’s gonna be flattest if you cut it apart, and not immediately obvious where your seams are. fur *is* very forgiving on this front, because the pile will hide the seams if they’re not too bulky.

i also like to add hash marks on all of the lines to have a point of reference for where things line up. taking pictures at this stage is SUPER important to have a guide to reference back to later during assembly!

i cut apart the duct tape directly off of the foam base, and place it as flat as possible on newsprint. When necessary, I cut darts into the piece to make it lay flat, which will be sewn up first during assembly. I then cut those pattern pieces out again and trace them directly on the back of my fur. i use a black or silver sharpie for this—anything else has the potential to bleed when the suit is washed!!

i have unfortunately run out of space for pictures in this post, so part 2 on the head will come SOON (LIKE I PROMISE THE POST IS ALREADY QUEUED)

[billysjoel]

Hel!o, again! I meant ur Van Helsing poster 😊 Happy Holidays if you celebrate 😊

i'd be more than happy to! happy holidays to you as well! here's the kind of poster i'll walk you through how to make:

the most important thing you need to think about with this type of poster is which shots will blend best with each other. i recently made a blending tutorial for another anon and you can find it here. in it, i go a bit more in depth on what types of shots will blend best, and you can also check out the blending tutorial tag on my resource blog, @gifmakerresource.

overall, dark on dark blends the best. the lighter your scene(s), the harder it's going to be to see. when making this poster, i went in knowing i wanted to use this silhouetted shot of van helsing. silhouetted shots are one of the best kinds of shots you can blend with because the silhouette itself will be much darker than the surrounding area.

this is what i started with (after cropping and sharpening). the dimensions i used are 540px x 700px but the height can be whatever you want. next, i wanted to focus on lightening the background and further darkening his silhouette.

here are my coloring layers (which will, of course, vary with every shot and every movie):

and here are the specifics for each layer in order from bottom (first) to top (last)*:

*note: the blue selective color layer also makes the same adjustments to cyan

i created a new layer (ctrl+shift+n) and painted over the extra-bright parts around his head for later blending. this is a layer i added after the fact once i found all the shots i wanted to use and blend together.

this is the second shot i used:

once cropped, sharpened, and converted to a smart object, i bring it over to the existing canvas, making sure it's properly aligned with ctrl+t, and set the blending mode to screen.

here are my coloring layers:

and the details for each (and if you're wondering, to color code your layers, right click in the box where the eye is and select your color):

and this is what the gif looks like prior to using a layer mask:

it's not terrible, but i wasn't happy with how much of the second gif could be seen outside of the silhouette. this is also a good illustration of how dark blends with dark best, compared to dark and light or light and light. i grouped together the second gif and the coloring layers (select the appropriate layers and ctrl+g) and then added a layer mask to the group by clicking this at the bottom of the layers panel:

when using a layer mask, you're only working with 2 colors: black and white. using a soft circular brush (0% hardness), as you can see in the selected thumbnail titled Group 3, i used black to color all around van helsing's silhouette. if you make a mistake when coloring, simply press x to switch to white and brush over the desired area and your gif will reappear. it's a way to "erase" a layer without permanently deleting it and is something i use frequently!

i used another layer mask so the gif was only visible right around the top of his hat:

and the coloring layers (note the gradient map is applied to the gif using a clipping mask [right click on the gradient map layer and choose 'create clipping mask'] so it only is applied the the layer immediately below it [the third gif] and not everything below it):

details:

this is the final gif before all the typography:

for the typography, i don't really remember why i didn't just use a transparent png of the movie logo other than knowing i had the actual font they use on the poster already installed. you can find it here (dafont). at the top of this screenshot, you can see my font settings and at the bottom, you can see the blending modes i added:

and here are those details (click to enlarge):

using the same font, i added these two layers and positioned them where i wanted:

the names layer is 24pt and adventure is 36pt. to create/position the typography, i was referencing one of the movie posters btw!

for the final two layers, i used the font sf movie poster, which you can download here (dafont) and decreased the opacity of both to 30%:

ignore the warning symbols - i had to replace the font files and ps is mad at me

the "larger" letters are just capitals while the smaller ones are lowercase. i'm pretty sure this is the typical font used at the bottom of movie posters. i believe i either typed all this out referencing one of the posters or i went through the imdb page for the movie and went through the cast and crew sections.

and that's it! we have our finished gif! making a poster like this can result in a large file size, so keep in mind that tumblr's upload limit per gif is 10mb. i believe this gif is 45 frames, which is probably pushing it with these dimensions. if you finish your gif and find that it's over the limit, i HIGHLY recommend using ezgif's optimizer. you upload your file and then adjust the lossy slider and you'll be surprised just how much it drops the file size down without a noticeable difference. i also use this site to convert webp files to gifs/pngs when necessary.

if you have any further questions or didn't understand something, please let me know! i'm always happy to help :) and lmk if you ever want a tutorial on any of my other gifs! happy holidays!

[lil-tachyon]

Got any good resources for clothing drawing tips?

Okay so quick little introduction before I try to answer this question. First of all, sorry for letting this languish in the inbox for so long. I have a lot I want to say about this and I'd really like to make a proper "tutorial" but this week took a lot out of me so what you're going to get are some visual notes on graph paper and some rambling thoughts. Maybe down the line I'll try to flesh this out more into a proper guide, but for now it is what it is.

Second- for many different art concepts I can give you some really great recommended reading for self-teaching. There's a whole section of my website with links to things that helped me learn. Clothing is one of those things where I never found a book or tutorial that really "clicked" with me. It's one of the few areas of art where I feel like it's fair to say I'm genuinely self-taught. So what you're going to get here is very much my opinion, not undisputed common wisdom or whatever. Take it with a grain of salt. This is how I draw, not the "right way" to draw.

Third- drawing clothes is not something fundamental like perspective or rendering where there are actual hard-and-fast "rules" you can learn to guide you. It's not even like anatomy where there are approaches that have been worked out and passed down by artists over generations. I think about drawing clothing as a synthesis of several different skills- a little bit of anatomy, a little bit of perspective, a little bit of rendering. Honestly a smidge of graphic design. You're employing a "cloud" of your artistic skills towards a specific end. What this means is that the TLDR of this post is going to be "do what you would normally do to improve at drawing but apply it to clothing." So don't expect something life-changing, instead just open your mind to maybe trying some new things you hadn't thought of before. Also this is going to be more about drawing than painting, that is more about "lines" than "shapes" but the two skills overlap and the same concepts should be broadly applicable. But my examples are going to be drawings.

Okay intro out of the way. Clothes are mostly just tubes of fabric, fabric wants to fall down. The human body and sometimes wind and water and other fluids will stop this fabric from falling down all at once and instead give it a shape. Keep this in mind. It's helpful to know how clothes are actually constructed if you want to know how they will deform when falling across the figure. Where a garment is simply a length of fabric, it's very flexible. It can bunch together or be stretched taught. This is most noticeable at the parts of the body that open and shut like hinges- knees, elbows, and armpits. The behavior of garments at these areas of the body is highly dynamic.

At seams where different sections of fabric are stitched together, movement can be come more limited. Seams are usually imperfect- pieces of fabric of slightly different lengths might be stitched together or fabric may shrink over time around a thread causing it to pucker and wrinkle. For these reasons, seams often act as the originating areas for folds and wrinkles, even when a garment is not in a particularly flexed/active state.

In a two-dimensional image, it can be helpful to describe a garment in terms of silhouette and wrinkles/folds. The silhouette is the actual boundary of the garment, where the fabric comes to an end. The wrinkles/folds are where different parts of the garment pass in front of each other or where the fabric becomes bunched up to the point that light can't reach inside and occlusion shadows form. You should always keep the overall silhouette of the garment in mind to inform the bigger shapes you draw, but you will use wrinkles and folds to demonstrate how the garment twists and deforms. These are the basic tools in your arsenal. Keep it simple.

There are lots of different ways to approach wrinkles. My advice and my personal preference is to draw wrinkles as shapes and not just lines. Specifically, tapered shapes (like triangles) and be really good both for implying motion and the varying depth of a fold/wrinkle. Experiment with different shapes of varying angularity, fill texture, etc. Your hands and eyes will guide you towards what looks and feels good. There's no right way but I would advise you to exaggerate! Ask yourself- what's the biggest shape I can draw here? How can I twist it to make it bigger, crazier but still describe the form in a way that makes sense? It can be exhausting to just try to perfectly copy a reference and also using your imagination like this when doing studies will help build up your visual library for when you're drawing/designing clothing from imagination. In general I would advise you to focus more on drawing something that looks good (ie is composed of shapes that you find aesthetically pleasant) than is "correct."

Quick recap: Garments fall down, you can simplify an article of clothing into a silhouette described by folds and wrinkles. What next? Observe! Take notes! It is worth your time to think about how common articles of clothing are constructed. Jeans, t-shirts, dresses, etc. I used to do some hobbyist sewing and clothing alteration and I think that hands-on work with clothes has really affected the way I think about drawing them. You don't have to go that far but like- look at the world around you. Stuck on the bus, in school, in a meeting, etc? Even if you can't draw, look at how your pants bunch up around your legs, look at the sleeves of someone sitting next to you. I mean, don't be weird about it, but these are valuable observations. Think about how you would draw those things! Really getting good at drawing clothes involves studying them in the wild, understanding how they work, building up your visual library. Look at a faded denim jacket- at the puckered places where the indigo has rubbed away or the permanent creases that hardly see the light of day and remain a deeper blue. Look at petrochemical techwear outfits that break into jagged, high-sheen triangular wrinkles. Soak it all in!

Save pictures of and take notes on outfits you like, designers you like, garments you like. Keep track of these things. Come back and study them over time. Have fun with it! I have folders and folders and folders of images of clothes that I come back to constantly. Over time and with lots of study you'll learn what you want to draw when you draw clothes and that's half the battle. You'll have images of buttons, pockets, belts, laces, fabrics, seams, dancing around in your head that you can deploy at will. It's delightful.

Hope this helps! If anyone has more advice to add, please do! If this tutorial helped anyone, please show me your drawings! If you'd like more stuff like this from me, just send me an ask or an email and I'll answer it when I can.

Peace,

Logan

[thelibraryghost]

A Young Person's Introduction to Late 19th-Century Western Fashion

hello fellow youths

General information Banner, Bernadette. "Exposing Victorian Influencers Who 'Facetuned' Their Photos. (Photo Manipulation was EVERYWHERE)." YouTube. July 17, 2021. English Heritage. "Fashion Through History: Episode 1 – Victorians." YouTube. February 9, 2023. Lady Rebecca Fashions. "100 Years of Fashion // The Fashionable Plus Size Silhouette from 1820-1910." YouTube. June 5, 2021. Victoria and Albert Museum. "100 Years of Fashionable Womenswear: 1830s – 1930s | V&A." YouTube. July 18, 2023. Zebrowska, Karolina. "Victorian Fashion Is Not What You Think It Is." YouTube. March 19, 2019.

Accessories Banner, Bernadette. ""Afro-Victorian": Bringing Historical Black Women's Dress into the 21st Century w Cheyney McKnight." YouTube. October 20, 2021. Cox, Abby. "A Fashion Historian Explains the History of the Handbag." YouTube. January 26, 2023. Rudolph, Nicole. "Dangerous Things in Victorian Pockets : Mens Pocket History." YouTube. March 2, 2024. Rudolph, Nicole. "The Controversial History of Color Season Analysis." YouTube. November 4, 2023. Zebrowska, Karolina. "Disgusting and Creepy Victorian Fashion Trends." YouTube. October 17, 2018.

Bustles and hoopskirts Donner, Morgan. "Weirdest Victorian Invention: The Bustle-Chair (and we made one)." YouTube. November 20, 2020. Lady Rebecca Fashions. "100 Years of Underwear // The Changing Plus Size Shape from Regency to Victorian to Edwardian." YouTube. May 1, 2021. Lady Rebecca Fashions. "All About Bustles! A Deep Dive into 1870s Fashions." YouTube. December 26, 2023. Rudolph, Nicole. "Why were Victorian Hips Controversial?" YouTube. September 12, 2021.

Cosmetics Birchwood, Vasi. "1800s Makeup Is Not What You Think." YouTube. July 21, 2023. English Heritage. "Queen Victoria Makeup Tutorial | History Inspired | Feat. Amber Butchart and Rebecca Butterworth." YouTube. May 20, 2019. Zebrowska, Karolina. "I Used Only Victorian Cosmetics For a Week." YouTube. July 26, 2023.

Fabrics Rudolph, Nicole. "Did Silk Spontaneously Combust in the Victorian Era?" YouTube. August 8, 2021. Rudolph, Nicole. "The History of Elastic." YouTube. July 4, 2021. Rudolph, Nicole. "The Truth About Arsenic in the Victorian Era." YouTube. January 24, 2021.

Gowns Bullat, Samantha. "Dress Historian Analyzes Victorian Mourning Clothing of the Mid-19th Century." YouTube. March 14, 2021. Lady Rebecca Fashions. "All About 1860's Fashion // What did Civil War-era fashion look like?" YouTube. November 12, 2022. Lady Rebecca Fashions. "How did fashion evolve from 1850-1859? // 1850's Fashion Deep Dive." YouTube. October 1, 2022. Rudolph, Nicole. "Victorian Fast Fashion? The Truth about the History of Disposable Clothing." YouTube. February 6, 2022. SnappyDragon. "Were the Pre-Raphaelites painting accurate medieval dress . . . or Victorian fairtytalecore?" YouTube. April 26, 2024. Zebrowska, Karolina. "19th Century Fashion - How To Tell Different Decades Apart?" YouTube. November 17, 2017.

Hair care and styling Banner, Bernadette. "Following a Victorian Home Made Hair Care Routine (1889)." YouTube. September 11, 2021. Lady Rebecca Fashions. "Getting Dressed in an 1888 Daisy Costume // Easy Bustle-Era Hair Tutorial." YouTube. November 13, 2020. Lady Rebecca Fashions. "Getting Dressed in the 1870s & 1874 Hairstyle Tutorial." YouTube. February 23, 2020. Rudolph, Nicole. "Why did Victorian Women Cut their Hair Short?" YouTube. December 18, 2022. Laundry and housekeeping English Heritage. "A Tour of the Laundry - The Victorian Way." YouTube. September 6, 2019. English Heritage. "How to Wash Up - The Victorian Way." YouTube. March 18, 2021. English Heritage. "Laying the Table at Christmas – The Victorian Way." YouTube. December 14, 2022. Walkley, Christina, and Vanda Foster. Crinolines and Crimping Irons: Victorian Clothes: How They Were Cleaned and Cared for. Peter Owen Limited: London, 1978.

Outerwear and working wear Birchwood, Vasi. "What Irish Working Women Wore in the Late 19th Century | I Made the Clothing of My Irish Ancestors." YouTube. June 23, 2023. English Heritage. "The Real Mrs Crocombe | Part Four: A Victorian Cook's Outfit." YouTube. July 5, 2018. Stowell, Lauren. "It's Hot: Let's Look At Some Bathing Suits." American Duchess. August 18, 2023. Rudolph, Nicole. "The History of Jeans, T-shirts, and Hoodies: Time Travel 101." YouTube. March 20, 2022. Zebrowska, Karolina. "The 1851 Women's Pants That Made The Victorians Go Crazy." YouTube. March 2, 2020.

Shoes Rudolph, Nicole. "100 years of Antique Boots." YouTube. February 10, 2024. Rudolph, Nicole. "How to Make Regency & Victorian Shoes: Beginner Shoemaking." YouTube. June 27, 2021. Rudolph, Nicole. "The Myth of Tiny Feet "Back Then"." YouTube. September 26, 2021.

Undergarments Banner, Bernadette. "I Wore a (Medical) Corset for 5 Years. How do Victorian Corsets Compare?" YouTube. November 7, 2020. Banner, Bernadette. "Making Some Frilly Victorian Underwear || 1890s Combinations." YouTube. February 9, 2019. Birchwood, Vasi. "What Victorians Wore to Bed." YouTube. May 5, 2023. Cox, Abby. "I made weird Victorian underwear (it's a knit onesie) & a pretty 1890s corset || historical sewing." YouTube. March 21, 2021. Lady Rebecca Fashions. "How 8 Different Historical Corsets Affect the Same Plus Size Body." YouTube. December 12, 2020. Rudolph, Nicole. "100 Years of Corset History: How 8 Corsets affect the same body." YouTube. November 29, 2020. Zebrowska, Karolina. "How Did Victorian Ladies Stay Warm in Winter? || THE EXPERIMENT." YouTube. January 22, 2021. Zebrowska, Karolina. "How Did Victorian Women Deal With Their Periods?" YouTube. October 17, 2019.

[fibula-rasa]

Cosplaying Salomé (1922): A How-to

Seeing as my cosplay of Nazimova as Salomé is one of the more ambitious projects I’ve done for the blog, it seems fitting to give you all a little BTS and how-to. Because I didn’t fully document my process, this isn’t necessarily as full a tutorial as my Century of Glamour Ghouls series, but you could definitely recreate this yourself (and learn from my mistakes) as this would make a great Halloween costume!

a full-length shot of my cosplay of Nazimova as Salomé

Part one of “CtC: Nazimova as Salomé” goes into more detail on Nazimova & Rambova’s creative choices for the character and her design, but to be brief about it:

Nazimova’s Salomé is heavily informed by young women and girls of the early 1920s, so there is a dynamic conflict created between the baby-fication of young women and pop-culture sexualization of the same group. So, this first look from the film communicates unsophisticated youth with an impetuous edge. The pearled wig is not only a dazzling visual, but also emphasizes Nazimova’s brazen pantomime—amplifying every flitting gesture. It also gives the character a more childlike silhouette, which Nazimova pairs with an immature, sometimes bratty body language.

my gif of Nazimova in Salomé

The rest of the costume is quite simple: a shimmery/sparkly sleeveless, belted tunic and flat shoes. (Contrasted with Rose Dione’s costuming as Heriodas, flowing and heavily adorned.)

Get the Look!

(below the jump!)

What’s below covers the materials and methods I used, but improvements could definitely be made. I would love to see others take this on!

The Wig

My recreation of the wig in natural light

my gif of a closeup of Nazimova in the wig & gif of my cosplay wig in motion

Materials:

Black wig cap

Black yarn

Springs (I used the plastic ones sold as cat toys)

Black thread

Curved sewing needle

Rug Hook (This is a tool I already had on hand. If you have a small enough crochet hook, that might also work!)

Baubles (maybe: pearlescent paint for the baubles)

Craft glue (I don’t own a hot glue gun, but that would have been better!)

Optional: black bangs/fringe track

The Process

Note: my finished product is scaled up a bit from the wig used in the film largely because I was also working with a mix of items gifted to me from my wishlist and things I already had around the house. The springs were 1 inch in diameter as were the baubles. If you are buying everything new, you might want to try and track down .5-.75 inch materials!

Thankfully, about 10 years ago, the original wig was recovered in a trunk in Georgia, so I had a modern photo to reference for how the wig was constructed. [You can see it here!]

Some of the materials I used to create the wig

I started by wrapping the black yarn around the springs, which I had stretched out slightly. Once a spring was fully covered, I cut the yarn with roughly 3 inches extra length to fasten the spring to the wig cap.

After I had a significant amount of covered springs—I did it in waves of ~20—I used the rug hook to pull the extra yarn through the mesh of the wig cap. Then, I knotted the yarn tightly and pulled the extra yarn back to the topside of the cap using the rug hook, crossed it over the opposite side of the spring and back through the cap to knot it again on the underside of the cap. This way the spring is fastened at two opposite points of its circumference.

Once a wave of springs were loosely attached to the cap, I went in with a curved needle and black thread to sew the springs more tightly in place. This also gave the whole headpiece more stability. (This is important because the baubles will weigh the springs down a little!) I repeated this process in waves until I ran out of materials (and thankfully the cap was covered).

detail shot of the springs, the arrow is indicating the support stitching I added to the backside of each spring

At this point, my springs were a little droopy, so I reinforced them with a little bit of thread from the base to the end. This also allowed me to fine tune where each spring would sit in relation to its surrounding springs to get an even spread.

All the loose yarn inside the wig cap I roughly french braided together so it would sit flat and also add a little extra stability. It’s not a pretty sight, but it’s surprisingly comfortable!

The glass baubles I had on hand were not pearlescent, but multi-colored, so I had to paint them before gluing them to the springs. If you’re buying new, you can try and pick out the finish, size, and material you want.

That’s basically that. I adjusted two of the springs so that their baubles wouldn’t clatter into one another too much, but the wig is finished!

unfiltered cameraphone photo of the cosplay & final edit of the cosplay

I’m fairly certain that in the film Nazimova is wearing fake bangs under the pearl wig, but I just cut my own bangs bluntly and ran some gel mixed with black eyeshadow through them with a spoolie. (I don’t have any special feelings for my hair, so I tend to just cut/trim it whenever I cosplay. I understand this is unusual! You all don’t need to remind me! Thanks!)

my gif of a closeup of Nazimova as Salomé

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The Tunic

my gif of Nazimova as Salomé & my cosplay recreating the moment above

For the tunic, I chose red sequined velvet. I don’t know what the screen-used fabric was though it certainly wasn’t this! I chose this fabric as it was affordable and I thought it might give off a similar effect in the finished photos. In a happy accident, I think the sequins give off a scaled-up look that matches the wig.

I don’t think the screen costume was black, but something that photographs dark on 1920s black-and-white film stock. That’s why I chose red, though I think a deep purple would also have worked.

Since I’ve followed The Closet Historian’s 1920s One-Hour Dress Tutorial twice before, that method was my baseline for making the Salomé tunic.

Using my hip measurement as the primary guide and adding .5 inch of allowance, I folded the fabric in half and cut it into a long rectangle—the fold being where I would cut the neckline. After I cut the neckline in, I put it on and pinned and tucked the shoulders, bust, and bottom hem to where it would sit right. My body is not rectangular, so the bust/shoulders had to be brought in a bit. Very professional, I know.

Then I sewed the edges of the whole rectangle and the neckline. I only attached the front to the back on one side, from bottom hem to hip, as that appears to be how the tunic was sewn in the film. (When I wear this out as a costume, I will likely sew up both sides!)

my cosplay with the belt featured over my left hip

I used scrap fabric to sew together the belt and some velcro (repurposed from an old ribbon) and fastened it to a plastic ring (repurposed from the last new scarf I bought). I then hung some beaded necklaces that I already owned to finish it (tho it wouldn’t be a great expense to buy some cheap strings of faux pearls if you want it to look closer to what’s on screen).

The slippers weren’t a match for the film, but I already owned them and thought they fit the vibe. What Nazimova seems to be wearing in the film are some simple light/white satin-ish flats.

——— ——— ———

The Makeup

unfiltered cosplay cameraphone photo & finished cosplay photo

Since this is such a high-contrast look, I personally opted not to use contouring for this cosplay. Also, I didn’t use any kind of blush because if you are photographing in black-and-white or for B&W editing, blush and warm colors register darker than they look in color.

For the base, I mixed a lighter pigment into my foundation to achieve a mask-like quality and set it with the lightest powder I own. (I think if you are “Portland Tan” like me, you could legit use white face paint for this and it would look pretty cool!)

my gif of a closeup of Nazimova as Salomé

For the brows, Nazimova’s are rounded but elongated, so I drew mine in a slightly rounder shape than they naturally grow.

For the eyeshadow, I used the old garage-door strategy with a purple-y taupe shadow from my lashline to the browbone with a small gap between the end of that shade and the brow. As it’s done in the movie, the shadow covers the inner corner all the way out to the end of the liner wing and all the way up to the browbone.

For the eyeliner, Nazimova’s eyes are fully rimmed in black, but with a flatter shape along the bottom. I drew a line straight back from the lowest point of my lower lid, drew a line down from my upper lid to that first line, then filled in the triangle made at the outer corner. I used black eyeshadow with a wet brush to both fill in my eyebrows and draw on the eyeliner. I also tightlined my eyes, though if your eyes aren’t quite as round you might want to skip the tightline! I finished it off with a plain black mascara, false lashes are not really a necessity for this look.

For the lips, I covered the outside edges of my lips with my base makeup to get Nazimova’s pout. Then I used a dark pink lipstick and a lip brush to paint on the pouty shape (that Nazimova was born with) making sure to overemphasize the top lip. (I didn’t overline my top lip, because that looks a bit extreme on my face, but it might suit you really well!) I then went in with a slightly darker shade of lipstick at the center of my lips to further emphasize the pout.

Here are some photos from my Irena Dubrovna/Cat People cosplay tutorial that illustrate the difference tightlining makes and what lip re-shaping looks like before blending and adding lipstick:

Irena process photo showing the effect of tightlining & unblended lip re-shaping

If you’re only accustomed to 2020s makeup, keep in mind that this is a 1920s makeup look. If it looks too blended, too sharp, too smooth, it’s just not going to look authentic. (Which is perfectly fine if you’re not going for authenticity but rather a 2020s reimagining!)

——— ——— ———

Bonus: The “Backdrop”

This isn’t necessarily useful for putting together a Halloween costume, but I thought it might be a fun curiosity to share how I made my “backdrops.” Basically, I wanted a black background as the film’s terrace set has a void-like quality, so I roughly brushed black paint over black 12x9in construction paper.

natural light photos of my drawings of the gate, the moon, and the black backdrop

Using the same size construction paper, I drew the decorative metal fencing from the film with colored pencils on yellow paper and used a black felt tip marker to fill in the gaps. Likewise, I drew out the clouds and moon on construction paper in yellow, blue, and purple—as I knew how those colors would register in B&W—and cut them out. I then attached them to clear plastic to photograph them with directional lighting similar to what I used for the cosplays.

I cleaned up the drawings digitally and then composited the elements with my cosplay photos.

cosplay photos composited with the moon, the gate, and the black "backdrop"

Conclusion

Thank you all for reading, following along, and supporting my work! If you decide to use this guide or any of my previous how-tos this Halloween, please share. I’ve loved seeing your Asta Nielsen Hamlets over the past few years!

Stay Tuned for Postscript to Cosplay the Classics: Salomé and Orientalism! For now, check out Part One: The Importance of Being Peter and Part Two: Artists United?

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☕Appreciate my work? Buy me a coffee! ☕

——— ——— ———

Other Costume/Cosplay How-Tos:

Theda Bara | Pola Negri in The Wildcat (1921) | Asta Nielsen in Hamlet (1921) | Musidora in Les Vampires (1915) | Conrad Veidt in The Cabinet of Dr. Caligari (1920) | Gloria Holden in Dracula’s Daughter (1936) | Simone Simon in Cat People (1942) | Vampira in Plan 9 from Outer Space (1959) | Yvonne Monlaur in Brides of Dracula (1960) | Daria Nicolodi in Deep Red (1975) | Amanda Bearse in Fright Night (1985) | Fairuza Balk in The Craft (1996) | Barbara Stanwyck in The Lady Eve (1941) | Barbra Streisand in The Way We Were (1973)

[pre-raphaelitepunk]

Chemise -> Medieval Nubian Kaftan? Part 4

Part 1 Part 2 Part 3

Okay so final product(ish)!

I ended up not adding the tucks because I just didn't have time to do it the way I want to before the party: carefully ironing and pinning each tuck and matching the sleeves. There was too much cooking and setup to do and the wrap helped pull the hem off the ground just enough for the night (not enough though). Either way I loved the end product and the medieval faire Christmas party was quite fun!

Because this is going to be my Christmas dress as well, I am going to overdye it red and see how it fits after it dries, I expect 5-8% shrinkage based on the linen and cotton. If it still needs tucks then, I will add them.

Also, I *will* be revisiting this project with a few changes to better represent the garments in the Faras paintings.

I need a different pattern to match the neckline. Though the paintings are very faded, we can see that the neckline is more crew/jewel than the open square neckline of the Italian chemise tutorial I followed.

I want to try cuffed balloon sleeves like the image on the right

The wraps don't look to be long rectangles but come to an angle on the ends. I will do more research and experimentation there.

The most important aspect is fabrication: fabrics with both body and drape would accomplish the silhouette in the images better. I'm thinking cotton-silk, linen-silk or linen-rayon blends. The most affordable options are probably rayon damasks.

[judithan-fr]

Tutorial: How I Render Accents

PART 1: LINES

a quick disclaimer: as stated on the title, this is how I render accents and obviously a lot of it will not apply to whatever style/method/etc that you may use. Another thing is there are some aspects of my style that will seem obvious to me that I may overlook explaining. please consider this a more generalized guide than a step-by-step.

So, first things first: the lines themselves.

I'm going to be making an entry for Brightshine for this tutorial, so it'll be the example i use. I use Clip Studio Paint for all of my accents and I specifically use the asset found in the CSP asset store called SOIPEN for my lines, specifically on a size 3. I feel it does a good job of getting crisp yet soft lines and matches well to the line weight of the dragons line art. I typically do not zoom in very far and try to focus on making the outer silhouette ares bold and the inner lines soft. This gives a crisp edge to the work and a definitive line that makes it easier to color later on.

Something to note if I utilize the line method of going back and forth between opaque and transparent colors. It's a hotkey you can set that effectively turns the same brush you're using into an eraser. It allows me to carve away segments to create that negative space (as seen on the middle of the flower above) rather than trying to perfectly draw in that specific circle shape. Negative space is a huge tool to master that can give a lot of depth to your work. It also helps to sometimes fill in segments or widen out segments that are just Barely touching. The less complications in the lines the better.

For the main feature, the flowers, I will typically find a reference showing a good clear outline of how the flowers look and simplify the shapes. The flowers in question here are Delphiniums and I've decided to render them upside down as if they're hanging. Simplifying the shapes and giving the illusion of the petal bunching is more effective than genuinely drawing each and every petal in a 100% accurate way. (also since it's for Brightshine I've replaced the flower bulbs at the ends with light bulbs)

When doing line work that goes right up to the edge of the dragon, I'll typically start with the line for the edge, then build from that. Also when it comes to narrow areas (like the tip of the wing there) I'll leave it blank and typically fill it in with gradients or other small things to not make it too busy.

A very important rule for making accents is: Do Not Invest In Details That Will Get Lost In Resizing. I don't make super small details that don't matter, for example if you look at the innermost part of the flowers they are blocky and somewhat large compared to how they actually are on the flowers. When they get resized they will barely maintain that level of detail.

With all of the linework done I'd like to point out how I do composition for my accents. I tend to have 2-3 main focal points (in this case it's the two major draping areas on the wings, and the flowing lace on the arms) and everywhere else is filled in with evenly distributed small bits. Originally the butterfly on the bottom left wing wasn't there in the sketch but when I looked at the accent lines for what I had I noticed an empty spot and filled it in with a matching motif.

Some main points of how I craft my accents include: keeping the main focal points and number of thematic motifs limited and deliberate. I could add a bunch of like, jewelry trinkets or more lace and really clutter the accent but by not doing that it gives the flowers room to breathe and be the star of the show. Also using references for flowers creates a much better image than winging it.

In the next part I'll go over my coloring/rendering process!

[sombritas-des]

Hey! Your art is so bright and colorful! And I wanted to ask you, can you make a drawing tutorial of Beheaded, Bobby? Or maybe speedpaint? I think, it would be intresting. Do you use some references? The scarf's colors are soooo good :D

Aaaah!!!! Thank you (⁠人⁠ ⁠•͈⁠ᴗ⁠•͈⁠)

Sorry this took so long I was really not knowing how to respond this and had to give it time uuuh

Let’s see if I do well, I’m not good at making tutorials but I can talk about my key points of how I draw the beheaded, I think that could work(?)

First of all yes I do use references like a lot, weekly I do pose studies, then if I like any of those I actually use them and I draw over them and boom you have a beheaded (or something else), i love references it makes things more smooth and it helps me get an idea of the final results. And even if I don’t find what I need I take a picture myself to use as reference ,yippee

Anyway so about beheaded....

I do two key points when I draw them,first I always ALWAY start by the scarf I dunno is key for me

It helps me emulate a “neck “ and also helps shaping the shoulders,I always like to leave a black gap as if making it feel it’s empty inside, also it helps to work on a mood you can see how the beheaded scarf helps me shape their emotions in a weird way(?)

After that is the shapes I always make the beheaded waist thin as to mark the silhouette

It also helps me know what direction the body is going and the overlaps of the pants add some sort of style…I guess?

But yeah…uuuh and I made a speed painting although it is a bit weird cause I retake an old sketch and midway I forgot what I was doing (?) you can clearly see it so sorry if it’s wonky,I also painted in greys scale that’s why it looks weird sometimes, it’s easiest to think on lights when you only have one color

Here you go

I hope this works,. I DUNNO

I'm really dumb at explaining things sometimes...

I’m real bad at this thing sooo...

But thank you so much!! Like for real it means a lot ✧⁠◝⁠(⁠⁰⁠▿⁠⁰⁠)⁠◜⁠✧

💜✨