#something about the black and white brings out more of the texture of the art style

[thepenandthepistol]

Mundane Aching (Platonic!Grain x reader)

Due to some soreness, you're unable to help Gem like you said you would. Grian helps you out and soothes some of your worries.

A/N : Sickfic I wrote because my period was killing me T-T and also the first thing I've actually posted on this account! A win for the slayers of perfectionism. This was meant as a platonic fic but I'm sure you could read it as romantic if you want. Also, reader is an avian as well. (1018 words)

Art by @applestruda and divider by @saradika-graphics

There's still so much to be done, and here you are, still under the sheets. You spent the first half of the day trying to manage a creeping pain in your back right where skin meets the base of your coal-black wings. Ache spreads in waves from the limb and into your vertebra, as if something alive is puppeteering the sinews under your skin.

Despite the guilt, you've resigned yourself to your bed; due to an enormous nap, you missed your afternoon plans with Gem. Being an avian means you were much more used to flying than she was, and the new nether build she was planning required some tight maneuvering. Days like these are some you look forward to, holding onto the back of her chestplate, hovering over lava lakes and bastions. 

The trust she has in you, feeling safe even if dangling over potential death, is special in its own right. The friendship you've cultivated and the idle conversations had midair are among your most treasured memories. So, when the exhaustion from carrying materials to and from your shop finally made itself known, you groaned as you curled up on your bed, trying to push away the pain and at least pass by Gem's to apologize for your absence. Maybe sweeten the deal with a nice cake and evening tea.

A sudden flash of crimson outside your window makes you stop in your tracks, feet just inches from touching the cool floor. A single moment of silence is had before Grian pulls himself back up onto the windowsill with a mischievous smile. 

"Did I scare you?" He asks, shuffling inside and closing the window behind him with a soft click.

"Oh yeah," you start, closing your eyes and breathing deeply as a particularly sharp stab rolls from your back and claws at your ribs. "Only if being worried you were going to cut your wings on the bars outside counts as scared." 

"Excuse me, I'm very skilled! I could probably dodge like five of those in a row." He speaks with a smile, but, to your dismay, he's seen through your teasing and into the discomfort below. 

"Gem's been looking for you," he says, aligning some of the trinkets on your shelf and picking your work clothes off the floor. "Sent me here to check while she continued working." 

"Shit," you sigh and drape your arm over your eyes, blocking the light crawling in from outside. "I'm having a bad day, I guess. Must've overworked myself last week, and now my wings are killing me."

"Have you had something to eat?" You hear your closet door creek open and Grian looking for something between clothes and towels.

"Not exactly. I had a snack before midday, but I slept through lunch." You open your eyes to see him bring a nice blanket over your shoulders. It doesn't ease the pain, but the soft texture makes existing a little easier.

"Well, just about time for some tea then." You grimace, remembering your promise to Gem. Grian moves to close the room door behind him when you groan out a protest, wrapping the woolen quilt around yourself and finally standing up.

"I'll join you. If I lay here any longer, I'll sleep the entire day away," Grian snickers, but walks in sync with your lethargic steps down the stairs and into a quaint kitchen. 

Plopping down on a stool, you watch Grian clack on the stove and place a ceramic kettle on top. It was a birthday gift from Ren. A painted flock of dark birds contrasts the white background alongside some fleuron details. 

"Grian, mate, it's you," you point to a particularly wonky bird.

"Absolutely not, look at him! He's your splitting image." He gestures to the dark wings behind you. 

"You know what else is splitting?"

"Your head?"

"My head."

You rest your temple on the wooden table and furrow your eyebrows. You could probably make the journey over to Gem's by now; despite the headache and muscle cramps, you're feeling well enough to stand, and you could chance flying the short way over. 

With a crack, you stretch your wings entirely; they spasm a bit before reaching their full length; you pay no mind. What was once a terrible tendon-deep flare has resided to a burning soreness; you've done more than travel a couple hundred blocks in worse conditions. 

Grian pours the water into two mugs, each with a homemade teabag flopping loosely off the side. You take the smaller mug, lifting it to say 'cheers,' and sip on the sweet berry. You begin putting on your boots when Grian finally lets concern wash over his face.

"You should rest a bit more. Gem's fine. Her garden's turning out really nice." You hesitate a tad bit before tying the laces together.

"I promised her I'd help you know. I'm sure she understands, but I want to make good on my word." You don't register Grian setting down his mug and tilt your head in confusion as he kneels and pulls your boots to his thigh, unlacing them.

"You sound like a knight going to war," he cracks a tiny fond smile. "I know it's your nature, but these things aren't that serious. Your 'word' is still good even if you don't put your own health on the line." Silence follows.

"You're sure she doesn't need me?"

"Positively." He stalks off to line your shoes up by the door and then returns, sitting next to you on the couch and letting his wing curl around you.

"You need to relax. No wonder you're having a bad time when your muscles are that tense." He teases, and you scoff, taking back the mug and continuing to drink.

"Can you tell Gem I won't be making it then, please." 

"Yeah, course," he says, knocking his shoulder with yours and hopping to his feet. 

"I should tie a letter to your leg and throw you out of the second-story window." You say into the mug as he turns the knob on the front door.

"Hey! I am not a pigeon!"

[kazehita]

Hello!!! I love your art so much, especially the way you render!! Do you have any tips, tutorials, etc on rendering?? Be as detailed or curt as you like, I'm just hoping to improve my skills -- and I hope to see more art from you, in any form!!! You're a fantastic artist !!!! Have a good day :)

Sorry for the delay in answering this, I wanted to answer it well!!!

Here's my typical 5-step process:

flats

he has been flatted. You'll notice I also colored the lineart at this stage as well! Also, I do work with the background at the same time, but I have hidden it here for simplicity.

2. Cell shade shadows

I used to skip cell shading and just ball with my rendering, but I have found starting out like this is much faster!!

3. Airbrush shadows and colors

I did two things here, one is just a touch of airbrushing the colors into eachother, to help make everything more harmonious. The other is to airbrush colors onto my shadows! I set that layer to multiply, and mess around until something looks a little like I want.

4. Painting

This is the time sink - there's no getting around it, it just takes forever!! It's a lot about making the dark areas darker, and artifically injecting some color diversity - I like to diversify shades, and just slap on slight hue shifts as i go, and if it sucks I just paint over it some more. I draw different colors into eachother (look at the black shirt above, see how i bring in the tan and whites into the grey?) and add detail and texture. It's a little hard to explain beyond that, hmm... Do let me know if you have specific questions about it!

5. bedazzle and effects

I add extra highlights to the highlights, maybe a sparkle or two on a hard edge, hash lines for texture, and occasionally I also do screentones in shadows. Also, importantly, i blur things that shgould be out of focus! See on the arms and legs here - the bottom image has them blurred more intensely the further they are from the focal point. It's a small thing, but this effect goes a long way!

Annd done!

It's the little things that make a rendered piece sing! A balance between detailing and speed is a tricky one to figure out - I'm still working on that myself!

Also, there's two different ways I render at the moment, one is the quick-messy for sketches, which is what I've done for most of my fanart lately, but I assumed that you were asking about my full process so I went into detail on that. Tho if you're curious about my sketch rendering, anyone is welcome to ask me about that as well!

(there is little method to this madness though, haha)

Omg wait I had forgotten, a few months ago i was making a mini art guide about some tips and tricks

I lost motivation but if anyone is actually interested do let me know and maybe i'll finish it hjsdhjfghjs

Anyway, thank you so much anon!!!!! wah!!!!!!! Your kind words mean the world to me ;w; They fill me with strength and joy1!!!!!! thank you so much!!!!!!!!

[valhethella]

I got quite a few DMs over the weekend on twitter asking about my brushes, and as with anything, your mileage may vary, and digital art isn’t made or broken by brushes, but having them never hurt! Talking about how you use your tools is just as important as talking about what tools you use, so consider this a small breakdown of my process for digital sketching.

First thing’s first, I avoid sketching on an untextured canvas. If you like to have a flat, solid canvas, I recommend working at 50% grey, or adjusting your canvas to be slightly off-white. The harshness of black on pure-white can be a hang-up for many people, including myself.

I sketch on paper textures sourced from my own old sketchbooks and papers. The one I use most frequently is available in my Sketchbook Paper Pack, and named Off White.

While a true-to-life pencil look is not what I’m actively going for with my sketches, these papers certainly help achieve it.

I do almost all of my work in Procreate, but learned digital art first in Photoshop. Anything I share here in regards to how I use brushes can be applied to any brush, I’m certain!

For my sketches, you’re seeing the work of one brush and one eraser.

For my brush, I use an altered version of Procreate’s native HB Pencil brush that I’ve named HB Pencil Beefy. It’s available in my 2021 Brush Pack.

For my eraser, I use Alexa Sharpe’s Soft Eraser. It’s available in their Eraser Brush Pack.

I use my brush at pretty consistently set sizes that are based on my standard canvas size, which is 6″ x 9″ 400 dpi or I use a double spread of 12″ x 9″ 400 dpi.

(If you work in pixels that’s 2400x3600 at 400 dpi and 4800x3600 at 400 dpi)

HB Pencil Beefy I use at 4%, 15%, and 50% size, with the brush’s opacity set to either 60% or 15%.

I set the brush to 15% opacity when I want to go in very softly with lots of that pencil texture. I use this when I need to scale back and really rough something out, or if I’m trying to get a sense of volume with some shadows or contours.

With Alexa Sharpe’s Soft Eraser, I use the eraser set at 2%, 10%, and 25% size. I only scale back the opacity on the eraser if I want to take something back to nearly gone, but still want those lines, faint, there as a guideline.

Jumping back to my file setup really quick, I like to work in a digital sketchbook! It’s just a procreate canvas with a paper texture that’s creased down its center, and all the added layers are my pages. This helps me feel less pressured to create something perfect or finished; It gives me the illusion of just noodling in any old sketchbook.

Okay. Back to the pencil. Below, I have a small idea of my process in sketching and drawing. This is not a how-to-draw demo, and it’s definitely not an anatomy demo – it’s just how I approach drawing using this brush. The page below, and the one above, were both done on a 9″x 6″ canvas at 400 dpi.

01.

Loose and light

using brush at 50% size

this brush does have a tilt dynamic, but I’ve never used it

02.

Nastiest phase

building up a little opacity

still only using brush at 50% size

use eraser at 25% size, if at all

03.

start refining

come in with 15% sized brush

at no point do I abandon larger brushwork, it just becomes about more careful and purposeful use

use eraser to hatch and cut back roughs

04.

hello 4% brush my beautiful little boy ♡

hatching in detail

build up opacity, using eraser to bring it back and to carve volume

jump back to larger sizes for larger forms and volumes

fiddle until “finished” 

P.S. the liquify tool is my best friend

[retro-with-a-twist]

¡WARNING!: VERY long post ahead!

I was recently asked to do a tutorial for two friends, and I figured I’d share it here! It’s on how I personally use markers and colored pencils for portraits, so if that’s something you’re interested in then this is for you!

I must preface by saying this is my first tutorial/guide thingy and I’m no professional, but hopefully it helps some! This is only one way of going about it, don’t worry if it’s not your way!

Without further ado, let’s do this! And remember: Trust the process!!!

First, the angelic (😏) reference:

Now, we all see tones differently. I also am using the Art Alternatives Portrait Set, which is limited in tones. So, this won’t be completely picture accurate- which is okay! Essence over accuracy!

Alright! Here we go!

Step One: the sketch!

Typically I do the sketch in the person’s undertone, usually pinks or purples. However, for whatever reason I was compelled to try blue on this one, and hey- what is art if not random attempts at creating beauty?

And just like the color scheme, the sketch isn’t 100% accurate. But again, it’s all good!

But anyways, the reason I do my sketches in colored pencil is because it doesn’t smudge like graphite does, and it actually blends into the marker. I feel it’s smoother, and it provides some undertones as you start layering with marker.

Step Two: base tones

This is where you wonder if you just destroyed the entire drawing. I promise you that you didn’t! Basically what I do here is I put pinks down wherever I see pinks in the reference and lay down where the skin is the darkest. I find that it blends better when it’s underneath the base layer.

Step Three: the base layer

Here, all you do is throw down the skintone over the entirety of where it goes, in this case the face. I typically try to leave out highlights, but sometimes the marker bleeds and covers things I didn’t ask it to. In this case, that was the eyes. Oh well!

One thing to notice here is how you can still see the colored pencil beneath the sketch. That’s a very useful guide for when you begin detailing.

Step 3.5: uh

This isn’t necessarily a marker step, it’s just me letting the ink dry and working on other spots with pen and colored pencil. Also, I do like to go over the pink areas a few times to make them less stark.

Step Four: beginning detailing

Now, black is a tricky color on the face, because it can either smudge on everything and turn it gray, or work really well. I used a colored pencil here, and began going over the blue colored pencil spots and lines that were visible under the marked, which started to bring out his face. I also covered the highlight on the nose that had been left alone thus far.

Step Five: THE™️ details

If there’s anything I’ve learned in my five years of drawing, it’s that the highlights and darkest points are what really make the piece. Pure white, bright highlights (like the ones in the eyes) are awesome, but lately I like smudging them out a little bit so that they’re gentler.

If there’s anything you want to hit, it’s the whites of the eyes with the white gel pen, and the pupils + nostrils with the black fineliner.

I have shaky hands, but I use them to my advantage in stippling the darkest part of the eyebrows and in the line of the lips with the fineliner- it just adds a little bit more depth :)

Hair is its own thing, I just sort of wing it. Black hair especially is not the easiest for me, just because I find it difficult to bring out the shades in it. It’s not done at this step as I was trying to figure out how I was going to finish it.

I will also blend things out with both the skintone marker and a pink colored pencil just to get stuff to be smoother. If you’re going for semi realism/realism like me, I highly recommend taking a reddish brown to do some freckles/skin texture with. You can’t see it too much in this picture, and I didn’t want to overdo it since Cas/Misha doesn’t have that many freckles as far as I can see, but it does make a difference.

Step Six: everything else

I did the jacket in colored pencil as well as the fake id!

If you have any questions let me know, I’m happy to help!

Hope this is a decent guide :)

[lemon-sugarcoats-nothing]

How do you decide what to draw, and when it's done?

Text: "This is a great question! I usually "wing it" when it comes to deciding when my drawing is done. (More below)" "Finding ideas...? It kind of depends! Sometimes I'll get a strong picture form in my head while I'm doing something else. Other times I just sit and draw whatever."

Now to elaborate on my process for deciding when to stop, how far to go with shading, etc. Most of it has to do with how I feel about drawing something, but also to do with keeping things visually appealing. Here I've laid out each general step of my drawing process from start to finish:

1. Sketch, Meant to be quick and generally convey the subject. I will sometimes draw and post things just as cleaned up sketches if just adding visuals to a text post, for shit-posting, or just if I'm not too interested in what I'm drawing.

2. Line art, I almost never post *just* line art, but i will occasionally post line art with one color to fill in the silhouette to help with contrast and character recognizability.

3. Flat color, I often post ask responses at this stage (maybe with simple hard-edged shadows here or there), but outside of ask responses I only leave character reference art at this stage just because the colors are purest for the character. I don't usually leave it without simple shading because it can be hard to read the subject's form, and its not my cup of tea. I lightly airbrush a warm color over the line art so that the harsh black doesn't contrast too much with the bright colors.

4. Shaded, a step up from simple hard edge shading I'll layer more than one shading color (layer set to multiply and lowered opacity) and blend out the edges in some places to soften the form. Then I add lighting and highlights - first using a textured soft airbrush over a large area, then use a round airbrush with hard edges for the highlights, blending out the edges in some areas to soften the form. This is usually where i stop for simpler character pieces, either for ask responses or for personal art. (Highlight layers are set to "add-glow")

5. Atmosphere, or adding additional shading elements to engage the subject with an environment or specific lighting condition. Here I've done a sunset lighting condition - I put a purple color over the whole subject set to multiply and opacity lowered, then airbrushed a reddish orange tone (on a separate layer, set to add-glow and opacity lowered) over the highlighted areas to bring warmth back to the lit spots. Then deepened the shadows using the hard edge airbrush again, a dark blue color (multiply layer, lower opacity), and then blending some of the edges out to show the form better. This is where I'll merge the line-art layer with what i now have of the coloring and shading, if i didn't already do so prior. Last I went back over the highlights with the orangey color (add glow, lower opacity). Once I get to rendering like this, I don't often stop here because by this point I'm likely hyper fixated and will keep pushing the values and adding details until I get to 6.

6. Details and bounce light. I texture-airbrushed a blue bounce light color, erased some hard edges in using that hard edged airbrush and then blending some of the edges out. This then gave me a guide to add in bounce-highlights with a hard pen, that i blended out in some places. I then further pushed the main highlights using a hard pen and again, blended out the edges. All layers set to add glow and opacity lowered. This is where I'll usually stop for finished rendered pieces, because I struggle to find other things to add or change, and the hyperfixation is thinning out and caving into my hunger/sleepiness. Might add hard white highlight details, but those are the finishing touches.

7. Wtf details. Added in hair strand details and fly-aways, blades of grass, I'm up way too late and struggling to end the drawing process - Or im just enjoying rendering the hair. I almost never add in stray hairs like this, but it's something i enjoy visually.

Again, a lot of where I stop comes down to my energy, time, and the vibes I'm going for. Hope this answers your question!

[ca-suffit]

I hate having to say this because I know the importance of what you and everyone else is doing here but sometimes I wonder if always talking about races and defending Louis/Jacob on this aspects isn't doing him a disservice?

Let me explain,sometimes myself included when I find a group of fans so annoying that I end up hating their favs and I know that they find us annoying because we bring what they are refusing to see.

For example yesterday an artist has draw louis 4-5 tones much darker than his real complexion (mind you they had Armand complexion lighter than he is ,so they can do it) rightly a group of fans came upon him demanding accountability, everyone quoting etc...

Then I read another ''artist'' say,that's why she never does fan arts with Louis and I'm wondering how many think that way and that's probably why he is the lead with the least fan arts (non ship fan arts)

*English is not my native language*

hi and thank u for asking this! if u need clarification on anything I answer here bcuz of a language barrier just lmk in my inbox again, it's no problem.

also let me say first that anyone can give feedback on this. I'm not any authority on anything and I'm an anon account. I talk about topics objectively. It's always helpful to have insight from others who feel comfortable sharing more identifying racial info on themselves and giving opinions on this stuff.

ok so to the actual question

"Then I read another ''artist'' say,that's why she never does fan arts with Louis and I'm wondering how many think that way and that's probably why he is the lead with the least fan arts (non ship fan arts)"

the short answer to all of this is that....it's all an excuse.

how many artists of color draw white ppl every day and yet we never hear about a "struggle" from that side? there is one just the same but if ppl were louder about it, nobody would take it seriously. whiteness is "the norm." ppl would laugh anyone out of the room asking how it could be "hard" to depict a white person??

well. it's literally the same for anyone else. there is no excuse to be unable to do something like this. if an artist is unfamiliar with something then they practice to get better at it. I've known plenty of white artists who can draw ppl across racial identities and don't get feedback like this bcuz they work on improving and *listen* when these conversations come up with other artists. saying u can't draw a black man bcuz the "woke mob" might come for u is doubling down on being racist. not only are u saying it's not worth even *trying* to do the art, ur also saying all criticism makes u the victim and that's the most important part of all. "these conversations don't matter bcuz they make me feel bad and that's wrong :(" that's a typical white response to literally *anything* regarding race. that's a lot of why we're still here talking about this in every space. it's not only specific to white ppl either but usually that's the largest group saying stuff like this. white ppl don't have to think about race, so these convos easily get killed in even the most progressive spaces. a lot of times it makes white ppl feel racist to notice race at all and there's usually gonna be some person of color around to back up that "logic" and say it's "right." that's all it takes to shut it all down. that's a lot of what this fandom keeps doing too.

the only way to make progress is to normalize things more. ppl don't know how to draw different facial features, hair textures, skin tones? start practicing. look at art from black artists who draw black ppl and study how that looks. examine ur own antiblackness. learn about colorism. study the racist history of depicting black ppl in art so u don't accidentally recreate that unconsciously. know what the antiblack stereotypes are. the show literally gave us both in 2x7, ppl can even just go study *that.* a lot of ppl don't even know that is there, as blatant as it is.

this is why I said thank u for asking this bcuz it's an important thing to talk about. white fandom (a mindset, not a skin color) will use stuff like this to perpetuate the idea that talking about race *does* cause harm. it doesn't. it never will. it's the only way to make any progress. centering the feelings of an artist who doesn't want to bother drawing louis bcuz drawing black ppl is too hard / anxiety inducing is just straight up racism. idk specifically who this artist is or anything but this is stuff u see and then u stop supporting that artist. u don't coddle them about this either. it's a stupid, harmful thing to say. find artists who don't make those excuses and who can handle having these conversations, support them instead.

ppl should also always be looking for black artists in this fandom to support in the first place. none of the popular artists here are black and that's done intentionally by the fandom. everyone should feel bad about that tbh.

[opentheskies]

Hi, idk if you’ve answered this before but may I know what program u use and which brushes? Ur art is breathtaking.

Thank you ❤️😭 that’s sweet

I use a combination of Procreate and Photoshop. I render everything in black and white in Procreate and then bring it into Photoshop to add color and noise effects.

For my X-Files stuff, the main brush that I use is called Sugar, and it’s from this Gal Shir texture pack. It’s really good for building up values with pressure, and it’s very soft. Usually I sketch things out with the one of the basic pencil brushes and then render everything over that sketch with that Sugar brush.

There’s also a good default Procreate brush that I like called Lightleak, which is good for adding bursts of light behind heads to make them stand out more, etc.

I also put some texture layers on low opacity over that sketch. The main one I use is a default Procreate brush called Plimsoll. I put it on top of my artwork in black and then bring down the opacity really low so that it makes things look less digital.

Then I bring the black and white artwork into Photoshop and add color. I don’t really like to think about color that much so I usually just put a Gradient Map over it and play with the blending modes and opacity until I get something I like. Then I might go in with a standard round brush and fill in specific areas (like skin) that might need to be a different color and set those as a blending mode (whichever looks best). I also always add noise in Photoshop to add more texture. And then sometimes effects like Diffuse Glow to bring out light areas more.

[mantisgodsart]

With the @bug-oc tournament still ongoing, Round 2 drawing to an end in favour of Round 3, another handful of bugs are knocked out of the competition, who will of course arrive home safe and...

Well, differently-shaped. Marigold's been busy! An unusually fast round, here, we got a decent burst of inspiration while procrastinating on packing chatting with some friends and - what? Other contestants? What other contestants? You must be mistaken, of course there were only seven bugs lost this round. It's not like we would lie about that, right? Clearly, if anyone else was transmuted, you'd see them right here. With the rest of Marigold's successful experiments. It's not like we've got any more to do... right?

(Names and owners of transmuted OCs below the cut, in order of pictures here - no group picture for this one, sadly, since we still have more to do here. Hopefully, we pass Round 3 - we really want to draw some transmutations for the other bugs in this round, and the narrowed competition means we can bring out some of the fancier paper we'e got rattling around! Vote for Marigold so we can do more of these - and, of course, for her many natural good qualities.)

First up is Fahris from @tetraterantula, as a Kingsmould! Though tampering with Void isn't precisely advisable, and going from a normal bug to an artificial one is jarring at the best of times, he at least has hands - better than most of this batch can say! This one was fun to do, and we tinkered with a lot of things - the side effects being, of course, that we're tinkering with things we don't already know how to do well. We did make some mistakes here - we are not, admittedly, an expert in humanoids, and long straight lines are the absolute bane of us, but we did our best!

The dark gray used here is starting to fray, which we can unfortunately do little about, as we're out of replacement nibs for our pens at the moment, but which might have caused some interesting texture. We defined the boundary between the lighter cape and the darker one with a white gel pen because our black and dark gray proved to be a bit too close in color to tell at a glance - the pains of traditional art, we suppose. Still turned out fairly well! We wonder if the color palette would interfere with his ability to stroll into the White Palace...

Next up is Cici from @mimicspider, as a Giraffe Weevil. Probably not doing anything for her clumsiness, and definitely not doing anything for her number of hands - the neck is a lot to get used to, even without getting into the whole set of bauplan changes going on here. At least she's probably faster like this? Once she gets used to the legs, at least.

Though we've technically already made her into a Lightseed, double transmutation is fair play... probably? Lightseed Cici was less than a centimeter of our paper, so obviously we had to do something bigger. We modelled this one in particular after the Grimm Troupe steeds - the clown theme fits, and we wanted to toy with the... cloak-looking bits? The polka-dots were a fun challenge, and we definitely think the abdomen came out well. One of the more successful transmutations here, we'd say!

Next are Willow and Lily from @razs-archetype, with Willow as a Moss Knight and Lily as a Belfly. Y'know when you take just a few seconds to yourself, take just a quick nap, and next thing you know you've woken up and the moss has grown over you and your hands have been turned to strange talons reminiscent of a god's dream? Yeah, happened to us too. Awful time. At least their partner's here to- ah, shit. At least this one comes with flight? Probably a damn hard sell of a consolation prize, but...

Not as much to say with the choices here - the Moss Knight felt like a natural choice, and the Belfly just... clicked? We had fun with Willow's moss - the highlights here actually use the same white gel pen as was used with Fahris, since it's got a nice semitransparent thing that we particularly like. We think the style conversion for Lily's face worked out particularly nicely, here. The piece as a whole turned out as one of the best of the batch, as far as we're concerned. Was nice to draw them!

Next, of course, are Drya and Tel from @enbeemerang, with Drya as a Tiktik and Tel as a Nosk - we predict strange waters ahead for them, relationship-wise. Two bugs, and not a single pair of opposable thumbs. The economy is clearly in shambles. At least they've still got each other?

Tel here specifically is actually inspired by a fic that Cog himself wrote - would it surprise you to know that we know them outside of this tournament? They've actually been handed over to us for transformation practice once before, in a sequence that we... might post as propaganda, later. Drya, we deliberated on a few options before settling on a Tiktik - it just seems to fit!

Last but not least, Sehra from @shiningnightstars as a Hive Soldier. It's probably better than it could be, here - at least bees are a bit familiar to Bugaria! This particular variant, admittedly, might not be. Again with the hands, and this time with the looking like an unawakened bee - it might mean a bit of trouble for her, but we're sure she can power through.

The wings here were particularly fun to do - again, we're doing blending tricks here, and we think that the purples turned out particularly well! Sehra's palette is quite pretty, and the gel pen on the eyes wound up looking amazing. Though "soldier" probably doesn't fit too much for what Sehra... is, it felt like the closest to her as far as aesthetics go. The Hive Guardian is a bit too big for a moth like her, the Hiveling feels a bit too far in the other direction, and the Hive Knight... we're actually avoiding bosses and more sapient-looking folk here when possible. Hopefully, it's to your liking!

[cyrsed]

how do you get your colors in your art to look so good?

gonna resist the urge to say my colors aren't that great, and i'm gonna try and think about how i do color seriously.... also thank you for the compliment! i've always felt like i struggle with color but maybe i can still be helpful :B if this stuff is all super basic, apologies in advance

ig i already love bright colors, especially warm colors, but i feel like a lot of making visual art is bringing out the contrasts between colors, light and dark, textures, movement, saturation, curves and straight lines, etc., so that just means i usually try to think about the relationships between the colors a little more than the colors individually.

i also don't usually start with a solid color palette defined beforehand. i usually know the basic colors i want, but i don't typically choose them before i start bc that's too rigid for me, and i want to be able to adjust things or throw things out without worrying that i'm messing up the balance of a palette i already committed to.

so for this one

i used a lot of warm colors bc i loove earthy yellows and oranges, but i think it can make colors feel more vibrant if they're next to colors that contrast w/ it (warm and cool, or complementary colors).

the "gray" metal parts of the picture like the shelf stile coming down vertically, and the jar lids behind it, are green to contrast w the oranges and reds in particular, and there's some blue popping up in the zombie head and the shadows on the bottom shelf for the same reason, altho the blue is a touch on the greener, cooler side of blue (as opposed to the purpler, warmer side).

usually if i use a color in one place, i try to pull it into the rest of the picture for better balance unless maybe if it's the focal point. so i'm doing that with the blue, and the orange stickers to spread the bright orange from that big jar around more.

also i don't usually use straight gray/white/black, 99.9% of the time i'll use something tinted like that green metal stile, or the pinkish gray in the jar on the far right.

same here: it's mostly green and red bc i like that combo & they're complementary, but i did try to pull a little blue in as well through the shadows on the right ribcage and that one mystery organ under the green intestine, nd in the back of the leg.

that being said tho, it's not really "blue", it's more like nearly gray-purple that looks blue bc it's next to such bright warm colors. that's the magic of gray lol, it's very useful bc it's easy to make it look as if it's warm/cool depending on what colors it's surrounded with.

ig color for me is mostly about color relationships and saturation... the gray can look like blue if it needs to, and it can make the colors next to it look even more vibrant so the skin of this necromorph dude looks sickly and dead but the organs look pretty lively.

when i shade something i always try to use a color that's at least a little bit different from whatever the base color is. so in this case the base color was that kind of pale orange and the orange-ish gray, but the shadows are both super saturated & one is leaning more toward a sienna/orange (on the left side of the pic on the arm and ribs) and the other one is leaning a lil more toward a berry purple/red & i think that usually adds some nice depth to the color. also don't be afraid to add reeeally dark darks and really light lights, but imo the darks give colors the most life by contrast.

since this was a limited palette & not that detailed, i didn't worry about pulling that aquamarine anywhere else.

other than that, i just try to be bold with colors, and go for something exciting & not worry too much about whether it looks naturalistic. plus there's tons of colors you can pull out from regular objects/lighting/whatever else. this isn't specific to color, but the other thing i try to do is practice seeing what colors/forms are really there, not what i expect to be there.

a super basic example would be if i want to draw a banana, i don't want to just automatically reach for yellow bc bananas are yellow, i want to either look closely at the real banana i want to draw, and really try to see what colors are really there (which can be surprising tbqh), or if i'm not actually looking at a real one, then just try to pull in more color for the fun of it, like shading it with purple or blue maybe idk go nutso!

tl;dr i think i usually try to keep in mind

warm/cool color balance

complementary colors (altho tbh you can make any color combo look good, esp if you mess with warm/cool balance)

saturation (i keep a lot of things saturated, but also the contrast between saturation/desaturation can make the colors look more intense)

light and dark contrast

using tinted grays to imply a warmer/cooler color that contrasts with the main palette

color depth (shading with cooler and/or warmer variations of similar colors)

go nutso

[pityroadart]

Hey, what is your process when making collages? How do you collect things for them, how do you decide on quotes and what to draw/paint on and such? I really enjoy them :)

Hello! That's a very good question, I do it so automatically that I'm not entirely sure myself — but since I caught myself in the middle of a cut-and-stick sketchbook session, let's dive into it.

First up, I collect scraps like a trash magpie. Always have done, always will. Any paper items that I enjoy the colour/shape/texture of. Nowadays I tend to enjoy things with bold primary colours or black and white, pages from old maths textbooks or encyclopedias, flyers from local exhibitions, fragile tape and shipping labels from parcels, scraps found on the floor, old shopping lists, slips of paper from inside medicine packets or covid tests etc, anything that jumps out at me.

I collect these things in the pocket at the back of my sketchbook, or in a drawer (I have a whole drawer dedicated to scraps — some picked up from six or seven years ago, and some from last week). I hoard them like some sort of paper-loving dragon.

Other things I like adding are washi tapes, stickers, cinema tickets, drawings (whether straight in the sketchbook or stuck in), and anything else flat enough to fit in there.

Here are a few older sketchbook pages (from about 2014) showing some other types of scraps I've collated and used, and I think you can see where my current style has grown from.

The second part of your question is: but how do I put them all together? Again it's pretty much instinctive by now, but here are a few things I look for:

- Do I have a theme for the page? Is there a central object I want to build around? For the recent star trek pages I shared here, I'd been to see TMP and TWOK at the cinema and glued my tickets into my sketchbook, so I knew I wanted to theme the page around them

- Is there a colour palette? Either I pick colours from my central object, or I decide on a colour palette myself. Nowadays I keep my colour palettes very limited - one or two bolder colours and a range of cream/white/black/grey - but previously I've set the palette as pastel rainbow colours for example, when those were the colours I was more drawn to

- What words, symbols or drawings do I want to add? This can be lyrics that have been stuck in my head or that fit the theme, phrases I've come up with, fragments of found poetry clipped from textbooks, drawings that fit the theme (e.g star trek screencap thumbnails in the first example), etc. They don't have to fit the theme perfectly, or make sense to an external viewer - the important thing is that *you* want them on your page

This image below is a fragment of an as-yet-incomplete page - in which I swatched some leftover watercolour paint onto the page, found it complimented the colour of a sticker from a parcel perfectly (the small circular sticker), then I added an interesting-looking image from an old encyclopedia, which reminded me of a line from a Mountain Goats song: "the low pressure system brings the breezes in", and I wrote out another line from that same song on kraft paper and stuck it in. So it makes sense to me, or maybe someone familiar with the song, but to the average viewer it just looks kinda cool and/or they enjoy the line I've written out.

Then the next thing is to stick everything together! I'll confess, I rarely do this in one sitting - I currently have multiple pages I'm working on, one started the other month and almost complete, one started two weeks ago, and one just started today. I add to it whenever I get an idea or find a scrap that fits. But I used to do the pages in one sitting, and that absolutely works too.

As to how I decide what goes where on the page, that's just intuitive! I've made collage-y type art for at least fifteen years now (and longer if you count playing 'cut and stick' with old magazines as a kid), and I've very much learnt what sort of compositions please me, and how to tell if something feels too cluttered or lopsided or too spacious. But the beauty of this part is it's all personal preference! Shuffle your scraps around before gluing them down, and see what works for you.

Sometimes I add text or drawings first and use scraps in between, sometimes I stick the scraps down first and fill the gaps with text or drawings - there's no one way to do it! And hey, if there's something you don't like, you can always tear it out or stick something over it, that's the joy of mixed media.

Anyway this was a bit long-winded but I hope it makes at least a little bit of sense. Go forth and play with scraps!

[david-schmid-photo]

How to Capture The Perfect Black and White Portrait

© David Schmid

Black-and-white photos, while widely known, are often misunderstood. Some view them as an afterthought — a way to edit a color picture we’re not fully happy with. 

With that mentality, we miss the true beauty that black-and-white portraiture can bring. From evoking emotion to highlighting certain features, there is a lot you can do with a black-and-white portrait.

This article will discuss the whys and hows of capturing beautiful black-and-white portraits. So get your camera ready, find your muse, and let’s see how you can bring your black-and-white photography to the next level.

Color vs. Black-and-White Portraits

This might be a matter of personal preference or pure practicality. Black-and-white typically leads to more dramatic portraits.

With portraiture, there are specific considerations to bear in mind when making this decision. The first one is your subject and whether the use of color is essential. Is their hair a vibrant shade of color or do they wear clothes that stand out?

Secondly, consider the setting or backdrop. Does the color scheme play a significant role in the shot you're capturing?

Black-and-white portraiture could be an option for you if you answered no to these questions. Most importantly, this is because it eliminates background noise. Additionally, black-and-white portrait photography brings out the subject's best features.

Lastly, the significance of mood and ambience is another key factor to think about. Although black and white portraits are commonly thought of as having a somber or depressing tone, that is not necessarily the case.

6 Tips for Capturing a Beautiful Black-and-White Portrait

© David Schmid

A lot must be considered with black-and-white images, and these are my top six tips for you when shooting a portrait.

1. Make Black-and-White Your Mindset

Using black and white as a post-production experimental decision is something that many photographers incorrectly do. Black-and-white portraits have their own particularities, therefore it is important to start your photoshoot with black-and-white in mind.

Rather than treating black-and-white as an afterthought, adopt a perspective that is consistent with black-and-white portraiture. Think ahead and choose if you'll be shooting in color or not. When you go into making an image with the intention of turning it black and white, you can ensure it has all the makings of a great monochrome shot before you even click the shutter. 

You have to change your strategy when dealing with black-and-white images because they are distinct from color photos. For example, the most striking black-and-white pictures often showcase striking lighting, distinct facial expressions, and a wide range of tonal contrasts. 

For the greatest effects, plan to shoot in black and white ahead of time because these elements are hard, if not impossible, to adjust after the fact.

2. Set Up Proper Lighting

Lighting matters a lot in black-and-white portraits. It's not just about brightness; lighting shapes how the picture looks and feels. Light and shadows highlight the face, making features more noticeable. 

When done right, it also brings out textures and gives the photo a timeless quality. In black and white, there's no color to grab attention, so lighting becomes crucial. It sets the mood and captures emotions, making the photo more about the person. 

Without good lighting, a black-and-white photo might look flat or dull. It's like the secret ingredient that turns a regular picture into fine art.

3. Choose The Right Pose

When experimenting with black-and-white portrait photography, it could be tempting to go for a more dramatic and atmospheric approach. But there is an option to get a more candid shot of your subject if you choose.

Black and white doesn't have to be all film noir; in fact, it may bring forth humor and enjoyment. Just as much as color portraits may bring out a subject's smile, black-and-white photography can do the same.

4. Use Tethering

Simply said, tethering is the process of linking your camera to a mobile device or computer. With this easy setup, you can view your images on a bigger screen right away, giving you a better idea of what the final image will be like.

Tethering is a lifesaver when shooting with a camera that doesn't have an electronic viewfinder with a high pixel density. The large screen allows you to see the exact effects of your black-and-white settings as they happen. Instead of winging it, you may now make calculated modifications while shooting.

5. Use a Wide Aperture

Using a wide aperture, such as f/1.4 to f/2.5, in black-and-white portrait images will create a bokeh effect and draw attention to the subject's eyes or other focus points.

With a wide aperture and a sharp focus on the subject's eye, you can also blur their facial characteristics. This can also be striking in monochrome, which forces the viewer to actively choose how to distinguish between foreground and background elements in the absence of color.

6. Consider High ISO

Generally speaking, you should aim to avoid using a high ISO setting. At extremely high ISO settings, it can also reduce an image's sharpness, contrast, and clarity by producing noise.

Nevertheless, when shooting black-and-white portraits, using a high ISO isn't necessarily an issue. It may even be something you decide on. Changing a noisy, high-ISO color image to black and white can make it easier to work with. It has the power to transform an ordinary photo into an artistic masterpiece.

Final Thoughts

As any portrait photographer will tell you, when done right, black-and-white portraits can convey much more than you’d first expect. By following these tips, you can shoot your own black-and-white masterpieces.

If you’d like your black-and-white portraits shot professionally, don’t hesitate to contact me about your photoshoot!

[fireintheflames]

An IRL Update!

Just a general update on things, and some fun life hacky adjacent type things!

It's been a busy summer for sure, been trying to find something fun to do every weekend so I can hibernate guilt free in the winter. Some highlights:

Concerts! Including Styx in the rain, which was very fun! Learned that earplugs at concerts are 100% a must for anything inside, if only for the crowd noise. We used cheap Harbor Freight ones, like $5 for 100, worked pretty good!

Camping! which was delayed due to a combo thunderstorm/flood. We made hobo pies! Recipe: 1 cast iron pie iron (~$20) 2 slices of Hillbilly (TM) Bread, or similar soft wheat/white bread (think wonder bread texture) Fillings (i highly recommend PBJ for sweet, or cheese and pepperoni for savory, melty is ideal) Optional: Non-stick cooking spray (Spray inside of pie iron), put bread in each side, add filling. Clamp pie iron. Place in hot coals for about 5-10 minutes each side, flipping once. The edges should be dark, but not actively on fire. Remove iron from fire and unclamp, turn pie out onto plate and let cool until heat comfort level is reached. Eat!

Gardening! My lobelia, obedient plant, vervain, verbena, harebell, and anise hyssop flowered! I picked blueberries! My petunias have lived! I successfully transplanted lemon balm from cuttings (to a pot, the stuff is very aggressive and I'd like to bring it inside in the winter)/I somehow kept the "finicky" plants alive, but killed a nanny-berry (a notoriously hardy viburnum variety). The squirrels keep digging up my wild bergamot! But a 100% increase in bees and bugs, as was the goal! We have fireflies in our 1/4 acre city lot, which is very nice! (to see more bugs/birds, find out your city's grass cut limit and hang tight to it. Where we live it's a pretty generous 10", so lot's of "weed" plants can come up. We actually need to remove a lot of the beech and maples that are growing in places they really shouldn't (like 6" from the house foundation), but we've let all the clovers/violets/asters hang out. We also use a push reel mower and an electric weed whip instead of a normal two stroke mower, which both do a worse job of mowing grass but a better job of not annihilating the things we want growing!

Art fairs! I bought so many mugs, I'm going to need a second mug hutch! (My first mug hutch was the first piece of furniture I bought because I wanted it, not needed it. It is red, with dark green insides. The doors stick and the glass is cracked, but I adore it!). I collect mugs, but I may need to purge if I keep this up. I also bought a "rice vest". It's like a hot sock, but a vest. It has a bunch of little sections full of rice so the weight is evenly distributed. You can microwave it or freeze it. Great for my tense shoulders! I love it so much, I attached a picture!

Art classes! I took multi-media storytelling, which was basically working with collages! I made some pretty cool pieces, and it inspired me to start cleaning my side of the basement for an art studio. I'm going to sign up for more classes in the fall, see if I can get into the pottery courses (our local art center has all sorts of classes for adults, but the pottery ones are the most popular and actually have an order you need to take them to unlock them in). 100% recommend, it was nice doing something creative with other people.

Birding! Not too seriously, but I got a pocket guide and Miles bought some nice binoculars (the lad loves optics and lenses, it's the fun part of photography for him) and we take 'em on hikes! Highlights so far are some cedar wax wings (not uncommon, but not something we see a ton around where we live), a bald eagle, several great blue herons (the nature center by us is a big river/wetland, so lots of birds stop over), and a black crowned night heron. We also got caught in a surprise thunderstorm while looking at some red-winged blackbirds, which was an experience!

That's really for it, it's just been a busy time and I wanted to share! Have a wonderful day!

[happysecrets]

Mayra Penaranda sits in a coffee shop in Seattle, Washington talking to me on a zoom call about the development of her photography and who she is as a creator. In her words she is above all, an artist. Born in Miami,Mayra began working in photography and mixed media at the age of 14. After graduating high school she would attend college in NYC where she spend the next 7 years experimenting and building upon her craft. Her next stop after college would be Seattle, Washington where she lives now.

Currently Mayra has been experimenting with the outdoors and nature. Overall Mayra describes her work as “experimental processes in photography and film.” She adds a range of elements that combine textures, collages, and movement as well as altering negatives or tampering with the photo using fire or liquids. Her photographs bring a sense of nostalgia for me. Like the feeling of being in love with somebody for the first time.

What was the first project that sparked everything? “For my final project there I did this black and white long exposure photography series where I just took a bunch of self-portraits and I essentially asked my classmates to submit anonymous questions to me that I would answer and pair them with the images and I love the idea of taking a photograph and adding something else to it whether that’s text at the time or later like I do now more layered work. That was the first time I thought I could convey something deeper or communicate or process something or create something apart from just the photograph.”

Do you have any plants or pets?

“I have a 2 year old hound dog named Odin, who is just as weird and anxious as me. I’m proud to say I went from killing every plant I tried to own to owning several and even propagating plants, so there is hope out there for anyone else who is this way. We can grow and take care of living things! I hope to have many children some day and I hope they don’t think my art is cringe and like my cooking.”

Why do you do what you do?

 “I do what I do because it’s the only way I’ve ever felt comfortable expressing myself. Art is almost kind of ironic and safe in a lot of ways, being direct is almost too much for me even though I find myself making art that’s pretty emotionally revealing, I love concealing it in layers of colors and film grain and flowers.”

What makes you happy?

I love purples, blues, purples, pinks, reds, and oranges when I’m happy and black and white when I’m sentimental

What scares you?

I’m scared of tsunamis and waking up very old one day with no home filled with food, love, art, kids, animals and laughter.

Any upcoming projects?

I’m currently working on a series of experimental film self portraits called, Floral Lovescapes II. I use different double exposure techniques and alter my film physically with liquid mixtures or an exacto knives to create different floral landscapes/“lovescapes” that I later rescan and wrap up in a psychedelic pink bow in Photoshop. This series is an homage to the Earth and documents my journey of reconnecting with myself and the world around me and I’m super excited to share it this upcoming Spring/Summer.

Mayra is excited to branch out to new communities with her photography. She will be featured in the RedRoom Gallery in Los Angeles, California. Join her January 6, 2023.

https://www.instagram.com/mayrarae/

[ronaldanthony4]

It was another day where creativity led the way; this time, I found myself diving into the world of fan art. I’ve always enjoyed bringing characters to life in my style, and my latest piece is no exception. This time, my subject was Luan Loud, one of the lively and loveable characters from the cartoon "The Loud House." As I worked on this piece, I couldn’t help but feel a mix of excitement and connection—something about Luan’s character just spoke to me.

Let me start with her appearance, which I found charming and challenging to capture. Luan’s light brown hair is styled in a high ponytail, tied with a bright yellow scrunchie. The ponytail is thick and playful, curving downward with a little swirl at the end, almost as if it’s alive and dancing with her. Two long, antenna-like strands of hair protrude from her forehead, giving her a unique and instantly recognisable silhouette. I tried my best to add a touch of texture to her hair, highlighting the soft sheen of the strands and the cheerful yellow of her scrunchie, which I imagined to be her favourite accessory.

Her smile is what truly makes Luan stand out. She has prominent buck teeth, which peek out from her beaming grin. If you look closely, you’ll notice the silver braces on her upper teeth—a detail I didn’t forget to include in my art. The braces give her smile a youthful, authentic charm that perfectly fits her quirky personality. In some versions of her character, her lower teeth also have braces, but I opted to stay true to the more common design. To me, her smile is a window into her soul—a soul brimming with optimism, humour, and an unrelenting love for life.

For her outfit, I decided to depict her in something sunny and fun, mirroring her upbeat personality. She’s wearing a white sleeveless blouse with a bright pink flower pin near the collar, adding a touch of playfulness to her look. Her yellow skirt, adorned with a grid pattern, seems to radiate cheerfulness, matching the socks that stretch up to her knees in a similar shade of yellow, striped with bold black lines. And let’s not forget her shoes—brown with little pink flowers on top. Every detail of her outfit was carefully chosen to reflect her vibrant, comedic essence.

As I drew, I thought more about who Luan is as a character. She’s the fourth oldest child in the Loud family, a sophomore at Royal Woods High School, and someone who shares her school life with her siblings Leni and Luna. Growing up in such a large family, with 10 other siblings must be chaotic, but Luan thrives in the noise and energy. She’s a natural comedian, always telling jokes, pulling pranks, and finding ways to bring laughter into the lives of those around her—even if her efforts sometimes backfire.

Luan’s love for comedy is infectious. I imagine her cracking a pun about almost any situation, her voice light and teasing. But it’s not just jokes with her; she’s a full-fledged prankster. Pies in the face, whoopie cushions, fake spiders—she’s mastered them all. Of course, her antics often get on her siblings’ nerves, but deep down, they know she means well. Her goal isn’t to humiliate; it’s to share the joy of laughter. And while her pranks sometimes go a little too far, her family knows that her heart is in the right place.

It’s this duality—her mischief and her genuine kindness—that makes her such a fascinating character. Take her relationship with her siblings, for example. She’s especially close to Leni and Luna, and while she loves pranking them as much as anyone else, there’s a certain tenderness in the way she interacts with them. In the episode “Head Poet’s Anxiety,” Luan becomes a source of inspiration for Lucy, encouraging her to pursue a life in showbiz. It’s moments like these that reveal her depth—she’s not just a joker; she’s a supportive and loving sister who wants the best for her family.

Luan’s passion for comedy extends beyond her pranks. She loves everything that has to do with making people laugh, from stand-up routines to clown performances. I could imagine her practising her jokes in front of a mirror or jotting down ideas in a notebook filled with doodles of clowns and circus tents. She probably has a collection of comedy movies and TV shows that she watches religiously, taking notes on timing and delivery. Her dream, I think, is to make the world laugh along with her—a lofty goal, but one that suits her larger-than-life personality.

Of course, even someone as cheerful as Luan has her struggles. In “Stage Plight,” we see her neurotic side as she becomes increasingly anxious about kissing her boyfriend during a school play. It’s a reminder that, beneath her confident and comedic exterior, Luan is still a teenager navigating the challenges of growing up. She’s socially awkward at times and prone to overthinking, but these qualities only make her more relatable. They show that she’s not just a one-dimensional prankster but a complex character with insecurities and fears like anyone else.

As I added the finishing touches to the artwork—shading her hair, refining the folds in her skirt, and brightening the highlights in her eyes—I thought about the impact Luan has on those around her. She’s a beacon of positivity, always finding the funny side of any situation, no matter how dire. Her ability to laugh in the face of adversity is something I deeply admire. It’s a trait that not only defines her but also inspires those around her to see the world in a lighter, more joyful way.

Creating this artwork was more than just a creative exercise for me; it was a way to celebrate a character who embodies so many wonderful qualities. Luan’s enthusiasm for life, her unyielding optimism, and her genuine love for making people laugh are traits that I think we could all strive to emulate. In a world that often feels heavy and serious, characters like Luan remind us of the importance of laughter and the power of a good joke. Luan's ability to bring joy to others through her humour is a testament to the impact that positivity can have on those around us.

As I finally stepped back to admire the finished piece, I felt a sense of satisfaction. The bright colours, the cheerful pose, the mischievous glint in her eye—it all came together to capture the essence of Luan Loud. I couldn’t wait to share it with others, to see how fans of "The Loud House" would react. For me, this artwork wasn’t just a fan tribute; it was a celebration of humour, creativity, and the joy of bringing a beloved character to life in a new way.

Looking back, I realise that creating fan art is more than just drawing; it’s about connecting with the characters we love and finding pieces of ourselves in them. Luan’s love for comedy and her desire to bring happiness to others resonates deeply with me. Through this piece, I feel like I’ve not only paid tribute to her but also learned something about myself—that no matter what challenges come my way, I can always find a reason to laugh. Creating fan art allows us to explore our passions and connect with others who share similar interests.

[hospitalterrorizer]

diary412

11/9/24

saturday

another short one today.

got the bass written in the song, made the guitar sound better #cool.

didn't draw a lot, today, instead i watched 2 caveh zahedi films, in the bathtub of the world and i don't hate las vegas anymore, i don't hate las vegas anymore wasn't about vegas so much, since his art is all about him, it's just him trying to get through to his family, his half brother and father, trying to get them to take ecstasy with him so they can all trip and be happy together and communicate openly, it doesn't go that way really, they trick him into thinking they took it, it's interesting seeing someone get their wish fulfilled by people lying, willing so much for that to be the truth they also just go with the lie. there are some shots that happen by total accident it seems like, they're intensely beautiful, like when the camera operator loads in pre-exposed film so you get these two shots overlaid basically, one's upside down almost, technical failures, those are really beautiful looking to me, in a textural way, lovely moving images. it's a shame he doesn't do that on purpose, because it looks so good.

seeing him try to convince his family to take drugs is strange, he's trying to much to manipulate them to do what he wants because he thinks it will be good and that god is on his side, since he believes in god and that what god wills will happen and he's trying to really make sure god is willing or not willing things, rather than letting them be. this is a common theme in his work. or running theme. i should have said running. anyhow, he, in the film says, i want to learn to surrender, he does not learn to surrender it feels like.

in the bathtub of the world was much better, a video diary thing, it made me reflect on what i do here, whether or not i am similar to him or not. i don't want to be, i don't think what i do is even a quarter, or 8th, or 100th as invasive as what he does. that's part of it, but i also don't think i treat my partner badly, which he does. he seems to relish in when she cries because it's interesting. it only upsets me deeply when i have to write about it here, because it is going on, because it makes me feel like i have failed and i want to reflect on my failures. caveh will say things like, my wife is being a total bitch right now, and it's not evident why. it's not a real image of him entirely, but it's strange how he thinks he can transmit that in film, in these autobiographical works. especially in film, you will never understand someone in something that is an hour or so.

but there is a really great scene in the film set to pavement and it showed me this song:

makes me very nostalgic, for some reason. it reminds me of when i saw snow the first time i suppose, or, the first few times. once was on the side of the road, on the way down from somewhere, with my mom's ex boyfriend who was very kind to me, we made snow angels on the side of the road, cars passed, we had little angels there in white though. i'd never seen anything like that in my small life. there were maybe other times between then and the next time...i heard actually, technically i saw snow when i was a baby i think, i do not recall of course, but in 98 i think there was strange snow in vegas. anyhow, years later, we had snow at school, late elementary i believe, was the time, i can't recall the grade. we got out, and there was snow!! the ground was white, everything was pretty, the naked arms of trees. it was a beautiful time, the lovely sky so grey. in this song she sings, black trees with empty arms. it brings me to that.

the open curtain, yes, very good, growing stranger, onto the final section now, it's hard to make much out, as it's gotten into this very strange romance arc, not really romance, more, desperation, sadness, descending into madness, or the descent is completed, there is this sequence of passages, regarding the marriage ritual, numerous things dawning on the second protagonist, about her parent's murder and these mormon symbols. very insane stuff, makes me so curious. rudd being the symbol of the knee, on the temple garb, where her family are all other symbols which are kinds of openings, wounds where the hand of god and jesus reach through, he describes something insane, the presence of god being subcutaneous, really incredible thought put into writing, but her family dead because of their symbolic transmission into the other side + being the instantiation of those symbols or perhaps the inversion of meaning, the closing off of the veil, preventing things. then all the ritual sacrifice stuff returning. just insane to me. there's some sequence that must be remembered, if any should ask you after you are married to recall this sequence, there is a particular way you must kill yourself? mormonism seems death obsessed. confusing too.

but now i am just doing my face up before sleep, i cut my hair a little more let's see how i feel about that tomorrow, and i also need to talk to my friend about some writing things tomorrow in the morning,

so,

byebye!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!