#the linework is just actual pen

[dawnthefluffyduck]

Had to make a pigeon decal for a class, I kinda like how it came out

edit: forgot that a little bit of shading goes a long way (also changed the line color, might still darken it)

[pepperpixel]

Both love and hate the absolute DELUGE of ink a fresh sharpie unleashes onto the paper the instant it makes contact…. I have complicated feelings towards the deluge lmao

[shartfinz]

I am so lazy with art I only like shading skin and solid colored shirts then I want to be done LMAO

[kumiaku]

Kinktober Day 13 - Branding (Kinich)

Kinktober Day 13 - Branding/Tattoos, Kinich x Reader, Genshin Impact

Masterlist

Misc. Tags/Info - Branding/Tattoo, Established Relationship, Kinich is giving reader a tattoo bcuz they are getting married, hush hush its not in game i just thought it’d be cute, ajaw is throwing up in the corner, slight cardiophilia, slight angst/hurt comfort, reader is a lil messed up in the brain ngl but its hot imo, dirty talk, no actual smut it's just suggestive, GN reader

WC - 683

Nsfw under cut

Kinich’s hands were bare against your collarbone, a low burn emanating from under your skin as his finger tips pushed over your skin. “Remember, you have to stay still.” 

You barely hummed, breath shorn from your lungs, his face was so very close to yours, and he leaned in even closer, eyes focused on your clavicle as he mapped out the area with his eyes. His warm breath bounced over your skin, his eyelashes low and so very pretty. “You have to breathe too.” He chided gently, ever the fusser. 

“I know.” You breathed out, then in, manually. Were you taking too deep of breaths? Why were you even this flustered? It was like it was your wedding day already, well, it might as well be. 

Your hand crept up Kinich’s chest, flush against his skin - just on the other side of his heart. You could feel it beating too, pumping a rhythm that you tried to steady your breath to, you wanted to press your forehead to Kinich’s, maybe kiss him, hug him, love him, but that’d make it all the more difficult for him to actually emblaze matching tattoos onto you. 

“Ready?�� Kinich murmured, one of his hands dipping down to catch the needle in his steady hands, inky oil dripping off the tip as he tapped it once - then twice. It was a special needle, newly created as an engagement present for the two of you by Xilonen. 

It’d hurt, you tried not to tense, knowing that it’d make the lines on your skin less fluid if you shook or moved. But you focused instead on the gentle beating beneath your palm. You hummed a confirmation and bit your lip. 

Kinich breathed out as he began the first mark, feeling you tense in his hold. It hurt, but it didn’t hurt badly. It was a needle point stabbing pain, one that emanated in your skin and followed your muscles, but there was another feeling - an elation underneath it all.

That heart you held on the other side of his skin, the heart he was drawing over, the two would be forever connected. You would forever belong to him, until all of your skin rotted off, until your bones turned to dust, but even then you’d be connected to him. Even when Kinich died and Ajaw took hold, there would be proof of the love you shared on both your forms. 

Your eyes couldn’t seem to focus on anything except Kinich’s, even if he wasn’t returning your gaze, instead fervently focusing on the small design he was carving and inking into your skin. You let a small noise slip as you swallowed your saliva. 

Barely half a second later, Kinich took back the pen, pressing it into the pot of ink to collect more, “I’d prefer you make noises of pleasure instead of pained ones.” 

“That was one.” You freely admit, fingertips tapping against his chest, gliding up to his neck and tracing the marking extending from his neck down to his midchest. “The thought of forever belonging to you, these marks devoted to our love.” 

Kinich let out a breath, his cheeks seemed to flush the slightest bit, his hand on your chest gripping your skin a little bit as he looked back over towards you. “Keep talking like that and I’ll want to get repaid, sooner than later.” 

Though it was meant as a tease, or a warning, you took it more as a promise, shifting forward in his lap, eliciting him to take in a breath. Beneath your ass you felt something begin to shift, growing stiffer. “Maybe we can do both at the same time.” 

“I’d mess up the linework then.” Kinich shook his head, pushing you back a little bit. You almost laughed, but stifled it when the needle returned to your collarbone.

You let out your deep breath slowly, patiently waiting for a moment that was convenient to reply once again, to tease him more than you already knew you had based on the hardness pressing against your ass. “Then you’ll just have to wait.”

[a-simple-gaywitch]

Heart Full of You

Spencer Reid x Reader

Summary: When Spencer goes to pick Henry up from school for JJ, he doesn't expect to fall head-over-heels for his teacher

Warnings: Mentions of guns, I think that's it?

Word Count: 4541

Author's Note: I don't really like the ending I have here, but I'd LOVE to continue writing this universe, I have so many ideas!

“Fate shuffles the cards and we play.” ~Arthur Schopenhauer

~

Spencer walked through the doors of Henry and Jack’s school and headed toward the theater. JJ and Hotch had signed the boys up for the school district’s musical and had asked Spencer to pick them up. JJ and Will had their Thursday date night, and Hotch was stuck in the office. Spencer was more than happy to agree. He slipped into the auditorium and took a seat at the back, since he was still pretty early. 

He saw a younger woman, probably in her early 20s, at the front of the auditorium with a clipboard and tape measure. She was presumably taking the students’ measurements for costumes while the instructor up on the stage led the children through the dance steps. The man he knew to be one of the high school teachers sat in the middle of the front row, making notes in a book. 

The dance instructor clapped as the song ended. “Okay, everyone, that’s the choreo for the day. I’ll turn you over to Mr. Meadows.” She nodded to the teacher in the front row. 

“Thank you Miss (Y/N). Take a water break, everyone, we’re back in five.”

A small chorus of “thank you five” was heard from the older students as the kids dispersed off the stage. The woman, Miss (Y/N) as Mr. Meadows had called her, hopped off the stage with ease and joined the younger woman who was taking a high schooler’s measurements. 

“Okay, folks, let’s bring it back!” Mr. Meadows called. “Take your seats, please. I won’t keep you too much longer, I just want to go over today’s notes.” Spencer noticed the monotonous tone of his voice and the elementary schoolers’ attentions already fading. “First, I need my principles, minus Jack and Red, right at 3 tomorrow. Do not be late. Evan, that means you. We have vocal work to do with Ms. (Y/N) and I do not want to waste her time. The rest of my high school cast, 3:30. Next, principles, do your linework. The sooner you start, the easier things will be later. Finally, my junior cast, don’t forget to see Ms. (Y/N) and Ms. Addi with your grown-up before you leave. And with that, I’ll see y’all tomorrow.”

Henry ran over to Spencer, his overly large backpack thumping against his back. Jack walked behind him, dragging his bag behind him. 

“Uncle Spencer!”

“Hey, kiddos!” Spencer said, kneeling down to catch the incoming Henry in a hug. Before he knew what was happening, Henry was dragging him towards the two women at the front of the auditorium. 

“Miss (Y/N)!”

“Hey, Henry! Hi, Jack! You boys find your grownups?” the dance instructor asked him. Her clothes reminded Spencer of the teacher on that Magic School Bus show Henry liked. Her pants were covered in music notes and she wore large, dangle feather earrings.

Henry nodded. “Uh-huh! This is my Uncle Spencer!”

You looked at Spencer and smiled. “Well, while I talk to your uncle, why don’t you go let Miss Addi take your measurements for your costume?”

Once Henry bounded over to the young woman with a clipboard, Jack following close behind, Spencer said, “Uh, my name’s Spencer Reid. I’m an authorized pick-up for both Henry Lamontagne and Jack Hotchner. I’ll be bringing him home today, too.”

“Uh, Hotchner, Hotchner,” you muttered under your breath, flipping through the clipboard in your hands. “Ah, here he is. I just need your signature next to both children’s names, Mr. Reid.”

“Oh, uh, of course.” He took the clipboard and pen from you. “So, are you new to the district? I don’t remember seeing you around before.”

“Oh, no,” you said with a laugh. “No, I’m here on a volunteer basis, technically. Been working with the theater department for six years, but I’m not on their payroll. I actually work-”

“Can we go get pizza now?” Henry asked Spencer, tugging on the sleeve of his jacket. 

“Ooh, a pizza party? You must be the fun uncle,” you said. 

Spencer’s face flushed and cleared his throat. “Uh, s-sure, Henry. We’ll get it on the way home.”

“Bye, Miss (Y/N)!” Henry said, wildly waving his arm. 

“Bye, Henry, bye Jack. I’ll see you boys on Monday.”

Spencer watched you for just a moment longer as another child and her guardian approached you. 

~

The team was reviewing a local case. 3 women were killed, all dressed in period clothing. 

“You think he’s making them look like Jack the Ripper’s victims? I mean, their throats are slashed and they’re dressed in Victorian clothing.” Morgan suggested. “And we know the victims are low-risk, victims of opportunity.”

“I don’t know,” Reid muttered, scrutinizing the crime scene photos. “Something about the clothes feels off.”

“The clothes are the key. Something about them will lead us to him,” Rossi said.

“Reid, you and Callahan look into the clothing more. Dave, you and Morgan go to the latest crime scene. JJ, you’re with me. We need to build a geological profile.” After Hotch gave the assignments, the team dispersed. Spencer and Kate Callahan stayed in the briefing room, looking over the photos. 

“What if we have an expert look at the clothes?” Kate suggested. “See if anything sticks out to them? There’s a professor at the university that’s known for her dissertation on historical clothing.”

~

“Now, if you look at contemporary theater, you’ll notice huge differences in how typical gender roles are portrayed. Unlike the standard Golden Age piece, women are given more agency and more purpose in the story besides furthering the objective of the man. For example, West Side Story versus Hairspray. Even though both shows center on a woman, it’s Tracy’s will that drives the plot of Hairspray whereas Maria’s will does not drive West Side Story. This goes back to our discussion earlier in the semester regarding protagonists. However, we do see a shift during the Golden Age, in that women are beginning to be fleshed out as characters. Compare the women in Allegro to the women in Gypsy. As we progress through to the contemporary age, we begin to see more female-led shows take stage.” You glanced at your watch and sighed. “And that is where we will pick up next class. Please remember to read chapters 13 and 14 in your text. If you have any questions, you know where to find me.”

Your class gathered their belongings and slowly made their way out of the room. You were tucking your own belongings into your bag when you felt someone approach the desk. 

“Office hours are at- Oh, hello.” When you looked up, a woman was standing in front of you, presenting an FBI badge. 

“Dr. (L/N), my name is SSA Kate Callahan, and this is my partner Dr. Spencer Reid.” Standing behind her was a man you recognized from the school. He was the uncle Henry Lamontagne talked about all the time. “We were hoping you’d be willing to give us your professional opinion on some clothing pieces.”

“Oh, well, uh, sure. Let me just email my next class and let them know it’s canceled.” 

As you pulled your laptop out from your bag, Agent Callahan asked, “Don’t you have a TA that could take over?”

You huffed a laugh. “I’m a professor in the theatre department. I’m lucky I have my own workshop and somewhat of a budget during show season.” You typed up a quick email to your next class and sent it. “I usually work in my shop instead of my office, but-”

“Wherever is most comfortable for you,” Agent Callahan said. “We have some pictures that are… well, gruesome.”

You nodded. “Well, then, to the dungeons it is.” At the concerned look the agents gave each other, you said, “My workshop is in the basement. My students affectionately christened it the dungeons a few years ago. I hope you don’t mind a few sets of stairs.”

“Lead the way,” Dr. Reid said. 

Getting down to the costume shop was like a quest on its own. Not only did you have to trudge down several staircases from the classroom floors, but then you had to use your ID to take the elevator the rest of the way down. When you finally reached the basement, you dug your key hoop out of your bag and flicked through it. The key to the main portion of your shop was attached to a Phantom of the Opera keychain. 

You unlocked the door and pushed it open. “Welcome to my shop. Feel free to sit wherever you can. If there’s stuff on a chair, just set it on a workbench.” As you set your bag down at the desk in the corner, Spencer looked around the room. It could be accurately described as organized chaos. While the work benches were covered in fabrics, thread, and many other things Spencer didn’t know the names of, everywhere else was meticulously organized. Bins and drawers were labeled, and not a thing seemed out of place. Spencer looked at the dress hanging on a mannequin and couldn't think of it as anything other than a work of art. There was elaborate beading on the bodice and embroidery on the skirt.

“So, what can I help you with?” you asked as Kate and Spencer got settled. 

“We were hoping you could tell us about the outfits in these pictures,” Spencer said, pulling a file out from his satchel. “Fair warning, it’s not pleasant.”

You shrugged. “I grew up with a mom obsessed with crime shows and police procedurals. Pictures won’t bother me.” 

Spencer handed you the file folder. “We think he’s dressing them up like Jack the Ripper’s victims.”

You hummed as you looked through the pictures. “Any idea what kind of fabric was used?”

“Why does that matter?” Kate asked.

“Well, cotton was a luxury in Victorian London,” you explained. “Most common folk wore linen or wool, because it was what they could afford. It was also common to patch up clothing with fabric found around the house rather than replace a shirt or a pair of trousers.” You grabbed a magnifier from your desk and looked closer at one of the photos. 

“Do you see something?” Spencer asked as you moved to another picture. 

“I’m not sure,” you said. 

“Well, what is your gut telling you?” Callahan asked. 

You pointed toward a small section of embroidery through the magnifier. “This stitching along the underside of the skirt. It’s on all of them.”

Kate’s eyebrows scrunched up. “I don’t understand.”

“It’s a signature. Us designers like to add some sort of signature or tell into all our pieces. A secret way of letting the world know the piece is ours.” You reached across the desk and grabbed a piece of fabric. When you unfolded it, they saw it was a shirt. You held the edge of the sleeve out for the agents to see. “For example, I use a treble clef as mine. My mentor would include Mickey Mouse heads because she was a huge Disney fan. Other people just find creative ways to embroider their initials onto it in a way that just looks like an artistic choice.” 

“So, if we can find out whose signature it is, it can lead us to the origin of the outfits,” Spencer said. 

“I’ll call Garcia, see what she can find.” Callahan said.

“Oh, we don’t get cell service down here, you might need to go back upstairs,” you told her. She nodded and stepped out of the workshop. You cleared your throat. “It’s, uh, it’s nice to see you again, Dr. Reid.”

“You, too,” Spencer said with a small smile. “So, this is where you actually work, huh?”

You gave a small laugh. “Yep. Start of this semester was 7 years.”

“Congrats.”

“Thanks. So-”

“Reid. Hotch wants us back. Rossi and Morgan might have something. Thank you for your help, Dr. (L/N).”

“Of course. Happy to help.”

After Callahan and Reid left the costume shop, Kate said, “Okay, spill. The energy in there was really weird. Why didn’t you tell me you knew her?”

Spencer rubbed the back of his neck. “I, uh, I didn’t know I knew her.” At Kate's questioning look, he explained, “I met her through my godson. She volunteers at his school and goes by her first name there.”

“Uh-huh. And the awkwardness?”

“When have you known me to not be awkward, Callahan?”

Kate hummed, but dropped it.

~

You were humming along to the soundtrack you had playing, measuring a drape of fabric on your dress form, pins sticking out from your mouth. You glanced from your notebook with your measurements and pattern sketch to the fabric. You pinned a piece of the cloth up when you heard a knock at the door to your shop. 

“Come in,” you said, your voice muffled from the pins. You stuck them back in the pin cushion on your wrist before standing up and dusting off your pants. “Oh, Dr. Reid! How can I help you?”

“You, um, you can call me Spencer,” he said. “I uh, I wanted to stop by and tell you we caught the guy,” Spencer said, standing awkwardly in the doorway. “We-we couldn’t have done it without your help.”

“Oh! Well, I’m sure you would have figured it out anyway. The BAU seems to be good at that kind of thing.”

Spencer gave a small laugh. “Yes, but your help enabled us to track him down without any more lives lost.” So, what are you working on?”

“Oh, I’m making one of Eponine’s dresses. We’re doing Les Mis this semester. I have Cosette’s dress on Cordelia over there.”

“Who?”

“Oh, sorry. The dress form. We named them after Shakespearian women. It’s just a fun little thing we do here. That’s Cordelia, this one by me is Rosalind.”

Spencer smiled. You know, maybe you could tell me more about what exactly your job is at dinner?” Before you could answer, Spencer said, “Obviously, you don’t have to, I’m not trying to force you into anything, I-”

“Spencer,” you said, holding your hand up to calm him. “I’d love to go out with you. Here-” You walked over to your desk and shuffled papers around. “Aha!” You grabbed a pen and scribbled something down. “My personal number. That way we can, you know, figure out something that works with both our schedules. I’m sure yours is even crazier and more unpredictable than mine.”

The smile you gave Spencer lit a warmth in his chest that he didn’t think he would ever get tired of. 

~

“Pretty Boy! Tonight, drinks on me.”

“Oh, uh, no thanks, Morgan.”

“No, no, no, you can’t just stay in when we finally have a Friday night off. You’re coming.”

“Look, it’s not that I don’t want to- I mean, I don’t, but it’s not just that. I, um, I already have plans.” He glanced at his watch. “I’ll see you all on Monday.” He grabbed his satchel and rushed out of the BAU office. 

Morgan’s brow furrowed as he watched Spencer’s retreating form. 

“What’s wrong?” JJ asked. 

“Remember the last time Reid was this jittery and secretive?”

She sighed. “You know I do.”

“What happened last time?” Kate asked. 

“Maeve,” Garcia answered, her voice just above a whisper. 

“We have to find out what’s going on with him,” Derek decided.

“I really don’t think that’s necessary-”

“Let’s follow him,” Garcia cut Kate off. “See where he’s going, what he’s up to.”

~

“That can’t be true!” Spencer laughed. “There’s no way!”

You were laughing too. “I’m serious! I stapled the sleeve of my sweater to the set piece we were building and I didn’t notice until we were ready to lift it into place! They wouldn’t let me in the wood shop after that.”

Spencer couldn’t stop smiling the whole night. You were funny, smart, and everything he could hope for. 

“So, how did you end up working with the school district?”

“My niece,” you explained. “Her senior year, their regular choreographer went on maternity leave. The district said if they couldn’t find someone to fill the role, they would cut the play. Julia called me melting down over it, begging me to volunteer. And, you know, I’ve never been able to say no to my nieces and nephews. After that production, we found out that the choreographer was quitting to be a stay-at-home mom, so I agreed to be the regular choreographer on a volunteer basis. Then the next year, their costume connections fell through. I worked through the university to provide costumes, which is how the internship program started. This year, I’m just filling in on vocal directing while the choir director is out on medical leave. And Into the Woods is one of my favorites to sing anyway. So, what about you? How’d you end up working for the FBI?”

While Spencer told you about going to college at 12 and meeting Gideon, Morgan, Garcia, and JJ were sitting at a nearby table, hiding behind menus. 

“Who is she?” Garcia asked, trying to get a better look at you. Your back was to their table.

“I don’t know. Never seen her before.”

JJ squinted. “Something about her seems familiar.”

Before they could do more digging, a waiter came over to take their orders. When the waiter left, Spencer’s table was empty. 

“Where did they-”

Spencer walked up to their table, arms crossed against his chest. “Really, guys? Did you think you were being discreet?”

“Kid, look-”

“You were being all secretive, we were worried about you!” Garcia cut in.

Spencer sighed and dropped his arms. “I didn’t mean to worry you guys. I just- We’re all so in each other’s business, and this is so new I-”

“You wanted to keep it to yourself,” JJ said. “We get it. Looks like she’s coming back from the bathroom. We’ll get out of your hair.”

“But-”

“Come on, Pen. I’m sure he’ll tell us all about it on Monday. Right, Spence?”

Spencer smiled. “Sure, Jayje.”

~

Phone calls with your family always stressed you out. It wasn’t that you had issues with your family, it was just that they always seemed to be up in your business. And that held true for your monthly family dinner.

“(Y/N/N), I’m telling you, you’d get along great with this guy,” your older sister, Maria, said. You were over at her house for dinner, your parents and other two siblings video-calling from their respective locations. “I know you feel like ‘the universe and fate will align’ and introduce you to your soulmate or some shit, but that’s not really how the world works.”

You sighed. “Maria-”

“Come on, you haven’t dated anyone since college!”

“Because I haven’t had any interest. Liz, back me up here,” you said to your younger sister, who was feeding her twin toddlers. 

“What?”

You shook your head. “Never mind. Can we just change the subject, please? Tommy, how’s school going?” you asked your younger brother, the youngest in the family. You could tell he was only half paying attention from his dorm room. “What classes are you taking this semester?”

“Maria’s right, sweetheart,” your mother said. “How will you ever meet someone without putting yourself out there?”

“Ma-”

“I mean, you’re not getting any younger-”

“I have a boyfriend, okay, Ma? I don’t need your help!”

Your family fell silent. 

“You have a boyfriend?” Liz was the first to speak. “What’s his name? Where did you meet? How long have you been together? How-”

“Elizabeth, let her breathe!” your father said with a laugh. “We’re happy for you, pumpkin. Tell us about him. At your pace, of course.”

You smiled and told them about Spencer. Only after promising to bring him to the next real family dinner did they relent and change the subject, pestering your little brother about his college classes.

~

You and Spencer were a damn near perfect match. After that first date, the two of you barely went a day without calling or texting each other. When he was in town and not across the country on a case, he would bring you lunch. You’d frequently stay over at each others’ apartments. Months into your relationship, you knew each other better than yourselves.

Which is why, when you didn’t answer your phone on a Saturday afternoon when the team got back from a case, Spencer was concerned. He made his way to your apartment and fished the spare key you’d given him out of his pocket. He pushed your door open.

“(Y/N)? Love?” He walked into your apartment, which was unusually messy. Scraps of fabric were littered around the room, and music was blasting from your home office. “(Y/N)?”

You came rushing out of your kitchen, your hair a wild mess and your oversized pajama top drooping from your shoulder. You skidded to a halt. 

“Spencer! What are you doing here?”

“We just got in from the case. I tried calling-”

“You did?”

“-to see if you wanted to grab dinner.” You pulled your phone from your sweatpants pocket and saw the 3 missed calls from Spencer. “Are you okay? What’s going on? You look like you haven’t slept in days.”

You sighed. “I haven’t. I’ve been working nonstop. I need to make the mask for the Wolf, the Witch's coat, and Enjolras and the other revolutionary’s waistcoats, and my sister asked me to make a dress for her coworker’s daughter’s quinceanera and-”

“Whoa, whoa, hey. Breathe.” He cupped your face in his hands. “You need to stop working yourself so hard,” he said, rubbing your cheekbone with his thumb. 

“Says the man who overworked himself so much he developed chronic migraines.” At his raised eyebrow, you said, “Sorry.”

He smiled softly and kissed your forehead. “Why don’t you let me help you out a bit? Give me instructions, I’m a quick learner.”

You reached up and pulled his hands from your face. “Spencer. As much as I absolutely treasure and adore you, the thought of you seeing the absolute disaster that is my home workshop right now is literally the most terrifying thing I can imagine. More terrifying than you meeting my family. Which, by the way, my mom is insistent that you come to Thanksgiving this year.” You yawned and leaned your head against his chest. 

“We can talk about that later.” He kissed the top of your head. “How about now, into bed? You’re dead on your feet, love.” When you only nodded, Spencer led you to your bedroom. 

After getting you settled in your bed, Spencer went to stand up. You reached out and grabbed his hand. “Stay,” you mumbled, tugging him towards your bed.

The next morning, Spencer walked into the round-table room late. 

“Well, look who’s wearing the same clothes,” Derek said. “Fun night?”

“Shut up, Morgan,” Spencer said, taking a sip of his coffee. 

Hotch looked over Reid before saying, “As I was saying, Indianapolis needs us to write up a consult. Garcia is passing around the case file.”

~

Spencer was filling out paperwork at his desk when his phone started ringing. “Dr. Spencer Reid.” He froze as he heard the person on the other end of the line. “Oh- oh my god. Yeah, yeah, no, I’ll be right there. Uh, thank you.” He slammed the phone down and started gathering his belongings. 

“What’s wrong, Reid?” JJ asked, watching Spencer cram a folder into his satchel.

“(Y/N)’s at the police station.”

You were walking home from the fabric supply store when a young man stopped you. He couldn’t have been older than 20. He pulled a gun and pointed it at you. 

“Give me your purse,” he said. You saw the way his hand was wavering.

You straightened up. “No.”

“You-you can’t say no! I-I have a gun!”

You just blinked at the man- practically a boy. Then you kicked him in the groin, causing him to drop the gun as his hands flew to cup his injury. You pressed your foot on top of the gun, preventing him from picking it back up, then you dialed the police. 

They brought you to the station to give a statement. You were sitting next to one of the detective’s desks when Spencer ran in. 

“(Y/N)! Are you okay? What happened?”

The detective nodded at you and gestured toward where Reid had come from, indicating you were free to go. 

You shrugged at Spencer. “Some punk-ass kid tried to mug me. Had a gun and everything.”

“What?”

“It’s fine, I knew he wasn’t gonna go through with it.”

“How could you possibly have known that?”

“Spence, I’m from Philly. It’s not the first time someone’s tried to mug me at gunpoint.”

His eyes went wide as saucers. “That doesn’t make it better!”

You smiled and kissed Spencer’s cheek before taking his hand. “I’m fine. Thank you for coming to get me.”

“Of course, (Y/N). I love you.” Your smile widened as Spencer’s face started to pale. “I mean, uh-”

“I love you too, Spence. Come on, let’s get out of here.”

~

“Okay, closing night,” Mr. Meadows said, addressing the students, all in their brightly colored costumes. “I’m incredibly proud of all of you for making it this far. This is our last show, you’ve all done great so far. Go out there and give them one last show to remember. Now, before we get in places, Ms. (Y/N) is going to lead you through a vocal warm-up.”

“Thanks, Mr. Meadows,” you said, taking your spot in front of the group. “Okay, guys, you know the drill. Repeat after me, then all together.” You took a deep breath before leading, “To sit in solemn silence on a dull dark dock, in a pestilential prison with a lifelong lock, awaiting the sensation of a short sharp shock from a cheap and chippy chopper on a big black block.”

After the cast ran through their warm-up, you said, “I’m so proud of all of you. Go out there and break legs. I’ll see you all after at intermission.” You waved before slipping from backstage, making your way to the lobby. 

It wasn’t often that you got to just sit and enjoy the hard work your students put in, but one of your interns was staying backstage in case of any costume emergencies. You spotted Spencer in the crowd and wove through everyone to get to him. With him were Henry’s parents, Jack’s father and aunt, as well as the rest of the BAU team. 

“Hey,” Spencer said, grabbing your hand and giving you a quick kiss. “Glad you could join us.”

“Me, too,” you said as you slowly made your way into the auditorium to find your seats. “It’s gonna be nice to just enjoy the show for once.”

As the show began, you felt Spencer looking at you.

"What?" you whispered.

"Nothing. The costumes are beautiful. You're an artist."

Your cheeks flushed at his words. You took his hand in yours and rested your head on his shoulder.

Like Cinderella and her prince, Spencer was your happily ever after.

[pharanbrush]

Hey, I was wondering if you have a brush recommendation for CSP brushes for Lineart with good line weight? I'm trying to improve the weight of my lines, but I'm having a hard time finding brushes with the flexibility I'm looking for

That's a good question. There are all sorts of ways line weight is used and the right brush is different for each genre and style of drawing, I'd say.

To start: A lot of my lineart brushes are adjusted with slightly LESS brush size dynamics because I always felt like the original default CSP brushes (like the Mapping Pen and G-Pen) gave an unrealistic and uncontrollable amount just based on the their pressure settings.

Some people do use them well for specific styles, so they're not inherently bad. But I definitely think they're not friendly to beginners or people who just wanna pick up a pen and go draw rather than obsess over the precise way they're pushing down on their pen.

More recent versions of Clip Studio Paint actually came with some new default brushes, including "Real G-Pen", which had pressure settings that felt more right to me. But it's a little noisy so its uses are a bit more specific.

I have a brush set included with EnpitsuP called Superclean Linework. Those are the ones I designed as cleanup brushes for anime-ish looking art. They come in several flavors: Densy, Softie, Smoothy, Sang. I varied them based on how I saw different artists preferred their lines: a bit on the sharp side? Slightly blurry? With a little bit of opacity fade? A little more line variation? Among these, Sang has the largest amount of size response.

Ultimately, it may be a little bit of both a subjective experience and depend on what your hand/tablet/driver settings/style preferences are like. If you're having trouble finding a brush for this purpose, I think you should hone in on if you're not finding the right brush because every brush seemed too difficult to control, or you can't seem to get results you like, or you can't find one with a feel that matches the physical tool you're used to.

I think it's also worth noting that some artist's styles also rely a lot on them just changing their brush size setting depending on what part they're drawing. So you may end up needing a brush that has less pressure-size variation than you expect. My recommendation is always to look very closely when learning from someone else's linework example. Try to achieve it yourself side-by-side and see where it doesn't quite match up and ask yourself why. Or ask others why.

Of course, there are a bunch of other "lineweighty" brushes too outside of this genre of mostly-thin lineart.

[for-those-who-wait]

How do you color in your art?? I can never make mine look right, i’m still relatively new to procreate and I just wish I could instantly know how to use it because AGEGGS

I don't use Procreate and I'm not sure what you're personally having problems with, so I'll just go through my process using some of my old drawings and try to give some general advice that might help

So I have the line work of "Hunter wants pancakes" here. I usually copy images from screenshots of the show and paste them onto the canvas so that I can eyedrop the colors, but I probably had it on a different canvas there.

Sometimes I'll change the colors a little bit for clothes to make them a bit brighter or less saturated (depends on what I think looks better), but really for fan art of characters that already have a color scheme, I just copy the colors.

But your line work is going to be your topmost layer the majority of the time. All the coloring stuff should be underneath the line work so that if you do color into the lines, the linework isn't impeded

I typically put all my colors on the same layer, but feel free to use layers in whatever way is more convenient for you. (When I'm doing lineless, I'll typically make a new layer for each color so that I can shade them individually later on. Idk if that's at all smart or convenient but it's just a thought)

As for the actual act of coloring, I pick a large, textureless brush. You could use whatever you want depending on what kind of look you're going for, but for my finished pieces I usually like the coloring job to look cartoonishly clean. Like you can see that the second brush changes opacity as it reaches the end of the stroke (or with lighter pressure, since I use a pen), which I don't want, since I prefer the colors to be uniform in shade and texture. So I use the first one instead. Also less texture helps keep the color in the lines from my experience.

I don't use the paint bucket tool very often because it typically won't fill in all the white space, especially when your work is more detailed (which would lead you to have to go back and go over all of the edges again with a brush anyway), so I color most everything manually now. But for "Hunter wants pancakes" I think I did use a paint bucket and then probably went back to fill in some of the gaps since there are clean white gaps where the line work would be.

That is to say you should color with your line work visible (I don't know who wouldn't but I'm trying to cover all the bases here). You made yourself a coloring page, now you get to enjoy it. Without the lines it can look pretty silly and very messy, but it doesn't really matter if it's going to be covered up by your line work anyway.

Sometimes when you're coloring with lighter shades on a light background, it's hard to tell if you're missing a spot. I like to use a really REALLY saturated color like neon green or red to see any gaps in the color. Put the layer of neon green under the color layer and it will become very obvious where you missed haha. Sometimes I'll look at the neon color for too long and will need to change it to refresh my eyes

This colored sketch isn't very clean but it shows that you can also make a clipping or masking layer (if you don't know what that is the Internet could honestly probably explain it better than I could), color over the whole thing with a different color, and lower the opacity to give it a cool-looking tint

I don't know what your specific issue was but hopefully I was able to clear at least something up for you

[poindexters-labratory]

I might start doing something different with my finished art moving forward?? Not quite sure yet, I'll have to see how it looks when I actually test it out, but-

I really enjoy drawing out original sketches for my pieces of art, and some of the things I'm most proud of drawing are traditional pieces of art that I just conjure up.

I started as a traditional artist who almost never did line art, line art isn't my particularly favorite method, but I very much enjoy doing penciling and widdling away at going from light to dark lines.

BILLY LOOKS FUCKING SICK

My work has always been gritty with repetitive linework, and I find it really cool. It's always been my style to draw with more lines than necessary, never really erase my guidelines, AND IT WAS FUN.

While working on the last update for the first chapter of Issue One, I was so frustrated and just wanted to be done that I don't exactly have a sit back and admire my work moment for those pages. I think I need to stop concerning myself with "making things professional" and trying to fit myself into being an artist that has neat and perfect lineart, solid coloring, and generally, make myself avoid drawing because it's not enjoyable.

PLUS my comics would be made so fast if I just... draw in the way I'm most comfortable. They'd look cooler, it would come out more efficiently, I'd enjoy it past the sketch stage, and it would give me a lot more time to mess around and experiment and LEARN for Christ's sake.

So, in summary:

Gonna do more of this

Just gotta get my pen pressure right on Clip Studio...

[stormio2407]

Ello! ʕ⁠っ⁠•⁠ᴥ⁠•⁠ʔ⁠っ♥️ Im secretly a big fan of your art work and was wondering if you'll do a tutorial on how you make your art work, I love them all very much 💞

Oh, thank you. 🙇🙇 I’m so glad to hear that! And sure, I can make a tutorial real quick. :))

1.) Before I start doing any art, I do this to my canvas. Having a solid fill layer on color burn with low opacity gives a nice outline effect on your pen. As someone who sucks at putting lineweight at the right spots this is a life saver (or if you want to make your linework better, that works too.lol) All color bases and renderings stay above the lineart layer on multiply (I also use clipping mask a lot for rendering.)

2.) I give myself some time to research for poses on Pinterest. If I can’t find anything, I use Magic Poser on my iPad to make all of the poses.

This is a link for the web version.

Here is also the link to the brushes I always use for my drawings.

I’m going to use this old sketch of Ava with his hair short. For this example, I didn’t find a pose. I only referenced the hair style.

Generally I create the basic shapes for everything- the head, wings, body, etc (hair is kinda the exception to this). I don’t go too deep with adding line weight just yet.

3.) I add the base colors in this step. Sometimes I’ll stop here with my drawings, but with my personal art I continue. I tend to explore a lot of color schemes, so I like seeing how other artists approach this. I can take the longest on this cuz I get so indecisive of what I want. 😅😅

Sometimes if I don’t like my colors overall, I’ll add a solid color layer on Hue at around 30-40% opacity to harmonize every color. This layer stays above all other layers.

4.) Step 4 is a bit of a continuation from 3. Here I start adding more detail with the coloring, and putting those FX that I want. If I want to, like in this example, I also extend the drawing to show other elements, if I feel like the composition is a bit empty.

After this, I take a step back from my iPad and come back to my drawing the next day. Sometimes doing that helps me find obvious mistakes that I wouldn’t have noticed immediately.

5.) Sure enough, I saw the the mistakes on his face, so I fixed them. I prefer using the liquify over the transform tool when I need to retouch some things; it prevents the linework or coloring from looking “choppy” or torn apart with its resolution.

Once I got the final touches done, I send it off !

Don’t know if this is actually considered a tutorial but maybe seeing this process step by step can help a bit. 👏 good luck, and have fun with what you create!

[catsharky]

I've just discovered your Rolan x Tav comic.

It's SO neat and accurate, in matter of deign and details!

In case you don't mind, of course, I have some questions you maybe have answered before:

What software do you work with? What kind of pencils do you use? How do you manage to set so neat and clean results? Do you need many references for that or is just a gift you have? How many years have you been drawing to achieve those results?

I don't mind at all! And I don't believe I've answered any of these questions before, at least not since I started doing my comics.

For software I mainly use Clip Studio, though I do also use PaintTool Sai (v2) for certain things that I feel it does better. All of my Mass Effect comics are lined in Sai, for example because things like armour have a lot more inorganic shapes and require long, sweeping, unbroken lines, and I like the pen stabilization in Sai far better than CSP's for that sort of thing.

For how long I've been doing art, I've been at it basically nonstop since I was 9 (so 20 years now, jeez). I was in an art program throughout highschool, went to college for art/animation for 4 years, and I'll have been working professionally as an animator for 8 years in May! So there's a lot of practice there for sure.

And yeah, I use a ton of references. Usually a good chunk of the time I'll spend on something is just collecting or making the reference material I need for it.

I'm putting the rest under a read more because it's pretty long:

(Tumblr keeps eating my formatting so sorry if this is a little scuffed)

Because I'm normally working full time and doing this stuff in my free time after hours and on weekends, if I know I'm going to be drawing something a *lot*, I'll usually put together some kind of reference for myself in 3D so I can take some of the brainwork out of it and get more out of my evenings even when I'm feeling fried. It also means I put as little extra strain on my wrist as possible because I injured it a number of years back and it gets angry at me if I go for too many hours in a day.

But to give you an example, for Ember I have a Sculpt of her head that I can use to reference any angle I want, or to draw directly over top of for tricky angles. How I draw her isn't quite 1:1 to the model, but it gives me a base structure and landmarks I can build on top of.

My basic workflow is to take the angle I want, draw over it using the model as a guide (while picking and choosing where to stay true to it and where to say fuck it and do what I want), then I get rid of the 3D and do another pass, tweaking and redrawing anything I'm not totally happy until I'm satisfied with how it looks. I draw Ember with a slightly softer, more rounded face than the model has, for instance. Just because something looks right in 3D doesn't always mean it looks right once translated to 2D and I don't care if something is technically "correct" if it doesn't feel right or isn't conveying what I want it to properly.

I'm also always checking reference screenshots to make sure I'm in the right ballpark of how something should look. I actually have a wall of photos next to my desk and while I didn't put them up for that purpose, it has come in surprisingly handy for quickly checking face or hair details when needed. I also just have a big folder of screenshots and other saved reference material.

I don't have a problem noooo~ 😅

Additionally, if my art has a background these days, there is a 100% chance that's a 3D set I built in Blender because I hate drawing backgrounds, but I do like building them in 3D.

Here's two examples: the area around Astarion's bed, which I built out of some of the in-game assets like a lego set (this was a pain in the ass, it probably would have been faster to just build it from scratch based on screenshots 😩) and a closet I modelled for something that's still a WIP.

I'll get the angle I want, have Blender generate some linework from it and then grab a basic render of it to slap into CSP so I can draw the characters over top of it.

And as for brushes: the main brush I use in CSP is just the default 'Real G-Pen', with opacity effects turned off and these pressure settings: (I like to keep it simple, and I have a bit of a heavy hand so the altered pen pressure just helps me get a smoother taper). I change up the stabilizer settings depending on what I'm doing. Lower for things that need short, quick lines like hair and higher for most other things.

For Sai, I use a 9B pencil I found a number of years ago on Deviantart (I think?) and I wish I could link you to the original post I got the settings from, but Deviantart's search is... bad and I'm unable to find it again.

I hope that answered all your questions! If not, feel free to ask more!

[mantisgodsart]

First batch of @bug-oc bugs. This would've gotten finished sooner, but we've been sick as a dog for most of the tournament's runtime, so we're calling it a victory that we managed to get anything done - there are a lot fewer contestants this year, which means both less art to do and more ability to commit to trying to make some particularly unique creature designs - there are some in this batch that we REALLY want to do justice, and that is... unfortunately hard to do when we're barely functioning for two hours a day. This is our unofficial call to STAY HOME when you're sick! Even if you're feeling sturdy enough to go out and about, your actions can impact those around you very easily.

Design notes and owners below the cut with individual pictures - the middle one here is a beta design that we're still in the process of ironing out, so that one just has

[This is the first time I've met someone who "worked in Snakemouth" since that one... weird encounter, with those roaches giving me a job offer. I didn't know that they had a security guard position. I... didn't know that they knew what a security guard even is, honestly. To have two bugs involved with the lab turn up is an incredible coincidence. I wonder if the time portal is actually open again, or if different universes just work on different timeframes?

Regardless, it's a good opportunity to advance my knowledge of partial transmutation and multi-organism transmutation. Whatever happened to that moth in the last tournament... my understanding of how to handle both symbiotes and parasitism is clearly incomplete, if running into multiple organisms can cause problems like that. I'll have to put some extra work into monitoring...]

Omelette from @tangleslime2 was one that felt... obvious, we suppose?Your work will one day consume you, and such - one way or another! More literal in this case. A lot of the work here, honestly, is toying with shapes and body language. Omelette has a LOVELY sillhouette with some extremely identifiable clothes, and translating it to a zombee design was Very fun. Maybe a bit plain on the design side, but the linework was incredibly fun to do - we got to do a whole lot of fur, which is always a fun time. This design was very quick and easy, as designs go, and we had a lot of fun doing the hat. Wildly askew, and held on by but a single antennae!

Sundew and Nerine from @mizzle-moths are untransmuted, as requested - Sundew's pose was very fun to do - nice and fluid, though the wing markings were admittedly a bit funky to parse. We hope we got all the details correct here! Both of your bugs have gorgeous color palettes. Our usual marker set's dark gray marker's dried out by now, so we had to use an alternative, which... unfortunately bled clean through our sketchbook page. Lesson learned, we suppose. The scribble over the eyes used the same pen that we did our linework with - the "scribbling over the eyes of a dead character" trope is very well-worn, but cliche only becomes cliche because it inspires enough people to follow in the footsteps of a story, and we're very fond of the way it adds to the... hmm, visual language? We just think it's neat. Hope you enjoy!

[...working with spirits and more immaterial forms isn't my area of expertise, but it's something i dearly need experience in. My hope is that by advancing my knowledge in this field, I might be able to apply the knowledge to other fields that evade me - anything inanimate has proven to be my bane, and I'm fairly certain that a few of my attempts into this area have produced "hauntings", when they're not producing incredibly specialized organisms. Maybe if I know how to cause a haunting, I can figure out how to not cause one...?]

Moving on to our beta design - that is a VERY rough draft of Beera from @longeth-dayv. Given by the obvious Luigi's Mansion inspiration, we wanted to run with it by pulling our inspiration more directly from a Luigi's Mansion enemy - mostly, this meant tinkering with sillhouettes while trying to figure out what sort of design would match best to the character, and how to translate a design to something recognizable.

The pack, despite its significance character-wise, doesn't have quite as much weight in the balance of the design, which meant more tweaking for the transformation - though we briefly tried toying with the pack itself for this design, that particular page we felt would skew a bit too close to body horror for your personal comfort, so we scrapped the idea. Better safe than sorry, as they say. As such, we're aiming more towards using wire and body language to drive recognition.

The image here is a loose draft based on the bats enemy, used to test the fade and layering of the highlighter we were using - as it turns out, it doesn't layer very well! We started out looking for electric enemies, but we only really turned up the Electric Oozer, and that... was a bit too close to "normal boo" for our personal tastes, so we swapped to just primarily yellow enemies. Though we were previously considering taking the bat design to final draft, actually putting it out on paper convinced us to the contrary, so we went back to the... sketchboard. We'd bet there's a good chance you can already figure out where we're going with this one. A fun design challenge, for sure!

Finally (at least for this particular evening), we offer you this: a look behind the scenes, (or at least, the scenes that don't involve "us being sick and struggling to communicate whether or not something is sorted with the other mod"). What we've been using to keep track of matches, as well as to draw lots. Not precisely a high-tech solution, but damn if it doesn't work - the ends here are split into two for the sake of a loser's bracket, which we... thought we had figured out, but then it turned out we've been having miscommunications on what the bracket setups even are, and, well...

...we're working on it, we'll say. It might still be integrated, but that'll have to wait 'til trying to do things doesn't require fighting for our life. We will probably rerandomize the brackets for it, we might use it for illustration practice if the contestants are cool with it, so on and so forth. As always, thank you for your patience - we hope that Round 2 encounters slightly less hitchups compared to Round 1.

[troloyunu]

Sorry if you've answered this somewhere before, but do you have any advice for improving/practicing art?

I am not sure if I am the best person to be giving advice on this matter as there are a lot of aspects of my art that are lacking, but here are some tips that have worked for me personally that I think worth are trying!

This got kinda long so. Under the cut!

First, this is always important, and I know people are sick of hearing this but it's true: practice, practice, practice! Observing things is very important for art but you actually have to try your hand again and again in order to have a result that is to your liking when it comes to art. Please just try to draw as much as you can. You have a pen in your hand? Scribble something. This will also improve your linework.

Do NOT be afraid to use references. It is highly unlikely that you will just happen to be able to draw something you have never drawn before without a reference. If you can't find any refs, take your own pictures. (I do this a lot when it comes to drawing hands)

Most of the time we have these conceptions of how things look especially when it comes to anatomy but humans are all sooo vastly different so I believe it is important to broaden your vision by using diverse references

Don't be afraid to draw bad. Seriously. If a piece you just made sucks, don't beat yourself up about it. It is geniunely not that serious. Take a break and come back to it, if it is still not to your liking and you cannot improve it; it is okay to delete that drawing and try something else. You'll get it, I promise. Just keep practicing.

Most of the time I find that it helps A LOT to draw something I am obsessed with. When I am learning anatomy, I don't just always draw some random people's pics I found on the internet, I will sometimes make that drawing into a character/ship I love

Do redraws from your old art! It is so motivating and fun to see how you have improved and changed as an artist :3

I know it is not healthy to rely solely on validation, but it does help a lot! If you are part of a community, esp one with a lot of artists, don't hesitate to show them your work! You can also draw your friends' ocs and such if you want to, it really is a win win situation because you will be drawing something you want to draw and your friend will be so happy that you took the time to draw their character. I loved gifting people little doodles when I was part of an oc centred fandom :D

Also, since we are talking about validation, validate YOURSELF please. Imagine yourself 2 years, 5 years, 10 years whatever ago. How would you have felt if you saw your drawings today? You would have been so impressed! So take the time to appreciate your own work.

If there are any artists you adore, don't hesitate to try to redraw their drawings, or maybe just some aspects of their style that you love. If you do a redraw, it is advised that you do not post it as your own idea, but if the artist is ok with you posting it with credit, then you can do that too! :D

That being said, keep in mind that you don't have to post EVERYTHING you draw! I used to do that which put a lot of pressure onto me since I would get so upset whenever a drawing turned out bad, but when you realize that you can just not post it, that lifts a lot of tension.

Take care of yourselfff!!! Take care of your arm, your wrist, your back. I think there is this program that makes you take breaks every x minute which is called EyeLeo, you can install that or something similar. But please do take care of your health.

Sometimes breaks are needed. If nothing you draw looks right and you don't feel any joy in drawing, do take up another hobby for some time. Let yourself miss drawing.

Play around with styles and colors and lineweights, see what you like the best. I used to always get so upset that I didnt have a set style, my drawings vary a lot throughout each piece. But now I just keep it cool and don't think about it too much. Don't force yourself!

Also for me a part of drawing I ALWAYS look forward to when drawing canon characters is giving them alternate outfits I save on pinterest. I enjoy so much searching which outfits a character might wear. Maybe you can try this? I know drawing the same outfit over and over again for a character gets old.

Honestly being obsessed with something helps a lot with improving. Like a character or a pairing or whatever. Because you will just REALLY want to draw something for this thing you love, and you will just keep on doing and doing it. Really helpful

But 99.9% of the time, the thing you imagine will not translate completely identical to the canvas/paper. And that's OKAY! That means that you have a great imagination and you will try to get a satisfactory result. It just means more practicing. When you get an idea that you want to draw but don't feel like your skills are enough for, draw them anyway! That way you can see a lot more clearly what you need to work on. And do work on those things.

I think for reference images just find nude reference pictures of real life people. The drawing pose references we see on here or on pinterest with simple shapes ARE very convenient when you just wanna quickly draw something, but if your goal is to learn anatomy, then using a pic of an actual human is ideal.

Remember that art is supposed to be FUN. So do have fun. Experiment!!!

Also I would say like, when I was more of a beginner and tried to do fullbody drawings and such, it never looked good and I was quite discouraged but things started improving when I started to individually focus on things like eyes, noses, lips etc and then trying a more general approach with fullbodies. Might not be the same for everyone though!

I think that's all I can think about for now. Sorry if this is not that useful, but yeah! I would say the most important thing is to just practice honestly :D Go ahead, have fun, draw something! I wish you the best <3

[nightmaskart]

Hey, first of I love your art and I love your style, especially the monocrome pieces. (I also love how you draw Gerry but thats a whole other thing xD) I wanted to ask what medium you use for drawing (program, brushes, traditional art idk) Anyways I wish you all the inspiration you can have and have a wonderfull day <3

Hi thank you so much!!

I'm currently using Photoshop, but am looking to making the move to clip studio soon I think.

I've really been enjoying Kyle Wesbter's HB pencil brush at 7px

I actually only use that one brush for digital work including linework and colors haha

For traditional work I'll use just about anything, I was trained to use charcoal, watercolor, paints, pencils and microns. I have a fondness for ballpoint pens, microns and traditional dip ink pens.

Let me know if you have any other questions, I'm happy to answer!

[kradeelav]

following up on this brush study post, i did some test driving yesterday with some quick 10min pose studies on which new set of brushes would be best for lineart that least irritates the wrist.

normally i don't post "problem solving" admin work like this but thought y'all might find it neat to see it. four brushes were tested, four separate times across the day:

it pretty quickly becomes apparent that even with a similar thickness with minimal pressure there's heaps of difference in ... can i use 'mouthfeel' here to describe brushes?. :D;;;

i wrote the description of the brush/size/thoughts on each; top left's way too small for the kind of slightly chunkier linework i want. top right was wayyy too liquidy that didn't give me any confidence (confidence is huge. you gotta feel like your tool's a natural extension). bottom right was not horrible (slightly bigger brush size than top left) but a little too stiff. i wasn't gonna look forward to inking with it.

surprisingly i gave the pen poc (bottom left, the really pixely one from before) a try and oh man. that felt good. it gets me, i get it, it actually reminds me a lot of the last brush i was using a lot in photoshop before moving to krita. what's interesting is that study was technically the least dynamic pose, if i was using the same brush for all four, it should have been the weakest, but you can see how little tweaks to confidence makes a huge difference.

unfortunately that was also the brush the wrist was most grumbly at :D;;; i see a lot of line variation there so i probably was putting a little more pressure than i should've, so just tells me i need to experiment more with it.

i'll probably experiment with that and more with the smaller micron brush (top left) too; feels most like the generic photoshop brush which is surprisingly powerful.

y'all know the mythbusters line - it ain't science unless if you write it down!

[marabarl-and-marlbara]

mara forgive me if im wrong but iirc you said you draw in mspaint? do you only draw in mspaint? your linework just tends to look so organic and airy i cant believe it’s ms paint! love your art always <4

hey anonymous;

for the most part i exclusively use mspaint, though occasionally i use photoshop to change color schemes / edit my church photos, and rarely i:ll use azpaint to take a break from using mspaint if i feel like i:m in a rut; bluntly: i don:t like the reputation mspaint has as being an awful and awkward tool for art where it takes a measure of genius/talent to get good results from it: it:s actually an excellent art program, and the reputation it has as being "basic" i think is both 1) an unfair one, & 2) earned from how barebones it was in its earlier versions (which still are fine programs); all of the mspaint brushes are solid, it actually has pen pressure support on some of them, and really all you:re missing (outside of editing tools) are layers (and generally a way to work non-destructively); there:s been this odd push-back, though, against mspaint artists who showcase the program (probably out of a common annoyance of people catching on-to "mspaint as a spectacle" being an easy way to earn impressions (ex: "wow i can:t believe this is made in mspaint!") that i also think is sort-of unfair: mspaint and it:s ui are beautiful programs, and i:m in support of people picking it up & spending time with it;

basically: i just want people to recognize mspaint as a solid art tool that doesn:t rely on gimmicks or require some profound talent to produce good results with -- it:s just a nice light-weight program; be kind to it & it:ll be kind to you.

i apologize if this sounded a little aggressive (i did mean the aggression, but not targeted at you, because i appreciate you -- you like my stuff!), i:m an mspaint fan and defend it like someone defending their friend for not being permitted entrance in-to the club for wearing goofy shoes. so take care anonymous & thank you for the kind words :-))

[angryducktimemachine]

Hi Ed!

I really really love your drawings, specially the ones with holmes and your penciled ones. I hope it’s not to bold/rude of me to say but I’d love to draw like you, do you have any tips on where to start? I have some basics from forever ago but I very rusty on my abilities. Should I draw using references? A particular tutorial on YouTube? Something entirely different?

With love, from a fan of yours

Well first step you want to be a 11 year old that gets absolutely obsessed with Warrior Cats-

Ok jokes aside (and thank you very much first!!) I'll see what actual advice I can give you! My approach to art is not really actively focused on improving (as I do not want to do this as my job and so just take the motivation to practice something specific as it comes.) but I'll try and recall what has helped me over the years.

Using references is definitely a very useful thing, I'm currently trying to use them more when it comes to drawing fabric but they're useful for all sorts of things. what I did and do personally as well is just. Watching people. Trying to figure out how the movement of a body works, the way arms can bend or legs are stretched. This works both with your own body (sometimes I just stand in front of a mirror trying to see how my arm bends over my head to get a feeling for it's movement.) and just observing people in day to day life! I find this technique easier than "static" photo references cause I get a better feeling of the body but they can both be useful.

I never really watched YouTube tutorials however what I did watch is hours and hours and hours of speedpaints - i think they're really fun if you are looking for different tricks and techniques to try, the way this artist does linework vs how this one colours- i have a few up myself.

Third, if you're anything like me and thrive on compliments; get yourself a buddy who's as hyped about your own art as you are. I feel like this helps with both inspiration and motivation, most of the time when I had art, be it when i was still drawing cats or Star Wars OCs to now drawing Sherlock Holmes - I also had a friend who was currently into the same things I was - or even better, was actively creating characters and stories with me which gave me lots of ideas to draw.

Oh also a little side note if you ever find yourself frustrated with your art or struggle to find inspiration, it often helps me to switch things up a bit, do something different. Get out actual paint. Try (and fail, in my case) to carve something. Paint a wall. Learn origami. Do something with model clay. Convince yourself that you can sew anything if you just tried hard enough.

I hope at least a few of those things are useful - explaining how I got here art wise is a bit difficult cause I mainly just picked up a pen and then just never stopped. But art starts somewhere for us all and I hope you can find joy in creating!!