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ryuichirou · 4 years ago

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I really love the way you draw anatomy - you are literally perfect. Would you mind one day if you make a simple tutorial on how to draw anatomy, particularly hands and just keeping things in proportion. Sorry if this sounds like a demanding ask - u can definitely decline or not answer no offence taken x

First of all, thank you so much! <3 I’m so happy to hear that you think my anatomy looks good. I’m not sure if I can teach you anything, but I’ll try! And sorry it took me so long to reply.

I wouldn’t call this a tutorial, more like an outline of what I usually do (maybe with some tips here and there). Hope it’s at least a little bit helpful 🙏

I’ll start with how I draw the hands. Well, as you’ve probably seen on my previous post about this topic, I used to have a hard time with hands because I didn’t understand the logic behind them + my only reference was my own small and blobby hands. Practice helps a lot, but imo mostly because as you draw more hands, it becomes easier for you to break them into simpler shapes (this is important!) and imagine them in 3d in your head or as you draw.

When I draw hands, I start with a rough sketch. Basically I just draw a fingerless block first. It’s a bit illegible right now, but bear with me.

After this I add fingers. Once again, they’re all broken into shapes: a finger is just 3 short tubes connected to the block we just drew. Sometimes some parts of the “tubes” aren’t visible because of the perspective of the hand, sometimes you can clearly see all of them. As I already said, it’s all about learning how to imagine these things in 3d.

Since my sketch is so rough, I tried to make the shapes more clear here. I hope it makes sense.

After the sketch is done, I basically just… draw hands. Remember that this is skin and meat, there are going to be folds (??? Idk if this is the correct word) and stuff. And nails, oh nails… I scream when I remember the times when I used not to draw them lol They help to convey the perspective and the angle of the fingers, so for me it’s better to have them than not. I’m not drawing them the exact correct way, though, but still.

And once again, it took me a long time to start drawing hands more or less properly, and I still fix them all the time. For example, a thumb of the first one on the left is too short. In fact, I’d make all the thumbs bigger…

So yeah, something among the lines. It’s not perfect, but this is the basic idea of how it works, at least for me.

About proportions… Well, I’m one of those artists who like to make 1000000 sketches before I move on to the inking phase, it’s just more comfortable to me. This way, I give myself more control of the pose and proportions and have a lot of time to adjust and fix whatever feels off to me. Many good artists don’t do that because they don’t really need it.

First, I make a very quick sketch just to grab the “feel” of the pose I’m going for, plus it helps with the overall composition of the drawing. It isn’t detailed at all, so it takes about 5-10 minutes to draw, even less if I’m confident about what I want and don’t try to find the pose that would work the best. At this stage I try to keep the proportions in mind, but I don’t think about them too much.

When I’m more or less satisfied with the basic idea, I draw my first sketch. At this stage I’m err building the body. There are a lot of ways to do that, I’m drawing something similar to a mannequin that is made out of meat. Oh no, that sounded horrible…

As you can see, this time I pay more attention to proportions and sketch all parts of the body properly. I make sure that both arms are the same length, both legs are the same length, that the shoulders are on the same level, stuff like that. At this stage I don’t think about the character, just about the body: I’m trying to make it make sense lol

Also you might’ve noticed, but I changed the position of the arms on this sketch because my initial idea didn’t really work (I tried to sit in the same pose and it was uncomfortable lol)

And then I draw yet another sketch. Sometimes this can be the last stage and I ditch the inking altogether and just colour this sketch instead, but more often than not it looks too messy and I have to make another sketch… (This is also where Katsu usually tells me to chill because we were planning to draw something simple and quick and I’m already making it complicated lol)

Here I’m adding more details, like face, hair, clothing, anything else that I need to sketch before inking/colouring. After this sketch is done, I look at it again and see if anything looks off. If it does, I try to fix it, adjust it, sketch it again, whatever works and whatever makes my sketch less stiff and more proportional. It doesn’t have to be super realistic proportions-wise though.

Things that I pay attention to when I check the proportions on my drawings:

Shoulders: they should be the same size (although the perspective can create a distortion, but this is a whole other can of worms) + ideally they should be able to fit two heads in them length-wise.

Arms: I check if they’re the correct length (the hand part should start ~at the crotch level). If the arm on the drawing is bent, I try to visualize how it’d look like if they were straightened up. If it’s difficult to imagine, I just sketch it.

Oh, and the size of hands. I always check if they’re the correct size by comparing them to a face of the character: they should be about the same size (of course some people have larger hands and some of them have smaller hands).

Legs: same with arms, I try to make sure they are not too long and not too short. Also, when drawing arms or legs, you can draw this thing. The shoulder/hip and the hand/foot have the same distance from the elbow/knee. This… sounds confusing, I hope it at least looks understandable lol

There are a lot of ways to check if everything is correct: sometimes I just put my fingers on the screen to check if all of the lengths make sense lol and sometimes I draw these lil lines to check if the lengths of the parts that are supposed to be the same match.

If your drawing looks off, just create another layer and sketch the body (the meaty mannequin thingie) over it again. It might help you see some obvious mistakes if there are any. Some people might say it’s too much work, I call this practice lol

There are instances when I redraw some parts of the body completely. There are situations when it’s easier to do it all over again than to fix the existing sketch.

Another thing that I do is flip the image as I draw. Not very often though, you need not to get used to the flipped version of your drawing, it should be somewhat new to your eyes, this way your mistakes will be more visible to you. At least I think so…

It also helps to pay attention to details as much as you can, they make a huge difference. I still have a lot to learn about how the abs work, but like a year ago I knew nothing about them aside from “err I think there are 6 or 8 of them?? And they start below the boobs” (my boobs were also more square). After I started drawing them more often and learning how they actually work, my drawings changed accordingly. I think the right one is at least slightly better haha

So yeah, this is more or less my process. It isn’t necessary to draw 10203100 sketches and to go through all these stages, but I personally feel much more comfortable doing that because this way I can be sure that I would’ve noticed if there was a major fuckup somewhere.

To be honest, if we’re talking proportions, this image is literally the only thing you need to know.

Just keep in mind how many heads are in the human body length, how many heads can fit inside one’s torso, etc. Compare body parts to each other accordingly. Just make a habit out of checking if the proportions on your drawings are correct: make a shoulder bigger, make sure that the legs are the same size. It might be too much at first, but it’ll literally become a subconscious thing very soon, and you won’t have to actively think about all of this every time you draw. I google this image from time to time just to make sure that I’m fixing everything correctly lol

You don’t have to be exact with these proportions, but they still need to have some logic behind them. Like here, if we look at Osomatsu, who is clearly very stylized, we can still see that his body is proportionate. His shoulders are too small for his head, and his body surely doesn’t have 8 heads in its length, but he still doesn’t fall apart because there is logic behind his stylization: his arms are still long enough for him to put his hands in his pockets; they aren’t too long or too short. Hope that makes sense…

Sorry for the long read. Once again, I hope it was somewhat helpful or at least interesting. If you have any more questions, please feel free to ask!

Although I’m still learning myself of course, so there are things that I probably don’t know or forgot to mention…

#replies #ryuichirouart #tutorial #of sorts #about drawing

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thegalleonsnest · 4 years ago

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Wiggle’s Muse - Short Excerpt turned into a FanFic

Yo, so, I wanted to share a small snippet of a future project I’m working on (while also delaying my current art projects). What I’ve written out here in this post was originally in a format not meant for professional writing purposes, but I said “eh, why the hell not,” and written it out in sort of a short fanfic format for you guys to read. This project btw, is not a fanfic (had to make that clear). What I am working on is a very large scale project for myself and is still in the blocking out/rough draft phases. This right here is probably my most fleshed out scene I’ve written out, and feels pretty complete as it’s own thing. Honestly, I’d appreciate the feedback if any of ya’ll found this interesting!

Also I’m putting this in a tumblr post because I don’t have an AO3 or fanfiction account, and this is already too short for it anyway. Read the excerpt below

In front of the camera lenses, multiple grumpuses walk back and forth discussing a matter of topics but most importantly, where was Wiggle?

"Has anyone gotten ahold of Wiggle yet? She was supposed to be here hours ago,” a gruff voice coming from out of frame says. “We’ve tried calling her for over an hour, but we got nothing,” says another off camera, “do you think we should reschedule-” before they could finish, the studio doors bust open with a loud thud echoing the studio room. A tall, short armed grumpus with a boa stumbles along the room carrying an oddly shaped banjo.

“There she is,” said the gruff voiced grump, “Wiggle, whatever you got going on, you better do it now cause we got a meeting with investors in half an hour!” From the blurry view of a slightly out of frame Wiggle, she barely registered what the grump said. In a stumble, she walks to the center of the camera’s view & shakes her head, almost slurring her words, “Doooon’t worry, Darling, we’ll get you a new vest later.” “What, no, wait, that’s not what I-” before another word could be said, Wiggle readies her banjo and strikes a quick pose before strumming the strings like her life depended on it.

It didn’t take longer than a few seconds before the crew sprung into action, setting the proper lightning, mics and cameras around her. Her rhythm and measures became a lot more stable, catchy even, and then she broke into song. The next set of lyrics would become an instant, regrettable classic.

It’s not long before the VHS tape stutters and stops, showing mostly static. A magenta furred Grumpus with some hair covering a part of eye, hits the eject button, takes out the tape and turns off the tv. “Girl, you were a right mess there!” She said with a giggle. “Tell me about it, Vrittany...” Wiggle said frustratingly, pinching the bridge of her nose. “And you’re telling me you can’t come up with anything better than that? Come on now!” “I wish I was lying, but I’m not. No matter what I come up with, nothing is topping whatever the heck my walking coma came up with instead!” Wiggle grabs her mug of coffee and takes a longing sip.

The two sit across from one another at the coffee bar. The aroma of that day’s set of cocoa beans waft through the cafe as most of the outside lamps fill out the darker spots inside. The place is nearly empty besides them, and a single muted green furred occupant sitting at a booth at the opposite end of the cafe, drawing away in his sketchpad.

“So, whatcha gonna do?” Vrittany asked sarcastically, “Stay awake for another week? Get inspired again? Hehe.” Wiggle sets her mug down, and answers, “I did try that again, but in style I fell asleep comfortably on a couch in the lobby”. Vrittany looked a bit stunned. “You’re kidding?! You’re crazy!” “Not crazy, Vrittany,” she takes another sip of her coffee before striking a pose in her high stool seat, bellowing out her voice. “Just creatiiiivly driveeeen~” “Whatever you say, darling,” Vrittany says before turning around to her bar’s sink. She cleans several mugs and glasses with gusto while preparing one last pot of coffee, enough for a single cup for later.

Vrittany takes off her apron and hangs it on the wayside of the counter as she walks around to take a seat next to Wiggle. After situating herself, she puts a paw on Wiggle’s shoulder. “Listen, pretty sure this is just a rut you’re stuck in right now,” she says. “Doesn’t every artist go through that every now and then?” Wiggle turns her head toward Vrittany, “Well..yeah, but this is different,” she desperately says. “I can’t let a song I made in my sleep be the best thing I’ve ever made! I know I can make something that’ll shake the world more than whatever ‘Do The Wiggle’ was.”

Vrittany pulls back her paw from Wiggle to put on her best thinking cap. As deeply in thought as she was, her face immediately relaxes into a deadpan expression, “Have ya tried singing from the heart?” Wiggle cracks a smile, “HA, if only that’s how it works! It takes a musical genius to write a hit song in show biz, not just some field day with my feelings.” “Eh, worth a shot. Got any other plans?” “I’m still trying to figure that out. I need some kind of inspiration...almost like a-”

Before she could finish her thought, they both caught a glance at the muted green furred grump who walked up to them. He mustered up the words and said, “E-excuse me, you’re Miss Wiggle, right?” Wiggle turned in her seat to get a better look at the young Grumpus. She could tell he was nervous, clutching his sketchbook in his arms rather tightly. She quickly put on a more relaxed front to help calm things down, while also still showing off a bit of her excited side. “Why yes I am, Darling,” she said enthusiastically. “And I can tell you must be a fan of mine.” “Y-yeah...!” The green grump looked a little more relaxed, but still stiff in the shoulders. “Hey now, no need to be so nervous. I always got time for my fans.” “Thank you, Miss Wiggle. Um…” “No need to finish that thought, Darling, I know what you’re about to ask and I’m happy to oblige!”

Before the young man could stop to say something, Wiggle pulls out one of her many professional hand out photos that she has, and quickly signs with her autograph before handing it to him. “O-Oh, thank you, Miss, but that’s not what I was going to s-say.” he sheepishly says. “Really? Not an autograph,” Wiggle says surprisingly. “It’s usually the first thing fans ask of me.” “Sorry, I just...I wanted to show you this sketch I made…”

The nervous grumpus slowly turns his sketchbook around to reveal a fully sketched art piece depicting a stylized Wiggle singing her heart out at the bar with Vrittany hanging out in the background cheering her on. He hands it to Wiggle to give them a closer look. It was still somewhat messy, showing a few guidelines and early roughed out shapes, but for what it was, it was still impressive to the two girls.

“Woah, that’s pretty rad!” Vrittany yelled out, leaning out from her seat trying to get a closer look. Wiggle was pretty stun, gasping at the sight of such a piece of artwork. “Darling, you drew this?! Just now,” Wiggle asked in awe. “Yeah! I was listening to some of your music and then you came in and sat down. It made me wanna draw you as fast as I could,” the green grumps says excitedly before rubbing the back of his head. “Sorry if it’s still a little messy looking though…” “Don’t be, because it is beeeaautifuuul~” “T-thank you so much, Miss Wiggle! T-that means a lot to m-me!” the grumpus says while his face lights up red from the praise. “You’re like an inspiration to me.” “Really now? Like a muse? All I do is sing the night away, Darling. You draw little masterpieces like this from me?”

As Wiggle continues to be enthralled by the young man and his work, Vrittany notices the coffee pot had finished brewing. She gets up from her seat and go back behind the counter to finish her last cup for the night. Wiggle and the green grump continue their conversation.

“W-well kind of,” says the grump, “it’s a bunch of music that inspires me when I draw. A lot of your stuff is so upbeat and fun, it gives me lots of different ideas to pump out!” Wiggle looks back, almost flabbergasted. “I’m...honestly a bit stunned that I had that kind of impact on you, Darling,” she says, almost with a melancholy tone, “...heh, kind of forget sometimes I do make some kind of impression on grumps like you.” She looks back down at the sketchbook, entranced by the creativity that sparked in the moment. That dazzling moment where it all clicked...where could she find that, when someone else can find it in her?

After an awkward minute of silence, the young grump spoke up and said, “If you like, you can keep the sketch page, Miss Wiggle?” Wiggle snapped her head back up from the sketchbook to the green fuzzball. “W-wait really? Are you sure you wanna give up this piece of art?” said Wiggle worryingly. “It’s no problem at all,” said the green grump proudly. “I already took a picture of it to save for later. I’m gonna make a painted version of it online later! Besides, it’ll make me happy if you kept it, since I was going to give it to you anyway.” “Oh Darling, you’re nothing more than a sweet one now, aren’t you? I’ll gladly keep it!” “Thank you so much, Miss Wiggle!”

Wiggle hands the sketchbook back to the green grumpus and he tears out the sketch. “No, Darling, thank you,” Wiggle says ecstatically. Vrittany returns from behind the bar with a to-go cup in hand, saying “Here’s your order, kid.” “Oh, thank you, Vrittany. How much was it again,” the green grump asked. “Eh, don’t worry about it. Don’t feel like counting change. It’s on the house.” “O-oh you sure?” “You wanna change my mind?” “Don’t think I can, so thank you!” The green grump turns back to Wiggle and says “It was so nice meeting you in person, Miss Wiggle!”

“The pleasure is all mine, Dar-,” Wiggle catches herself before she realizes something. “Actually, what was your name?” “It’s Grite, Grite Tillsland!” Wiggle lets a genuine soft smile grow on her face. She felt a lot more at ease and happier knowing her new friend was much more relax and happy overall. She reached out her paw for a handshake, and Grite reciprocated.

“The pleasure’s mine, Grite, Darling.”

#Bugsnax #Wiggle Wigglebottom #TheGalleonsNest Writing #Fic #wip excerpt #Bugsnax Fanfic #Hope you guys enjoy a taste of what's to come #even when there's very little context #I've got multiple large scale projects lined up #this is just one of them #I hope to officially start it this year #but there is still a lot of backend work to be done #and also I got tons of art to make too before then

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asocier · 5 years ago

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interaction guide for alison!

last edited: april 6th, 2021

***please be sure to read the note at the end of this guide pertaining to interactions with alison as a muse!***

alison is a complex muse. for the most part, i’d say she is pretty flexible with some limitations ( more on that in the note at the end of this guide ). slice of life plots, romantic/friendship plots, and generally lighthearted interactions are the easiest to start with alison, though angst certainly has its place as well under the right conditions. while alison is very kind, very loving, and overall a fairly soft type of muse, she is also incredibly strong ( not necessarily in a physical sense unless we’re talking about her spy verse ) and, in main verse, will not take kindly to being treated like a pushover. this is important to keep in mind so as to not baby alison and overlook the fact she has gone through a lot to get where she is now.

fashion-related plots — in her main verse, alison is employed by her aunt as a designer for her aunt’s clothing line. it’s not a huge label, but it’s fairly noteworthy, so alison gets to experience quite a significant chunk of the fashion world. as part of her job, she also assists in fashion shows and travels quite frequently to different cities, and in her free time, she runs an art and fashion blog and dabbles in sewing at home. needless to say, fashion inspires alison a lot, so meeting other muses who are involved in the fashion industry or who are also interested generally in fashion would be a nice way for alison to meet them. fashion plots aren’t limited to main verse, either — in high school and in post-high school verse, she’s always looking for ways to make a little extra cash, so if a good opportunity arises, she’ll take it. some ideas below include scenarios where your muse:

works in the fashion industry and meets alison on a business trip ( airport thread anyone? )

is part of a fashion show staff or is a model that works closely with alison ( imagine your muse wearing something alison designed though :weeps: )

needs their outfit tailored. this can be professionally, for example, alison doing part time work as a tailor to make a little extra cash, or casually, like alison is a friend your muse knows can sew and so they ask her to tailor as a favor.

just needs some fashion advice for a big date/event/job interview so they ask alison for input. on the same vein, alison can be your muse’s personal stylists as a job too !!

works in the same office as alison at the fashion firm and collaborates with her on a design

works in the same office as her and just hates her because your muse thinks she got handed everything to her bc the ceo of the company is her aunt

asks alison to design something for them, whether that be an outfit for a special occasion ( prom dress, wedding dress, suit, costume, ect ) or something for a fashion show!

art/music/photography related plots — fashion and art go hand-in-hand when it comes to alison’s inspirations and big interests. she dabbles in a lot of hobbies, and while she’ll go through phases where one interest may wane while the other waxes, painting, playing the piano, and taking photographs are three big hobbies that will always be close to her heart. my favorite plots involve alison being able to express herself creatively through her artwork, and allowing another muse to see her artwork is a fairly intimate interaction tbh just because alison doesn’t usually share much about her hobbies to others aside from “oh yeah, i do x,y,z for fun sometimes.” some plots under this category involve scenarios where your muse:

talks to alison about shared interests such as watercolors, sketching, photography, or music ( specifically piano )

encounters alison while she’s painting, drawing, playing the piano, or taking pictures. photography especially is a big one since she runs her fashion and art blog, and i wouldn’t put it past her to run like a food/travel instagram either so she’s always taking photos !!

asks alison to take their photo ( or a photo of them and their crew ) just because they can’t do it themselves and surprise it turns out alison takes some bomb ass photos

is alison’s art muse. this can be that they pose for a sketch/painting or, if we wanna get interesting, your muse actually allowing alison to paint on their body since i headcanon that alison experiments with body art to make some really powerful creations before photographing the model to add to her portfolio.

asks alison to be their art muse ( which, would get her v flustered bc she never thought she’d be someone’s muse, ever. but she’d also be very flattered ).

gets piano lessons from alison

asks alison to take pictures for their prom/wedding/graduation/just because they want a photoshoot !!!!

asks alison to play piano for their super special fancy event that has live music !!!!

post-high school verse plots ( trigger warnings may be applicable ) — post-high school is where the bulk of alison’s time as a sex worker is spent, either when she’s with her ex-boyfriend grant or after they broke up since she continues to do sex work to support herself even after she leaves him. sex work for alison includes a variety of activities including prostitution, escorting, and sugaring ( being a sugar baby ), so plots in this verse are not limited to sexual encounters. in fact, i’ve had a lot of fun discussing with other muns plots and relationships that started out in a post high school setting but evolved into a new canon for alison where she finds her footing and breaks away from sex work in a manner different from her actual canon!! in other words, post-high school verse is the point in alison’s life where significant events can really change the course of alison’s life, so interesting things can really come out of interactions started in this verse. this verse does canonically have a lot of triggers due to the nature of alison’s relationship with grant, but we definitely don’t have to delve into that dark side if you don’t want to <3 some plot ideas under this category involve scenarios where your muse:

is one of alison’s clients ( regular or first time ). being a client of alison’s is such a broad plotting point with so many possibilities that i’m just going to put some plot bunnies all in this bullet point: 1) it can be an instance of your muse paying alison to be their first sexual encounter for whatever reason you choose; 2) a misunderstanding where someone else paid alison to come visit your muse but your muse actually has no interest in sex with her. but maybe they could just hang out with her maybe? gives more sustenance to the plot than her just going home lmao but if she did go home it’s possible this mishap is a conversation starter when they meet again someplace else! 3) your muse could also just be really nice to alison and their encounters start to blur the lines between business, a casual relationship, and something romantic. in any case, they spend a lot of time with each other, so they get to know each other real well. again, can be romantic or no strings attached, though the latter will probably be difficult for alison in the long run. 4) your muse and alison regularly hang out and chat in exchange for payment or gifts; why your muse decides to pay for company is up to you. this plot has potential for a very pure sugar baby relationship, no sex needed. 5) tries to be a savior and financially supports alison so she doesn’t have to do sex work anymore, or at the very least, allow her more of a means to find her footing so that she can decide where she wants to take her life. these are just some ideas, but you’re never limited to them. a client/sex worker relationship doesn’t have to be a bad experience for either muses, and the basic idea i’m getting at is that the dynamic can be sexual or just your muse looking for company and some affection in exchange for money or some other gift. there’s definite possibility for platonic relations here since sugaring isn’t always sexual. whether or not grant is still in the picture can also impact this plot idea and change it radically too, so more options for you if you’d like!

is in need of a fake date/girlfriend. this can be a one time thing or a regular thing. to add onto this — if it’s a regular thing, a “breaking up” plot when alison decides to move on from being a sex worker is a possibility, and your muse can either handle this really well and support her decision to pursue something else, or they can freak out and things turn toxic because they become unhealthily attached and possessive of her.

attended the same university as alison and notices a few things. post-high school verse does include a short period in time in which alison is a university student, so it’s possible for your muse to have befriended her in a class, and as such, they might notice that she stops coming to class suddenly. they can then run into her a while later and asks her about it, or they can actually find out what kind of work she’s been doing somehow while attending school despite alison telling your muse she does something else.

talks a lot of shit about alison and spreads nasty rumors about her while she’s still enrolled in college, which kind of helps her find more clients but also just really negatively affects her image too ( and she confronts your muse about it )

high school verse plots ( trigger warnings may be applicable ) — high school verse holds the bulk of alison’s interactions with cedric and nate. this verse also has a lot of triggering details since quite frankly, cedric and nate are actually terrible people. heavy plots containing serious matters can come from this verse, but lighthearted school plots can also come from this verse! below are some some ideas in which your muse:

knows about how much of a asshole cedric is being to alison and tries to convince her to break up with him.

knows that nate is harassing/blackmailing alison and gets involved somehow.

protects alison during high school because bullies just love to pick on her for no reason, so they become her protector of sorts.

is one of alison’s bullies. can either run with the drama and use that to make life even more difficult for alison, or they can have a change of heart where they realize how much nate and cedric fucked over alison.

is one of alison’s close friends in high school; can be a classmate, an upperclassman, an underclassman, someone she only sees during clubs or at lunch.

is a teacher alison learns to trust and really confide in, especially when it comes to her life at home, her relationships, or her assault. can extend this plot idea out to older muses in general who alison may learn to trust!!

has a crush on alison uwu she may be dating cedric canonically, but we can work something out. it’s not like cedric was faithful to alison anyway—

royalty/aristocrat verse plots — alison does have a royalty verse with very, very, basic information fleshed out, but i’m not super attached to what’s written in her royalty verse. i mostly enjoy writing royalty threads with alison due to how regal she is in her mannerisms, so i really like writing her as someone with royalty status uwu. this sentiment can extend to plots where alison is some sort of aristocrat as well, but a rags to riches story ( or vice versa ) is also fun since that’s kind of what happens to alison and her family anyway in canon. so please consider plots in which your muse:

has a forbidden relationship with princess alison and the two of you have to keep it a secret and work through whether your relationship will last or not ( bodyguard/princess; princess/princess; princess/prince who isn’t the one she’s arranged with; princess/commoner )

is arranged to marry princess alison but she’s so anti-arranged marriage that she doesn’t even want to look at you let alone talk to you ( or the reverse — your muse just refuses to acknowledge alison )

holds the princess hostage for ransom ( could be money, could be something revolutionary like wanting the royal family to change laws to benefit the people )

helps alison conceive a child. as much as alison wants to have a child, conceiving a child can be incredibly difficult even under the best conditions, and with how much weight is put on a woman for conceiving the next heir, stress can make it even more difficult to conceive. so :eyes: how your muse helps her is up for discussion.

other verse/au/wishlist plots — in addition to royalty verse, alison also has an alternate verse, a werewolf verse ( note: this isn’t an abo/omegaverse setting even though i do draw elements from this verse ), and a spy verse. the wishlist tag is also another option if anything strikes your fancy!

alternate verse — this is a very general verse that essentially captures interactions in which the canon events of alison’s high school and post high school events do not happen. additionally, alternate verse alison was raised differently from canon alison such that she was not socialized to uphold traditional feminine gender roles. in other words, she was not discouraged from acting more tomboyish as a kid, and she was not raised in a strict environment that forced her to act a certain way and as such, alison’s trajectory in life is very different. alternate alison is more aggressive, more forward, and she can be a bit of a misandrist. she tends to be more social than canon alison in the sense that she’ll go clubbing, partying, and barhopping more readily, and her career path is a little less developed ( re: she’s not tied down to a fashion job and can take on all sorts of work depending on what makes sense for a thread ).

werewolf verse — a post explaining the basics of this verse can be found here! alison’s in this verse is a blend of canon and alternate alison in how she acts. because she was raised without a pack for most of her life, her only family being her brother, emile, alison learned to carry herself like an alpha even though she’s an omega, which leads to a lot of problems when she meets other, actual alphas who try to hit on her or take control. this is where alternate alison’s aggression can come in. on the contrary, canon alison’s maternal instinct and affectionate nature becomes apparent whenever werewolf alison decides to eventual settle with a serious partner, whether that be another werewolf she’s bonded with ( up to mun’s decision whether bonding is a thing in our thread ), or someone else she loves. i’d like to re-emphasize that this is not a true omegaverse even though i do categorize muses as alphas, omegas, or betas, mention bonding between werewolves, nesting, heat/rut, and the use of suppressants to control the severity of heat. the description of these topics, however, are very tame as the focus of this verse is not unhealthy power imbalances or plotless smut. this verse exists bc werewolves are cool, and also because the idea of bonding between partners is where i find the most interest since true bonding really embodies the “to have and to hold from this day forward, for better, for worse, for richer, for poorer, in sickness and in health, to love and to cherish, until parted by death” sentiment in marriage vows except even to a more serious degree. so yeah — werewolves. have your werewolf meet mine. she can take care of yours or you know, keep them company.

spy verse — also known as handler and hound verse on this blog due to reasons. this is essentially an espionage verse in which alison is a rather high ranking field agent. she’s older in this verse than in canon ( 31 vs. 24, though her age in spy verse can vary depending on plot ), and is technically engaged to her agency assigned partner. this verse opens up the opportunity for morally grey muses to interact with her. the best way to learn more about this verse is to read this link which should outline all the details you should know about this verse’s setting, this link for a tl;dr ( not recommended ) and look through the verse tag for aesthetics and answered asks set in this verse!

miscellaneous plots — these are plots that don’t fall into a defined category for whatever reason ( mostly because they aren’t developed yet ) but i’d still love to explore them <3

future plot — i think about this a lot because i have such an immense love for alison, but i’ve headcanoned that once alison is older, she becomes a very big advocate for sex workers those who have been in domestically abusive relationships with a romantic partner. it takes her years to find the courage to share her story, but after years of volunteering at women’s shelters and doing charity work, she eventually finds her calling to take things a bit further. it’s possible your muse encounters alison during her volunteer work or while she’s a guest speaker sharing her story at some event. really though, i think it’d be interesting for muses to interact with alison when she’s a lot older since she’d have so much time at this point to process her trauma and, hopefully, seek the help she needs.

angel plot — alison is an angel and is very much one to stick by the rules and be good. a big contrast to leah’s angel verse in which leah is childish and does whatever the fuck she wants. angel alison is more experienced and is regarded as a good angel, but her curiosity about romantic love might get her into trouble.

childhood plot — alison is a tomboy who kicks ass; the older she is, the more feminine she’ll be ( unless it’s alternate alison, in which she only gets more aggressive ); your muse is an older muse or a fellow child who interacts with her ( male child muses beware! she’ll make you eat dirt if you aren’t nice to her or emile! )

single mother plot — this would straight up be a self-indulgent plot for me to be able to play alison as a mother. she absolutely adores kids, and while the circumstances in which she has a kid in this plot wouldn’t be ideal, she’d love her kid with all her heart, and this would allow your muse to help her raise her child, try for a romantic relationship with her, or maybe they’re the other parent??? just tossing thoughts around, i just really love alison as a mom :weep:

——————————————

now that you’ve made it to the end of the guide, please read this important note about alison before interacting with her!

tl;dr — please respect my muse and don’t force scenarios that would not make sense for her to be in on me. she’s a fairly flexible muse, but i will not ignore specific, canon, character traits just to make a plot work. i’m open to discussions regarding how to make an idea work ( which includes perhaps using one of alison’s other verses ), but please don’t assume. also read her character bio — this is a must ( trigger warnings are included ).

like i’ve said before, alison is a very complex muse. i’d like to think she’s a fairly flexible muse but with some limitations as a result of her experiences. if you’ve read alison’s biography ( which you should have, and in fact, i expect you to since it’s very crucial to her as a muse ), you’d know she has been through a lot of traumatic events. as such, she has developed certain mannerisms, tendencies, and thought processes as a result of what she has been through. these behaviors, such as being very wary of men when she’s alone with them in a setting that goes beyond a normal, casual interaction ( e.g. a man ringing her up at a cash register at a store ), are engrained in her character, and it takes a lot of time and trust building for her to change any behavioral patterns she may have.

i say this to preface the fact that if you have any plot ideas you’d like to share with me, please take into consideration whether it makes sense for alison in her canon verse if that’s the verse you’re interested in. canon alison, in short, is not the type to form casual, sexual relationships. if this is what you’re looking for, look elsewhere. there are exceptions to this, but these exceptions have involved a lot of plotting to make it work and make sense. i could say more on the matter, but for now, i’ll just say that alison behaves very different depending on what period of life she is in. as such, canon/main verse alison behaves differently than post-high school alison, who behaves differently than high school alison. alternate, werewolf, and spy verse alison behaves even more radically different than the former three. so you certainly have options if you’re really interested in a specific plot for alison! i’m very open to ideas, but i ask that you also respect my muse and what she’s been through as well since i’ve worked hard on her backstory.

#wishlist;#cw: long post

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daily-rayless · 5 years ago

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20 Years of Art

2000

(OC / Celes from Final Fantasy 6 / OC / OC)

The influence of Final Fantasy 6, off of the Anthology collection, and Yoshitaka Amano caused a significant shift in my art, leading my human figures to be very slender, graceful, and frequently pale. Most of it was of women, some of it was of horses, and by then I was very self-consciously starting to draw men. I mostly worked in pencils and colored pencils. Faces were oval with high hairlines and long, sharp, narrow noses. Also note my evident fear of mouth-seams and lower eyelids. I was pretty terrible at coloring, often feeling that coloring one of my sketches ruined all the nice linework.

2001

(Quistis from Final Fantasy 8 / Rosa from Final Fantasy 4? / Schala from Chrono Trigger / Dark Knight OC from Final Fantasy 4)

This is where more anime influences came in, and I consciously took on a semi-anime, semi-realistic (in my own mind) style. My ideal of beauty was overbig eyes, overlong nose, and oversmall mouth, and I stuck to it pretty relentlessly. Trying to figure out shadows and face structure. Still bad at coloring. I was incredibly proud of that charcoal picture. Was also going through my mandatory Dark 'n Edgy phase, with a big helping of Phantom of the Opera, Sarah Brightman, and my attempts at designing supercool clothes, many of which I wouldn't have actually worn, even given the opportunity.

2002

(Me trying to recreate “Flaming June” / OC, who incidentally looks almost exactly like Sarah Brightman and whose diadem was bodily lifted from a Jodi Lee painting / angsty symbolic wet chain lady / OC)

Deep in the Dark 'n Edgy. Faces are still very heavily made-up, with big lashes, defined upper eyelids, and dark lips. Trying very hard to be a good artist though, have high expectations for the future. I was so proud of that final pose and worked so hard on it. Lined paper? So not a problem. Besides, how else am I supposed to draw during class? A sketchbook would've been even more obvious than the incredibly obvious I already was. I'm able to listen while drawing pretty reliably, and I did manage to take detailed notes while doodling, so at least I had that going for me.

2003

(Celes / OC / OC / Hermes-inspired wing lady)

I was focusing (at least some of the time) on backgrounds and trying to make my work detailed and polished. Coloring is still hopeless. Often when I colored, I would go super light, even when I was using dark or intense colors. It would give my pictures a sort of faint, half-assed hazy look. I remember an art teacher urging me to use more color, but I probably resisted because I knew that way lay total destruction. I'm sorry, well-meaning art teacher. You are unversed in the ways of my pencils. I have killed too many sketches to take those kinds of risks.

2004

(Rosa? / Meliara from Crown Duel / willow-dress lady / Geddoe and Queen from Suikoden 3)

See the Meliara picture? That's supposed to be a night scene in a forest. Front-lit by blazing firelight. I was too afraid to make the colors darker. This is dark enough, okay? Anyway, this year, along with being utterly obsessed with Suikoden 3 and Crown Duel, I was letting my art head in a more realistic direction...

2005

(OC / Queen / Queen / part of Zetta and Salome from Makai Kingdom; I remember deliberately copying those swoopy Ss from one of my friends’ handwriting. Wishes ended up being the first longform fanfic I posted online.)

...that really flourished this year. It's not actually realism, but I made a point to give my characters, especially the women, more realistic bodies. Faces are very round in this period, often with soft features. Noses are prominent. I'm also, finally, using more vibrant colors. I probably got my first Prismacolor pencils around this time. I also got some really cheap markers, but had no idea how to use them so mostly stuck to pencils.

2006

(All OCs)

I look back on this as a good year. I was learning better coloring techniques. (Bold colors! Press that pencil down! Okay, I still had much to learn.) I got an Elfwood gallery while the site was doing its slow mosey into oblivion. But that was an important step, not just looking at other people's art online, but putting my own up as well. There were downsides though. I began to feel more insecure – or maybe more realistic? – about my art, on this site with so many highly talented artists. Still, 2006 is a good year. It was a lot of fun, and I learned a lot.

2007

(vampire and hunter / Fleur from Harry Potter / OC / Avril from Wild Arms 5)

The year of Fleur Delacour. This is when I was writing Kindred. I think it was because I was trying to depict Fleur as distinctly non-human that my art shifted away from that more realistic style. Fleur, and my other figures, became very tall and slender. The anime DNA is still there though. For a long time, I felt the lying-down picture of Fleur was my best work.

2008

(Revya and Gig from Soul Nomad / my attempts at being “abstract” / OC / OC)

This was the year of Soul Nomad and, towards the end, Tales of the Abyss. Unsurprisingly, the anime influences start moving back to the fore. The eyes are becoming larger again, the features a bit more angular and stylized, mouths are shrinking. I'm still desperately trying to figure out markers and wondering why it's so darn hard (I don't try to educate myself, I just flail), but I was proud of that blue OC picture. It made me feel like I was getting somewhere. 2008 is when I started my deviantART gallery, right when everyone else was moving on to Tumblr.

2009

(teacup lady / Persona 4 noir-style comic / Revya / OC)

Then Persona 4 hit. Shigenori Soejima was a huge influence in this period, especially in eyes and faces. Pupils, chins, and jawlines shrink, eyelashes are sparse and stylized, noses are simplified. 2008 and 2009 are about as pure anime as I've ever gotten. Meanwhile, I'm really exited about my dA gallery and trying lots of different combinations of media. I'm super active on dA and FFN at this point, writing Elysion and then a slew of shorter Persona fics.

2010

(Minako from Persona 3: Portable / concept-art-version Minako / lady with dragon ferret thing / other lady with dragon ferret thing)

I'm still drawing with a lot of Soejima influences. Additionally, bodies are becoming even longer, taller, thinner, and bendier. Some of them look absurd to me now. On the other hand, a lot of pictures from this period have a nice elegance to them. I was still using colored pencils a fair bit, but more clumsy markers are showing up. Persona 3: Portable came out, and this is when I was writing Death and Ker.

2011

(mask lady / hat lady / Archaya, Duphaston, and Iryth from Eternal Poison / symbolic autumn lady and her winter baby)

Midway through this year, I hit a breakthrough when I got my first set of Copics – and skin tones, no less. Even though I was still flailing, I was so thrilled with my results. That Eternal Poison picture left me enormously proud, as did the mother and child one. My style hasn't changed all that much, but it's starting to feel less extreme. The focus on big eyes and tiny little mouths remains.

2012

(Elza from Suikoden 2 / Daryl and Setzer from Final Fantasy 6 / Killey and Lorelai from Suikoden 2 / Lyssa, Greek goddess of madness)

This is the year of Elza. Lots of delicate sketches of this lovely scarred lady, and lots of colored pictures too. I've definitely shifted away from pencils towards markers. The Daryl and Setzer one was an attempt to use both, and I was very happy with it. These pictures show their age, but there's still a lot here I like. Mouths are larger too. However, my online activity was starting to lag.

2013

(Rydia from Final Fantasy 4 / Nia from Infinite Space / the prophet and Schala / Argos and Io from Greek mythology)

The mid-2010s weren't entirely great for me, marked with a lot of frustration and discontent. And that definitely carried over to my art, making me feel very disappointed with myself. There was lots of marker work this year. Probably the standout picture is Argos and Io. This is also when I played through all three routes of Fate/Extra, and my art was suddenly full of Hakuno and Emiya.

2014

(Minako / butterfly lady / Marta and Tenebrae from Tales of Symphonia 2 / Elza)

Looking at it now, this was a good year. Lots of nice marker art. The butterfly one was a big step up for me in terms of coloring. The Marta and Tenebrae has a really cool stylized look to it. But I was becoming less enthusiastic about sharing my art with others. I started to post less and less.

2015

(evil Hakuno and Emiya from the Fate series / Mitsuru from Persona 3 / half moon cookie lady / Hakuno)

I barely posted anything this year, though I was still drawing a ton. As far as making strides, this is one of my better years. Coloring will never be my strong suit, but it's a lot more fun, and it looks a lot better. It's almost entirely marker-work at this point. Despite my, er, angst, a lot of people are smiling this year.

2016

(OC / doodle lady / Luna from Roman mythology / hair bow lady)

At this point, it's feeling too recent for me to really see what's changed. I did a fair bit of eraserless work. One problem I still have – and, yes, it involves coloring my pictures – is losing some of the image's personality after I've inked it and erased the initial pencil work. The picture's still there, but not as nuanced as it originally was. The results often feel stiff to me. Doing the first linework in ink, or not inking at all, allows me to keep that sensitive, spontaneous quality. Luna and the bow and doodle ladies were done without erasers. Another thing I did a lot this year was fill backgrounds with busy shapes and colors, which is a trend I’m still following today.

2017

(flapper and dog / Alcyone and Ceyx from Greek mythology / flower hair lady / Kida from Atlantis)

Not a good year. Not that the art is bad, there just isn't a lot of it, and what there is often isn't very finished. I was still mostly dark online, wondering if I should take down my dA gallery. Drawing and knowing I wasn't going to post something took off some of the pressure of my own expectations, but I was still unhappy.

2018

(Altera from the Fate series / Elizabeth Bathory from the Fate series / OC / Aranea from Final Fantasy 15)

This was a really important year for me. I wrote a novel I'm really proud of, and it's done a lot to give me confidence and a sense of creative direction. I also decided that after New Years, I was going to start a Tumblr gallery...just as everyone who was still on the site was jumping off of it. Much of my 2018 work is still sketchy and unfinished, but I also think it's loosening up some. It feels less stiff than the stuff from the middle of the decade.

2019

(Aloy from Horizon Zero Dawn / medievaly lady / Red from Transistor / Red)

The year of Supergiant Games, which led me to focus more on bright saturated colors. It's really hard for me to analyze these objectively. Coloring is better? I worked more on details? I used my metallic gel pens a ton and did shape-cluttered backgrounds? These aren't new things, but I think they paid off okay. I'm more at peace with my level of ability, I've finished more complicated works, and I crawled out of my den and started posting regularly online again. So that's all good. Curious to see what the art looks like in twenty more years.

#art progression #20 years of art #2000-2019 #i'm not tagging all the characters #this is a terribly long post #and shouldn't clutter up too many search results #thank you if you read the whole thing #i apologize for typos #art meme #art summary

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forehead-enthusiast · 6 years ago

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To the Moon and Never Back

Pairing: Moon!Moonbin x Reader

Genre: Fantasy, fluff, slight moment of angst

Word Count: 1.7k

Summary: You thought the moon was something to be admired from a distance, but as it turns out, he’s much more beautiful up close.

A/N: Okay I have like three things so bear with me: trigger warning for slight suicide mention; somewhat based on the purple moonbin mb poem i made ages ago; I never actually say moonbin’s name in this so tbh project whoever you want

You sat on the roof, clutching a pencil and shivering only slightly. The wind slid through your hair, whispering secrets in your ears in a language you didn’t know. Goosebumps crawled up your arms, but you didn’t mind. It was a full moon tonight.

It had been years since you had started coming up here. It began at first as an escape from real life, from whatever you didn’t have the patience to deal with. You still remembered the first night you stuck your head out the window and decided you could make it to the rooftop if you only tried. And you did. And the moment you caught your breath and confirmed you were stable, you fell in love. You had never known peace until then. The freeway was far in the distance, and only a gentle hum reached your ears. The bushes beneath you rustled at every breeze, and the silhouette of far off trees were just barely visible, practically a mirage. The streetlights drowned out the stars above, but couldn’t overpower what captured your attention most.

The moon was almost completely alone in the ocean of darkness around it, but still shone with dignity and serenity that took your breath away. On that night, years ago, you told yourself that next time, you’d bring your sketchbook. It was a different sketchbook you held now. The one you’d first used had been filled up ages ago, and it sat beneath several others, equally completed. They had sketches and doodles of all you could see from your little spot on the house, but no subject was as prolific as your precious moon. You must’ve had drawings of it at every moment of its phases and then some. You were drawing it now, the scratching of your pencil all that kept you company. Your fingers had traced this image thousands of times by this point, but you were still just as captivated. As you finished erasing a small mistake, you looked up at your model for reference, but were blocked by a young man peering at your drawing.

“What are you doing here?”

The words fell easily off your tongue. You realized their oddness a moment later, and wondered why you hadn’t asked, “Who are you?” or “Why are you on my roof?” You wondered why you hadn’t screamed, hadn’t shoved him off the roof in surprise. Nonetheless, you weren’t scared. If anything, you felt comforted by his presence, and waited for a response.

“I just thought I’d come visit for a change.”

“Oh, I see. Have we met before?”

“Not formally, but we know each other.” He smiled, his eyes scrunching into crescents, and you knew he wasn’t lying.

“Alright, just give me a hint.”

He reached out and tapped on your sketchbook. You looked down at your drawing, back at him, and it clicked. A smile of your own spread across your face. Unbelievable as it was, it somehow made sense. That didn’t make you any more eloquent, though.

“Huh… how about that?”

He giggled a bit, and you giggled back. He felt like an old friend. You supposed that he kind of was. He sat beside you, and you asked if he minded that you had drawn him so often. He laughed again at that, and shook his head. He told you about how he first noticed you, when you had only just started. How he thought you’d get bored quickly, as many do, but that he enjoyed your company despite his resignation. When you didn’t stop climbing out your window, though, he began looking forward to your nightly visits.

“So you just… decided to come on down? I mean, don’t get me wrong, I’m honored and all, but why? Why me?”

“No one’s ever drawn me with so much…” He paused a bit, bashful. “With so much, um, love.” Not even a second later he held his face in his hands and sputtered, “Oh God, that was so cheesy! You’re probably thinking I’m so presumptuous, I’m sorry, I-” You grabbed his wrist, and countered, “It’s fine, it’s true! Calm down.” He set his hands down, and you internally noted that the moon could blush. He turned to you and grinned shyly, the pink on his cheeks just visible in the light, which you realized, was probably coming from him.

“Could I... draw you now, like this?”

He eagerly nodded, and shifted his weight around, trying to find an acceptable pose. “I haven’t really had to think about this before, I need a second.” Once he settled in, you flipped to a new page in your sketchbook, and began drawing. Your pencil began at his forehead, slipping down to his cheekbones, his jaw. His nose was next, then his eyes, which he struggled to keep from squeezing shut with more nervous smiling. You found yourself forgetting to draw every so often, more mesmerized than ever before. A lifetime later, you finished the last strand of hair falling over his brow, and held up the finished picture. He held out his hands gingerly, then looked to you for approval. You nodded, and he took the pad from you, holding it like it might shatter if gripped too tightly.

“I never thought I’d ever really be drawn. Not like this. I- thank you. It’s wonderful.”

You looked at him as he studied the sketch, butterflies in your stomach. It was rare for you to share drawings with anyone as it was, but to share it with the model of so many pictures, the moon, no less, tickled you with anxious anticipation. Your eyes flicked from the drawing to him, just to check its accuracy. He was so engrossed in the image, with only his eyes betraying how emotional he was. After he had looked for a while though, you knew there was something he was keeping from you.

“Why did you really come visit me? It’s been years since I started, why now?”

He looked up to meet your eyes, then escaped to the drawing again. You could see the turmoil in his eyes as he looked for a satisfactory answer. Eventually, knowing that there wasn’t a fib that would placate you, he sighed, and set down the pad. “I know that you come up here when you’re troubled, or sad, or just exhausted. I loved it when you came up, but I knew that whenever you did, it was because you needed cheering up, and… recently you’ve been coming up more than ever. It’s awful to say, but I didn’t know how much longer you’d be content to sit and not, well…”

You almost answered him reflexively, that no, you’d never even think of doing something like that, but stopped yourself. It had happened before. Just once. You were sitting on the rooftop as usual, and looked down, then up. You wondered how close you would get to your favorite moon before gravity dragged you back down to harsh reality. That day, you went back inside without drawing anything, afraid of your own thoughts. Thinking of it now, you smiled at the fact that the moon you’d longed to jump to was sitting beside you, worried.

“I’m,” you searched for what would best convey your feelings. “I’m okay. I wanted to reach you, you know, and here you are. You can’t get rid of me if you wanted to. No one loves drawing you more than me, right?”

His shoulders subtly but visibly relaxed at your reassurance. A smile, softer this time, warmed his face, and you jokingly condemned him in your mind for not showing you how truly lovely he was sooner. You could’ve filled three sketchbooks just recording every millisecond of this expression. He turned to you, and your heart stopped.

He slid his hands beneath yours, and lifted them gently to his lips. He held your fingers so delicately, graphite-smeared as they were, and set them down carefully a moment later.

“I don’t want to leave you.”

The simple phrase overwhelmed you. Your hands tightened around his, and you desired nothing more than to never let go.

“Don’t. Please.”

“I can’t stay forever.”

“Then… take me with you.”

As the suggestion escaped you, both he and you were stunned by the thought. You couldn’t believe your own boldness, but your heart raced at the prospect. He blinked his way back into clarity, and asked, “Do you really- Don’t you have things you want to stay for? Here?”

You thought for a moment, but were certain in your answer. “You were the only thing that got me through things here. Please take me with you. If you can. Or want, of course, I didn’t even ask if it was okay-”

“Of course it’s okay. I- Nothing would make me happier than having you with me.” The now familiar boyish grin overtook his face again, and reminded you of the only thing you needed.

“Can I bring some sketchbooks?”

He nodded, his eyes still overcrowded by his cheeks, and once you were ready, he wrapped his arms around you. Suddenly, the rooftop was gone. The stars once erased by the city lights burned back into view one by one, until you were surrounded by an ocean of fiery pinpricks. Beautiful though they were, they couldn’t even hope to outshine the glow cast by the man whose arms were wrapped around you still.

You looked up and pushed some of his wind swept hair from his face, and lightly pressed your lips to the forehead you had uncovered. You chuckled a bit, shy at your own actions, but grew serious when you met the eyes of the man before you. He leaned in cautiously, and paused to ask softly, “Can I?” You answered him by closing the distance between you. You never imagined kissing the actual moon could feel so natural and just… right, but his arms around you felt like they belonged there. You knew they did. He pulled away, breathless, and was unable to maintain his stoic expression. He beamed as he spun you around the stars, and you practically squealed with laughter.

“You have no idea how long I’ve wanted to do that.”

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vynru · 6 years ago

Photo

A redraw of this monstrosity. Or, the old one is a monstrosity (time-taken-wise, it’s not that ugly either). I quite like this redraw, actually. It took me from the 11th of May until now– which is a little more than a month. Long time, huh? Of course I wasn’t able to draw for all of that time, but let’s take a look at the old version from 2017…

This thing. This freaking thing took me almost two years.

This is not an exaggeration. I used to have a habit that every single time I made a significant change I wasn’t sure I wanted to keep (I pretty much always did), I would save the drawing as a new file. This means that between 2016 and 2017 I had saved countless of different files of the same drawing, numbered from A1 A2, etc, to D51, and because of this, I was able to check how long each phase of the drawing took me.

But then, here goes: The sketch was made before the 25th of April 2016 until the 12th of April 2017. Yes. A full year to make a sketch. I wouldn’t call it sketching, though. I used 3D models in CSP and countless of pictures I made of my own hands and family members who posed for me, which I traced, tossed out, and tried again because I couldn’t cobble it together properly or just wasn’t happy with because 3D models look stiff and real people don’t translate well to an anime-ish style. I’m pretty sure I somehow managed to learn my first bit of anatomy by screwing around with this single drawing for a full year. It’s kind of a shame, really. Because of this ridiculously patient perfectionism, I don’t have any completed trashy drawings of where I first started anime-style. And I really would’ve loved to redraw something that’s just objectively horrible instead. But ah well.

The line art was done between the 12th of April 2017 and the 6th of September 2017… almost 5 months. In this time, I’m pretty sure I redid the shoes (the line art ended up being traced & edited over pictures of my own shoes (these became Hiroshi’s, but I mostly made the shoes thinner and added that rectangle, which was a zipper on my real shoes) and my sister’s (Naoki’s), both of which I had stuffed with toilet paper to appear filled on the pictures). I redid a bunch and had no muscle control from being very inexperienced in drawing digitally, so I would often spend hours and hours on just a tiny portion of the drawing (I also wanted the lines to be p e r f e c t and just refused to use any stabilization tool). It was honestly starting to feel like a world map I was working on.

Then, it took me over a month to do the base colors, from the 6th of September 2017 until the 22nd of Oktober 2017. Again, not working on the drawing all the time, bad muscle control, just having no knowledge whatsoever about colors and being way too perfectionistic for my own good was to blame for this.

The shading, surprisingly, only took me from the 22nd of October 2017 until the 4th of November 2017– a small two weeks. Apparently, I had somehow taught myself the basics of drawing anatomy/anime in only one illustration. It sounds like some sort of strange online scam, but I swear, it has got to be the most inefficient and tedious way to practice something. Almost two years could have been spent filling so. many. sketchbooks.

But now, over three years after I started this drawing, I was finally able to recreate it without tracing anything and using very little reference except for my own drawings. I’m usually not against using reference, but I wanted to use as little as possible for this specific redraw just to see if I could “stand on my own legs” this time.

And honestly, I’m extremely happy with the result. I even managed to pick colors I like a lot without adjusting them with a filter (I didn’t do that in the original either… which is very visible OUCH), so I think I can safely say that, after over three years of drawing digitally, I’ve finally “finished” this drawing… Until I redraw it again, that is! Because I definitely won’t just let go of this now that I’ve put just so. much. time into this drawing, so I’ll likely keep coming back to it every few years to see how much I’ve improved.

#voc hiroshi #voc naoki #vynru oc #oc #original character #ocs #original characters #draw this again #draw this again meme #digital art #digital drawing #redraw #draw this again challenge

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litriu · 7 years ago

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Hi I'm stalking your art tag because you're SO GOOD and just?? How did you improve so much? My art looks the same from like. 10 years ago. How do you do what you do

First of all, thank you so much!! You’re such a sweetie!I am by no means an art teacher. I feel like you have to have a certain mindset to be a teacher, and I don’t have one of those mindset. I’m not good at it, so I don’t teach, but I will give you some really helpful stuff I wish I’d figured out earlier.

Second of all I’m going to give you a boring answer you don’t want to hear and I don’t want to say:

Practice.

Now, here’s the more fun answer that I’m hoping is more helpful:

Practice while you’re going. Every time I draw is a chance to practice. I’ll draw and redraw poses and edit them about a dozen times before I settle on it for lining! In one of my most recent drawings I have AT LEAST 29 layers of me drawing, redrawing, and tweaking the poses.

Practice can mean sitting down and doing 20 hand sketches, or practice can mean something different. Find out what method of practice works best for you. Sometimes drawing a thousand hands doesn’t help, and it’s okay if it doesn’t help you. Find another method!

Don’t settle on your first draft! Redrawing something is not only improving the drawing, but giving you experience for the future!

Draw from life, i know, that’s really basic. But still, it helps!

Make practice fun! Motivate yourself to practice by using things you enjoy drawing. Are you garbage at drawing hands, but you love drawing aliens? Draw aliens with a bunch of hands. This is a really basic example, but you get the jist!

My babe and I recently (before I came down with tendonitis and had to take a break) would watch a dance video where the dancers are wearing relatively snug clothing, pause it at a random place, set a timer for 5 minutes and draw whatever pose we got. (you can obviously do a shorter time if you want!) It helped a lot with foreshortening, movement, and making bodies look more 3d.

Speaking of which this won’t help your art any but it’ll help your health: S T R E T C H before, after, and while you draw, okay? You know that tendonitis I mentioned? Yeah, guess who didn’t stretch. Find stretches that work for you. Wrists, back, neck. Walk around a little every once in a while. Drink water. Eat. Take care of yourself.

Practice SMART, not just practice. Figure out what you want to strengthen in your art style. If you want to focus on improving the fluidity or readability of your poses, doing half hour studies of detailed landscapes or portraits isn’t going to help with that. Doing 1 minute speed-sketches of exaggerated poses might, though. Same goes for if you want to get better at drawing landscapes and detailed portraits.

You’ll get something out of it, so if you want to do these things do them! They’re fun! but don’t draw nothing but anime eyes and wonder why you can’t draw a skyscraper perfectly.

REFERENCE. U S E R E F E R E N C E

I’m gonna break this wall of text up with a doodle of a kitten because it’s a lot

Don’t be afraid of shitty anatomy! Sometimes to get the right perspective, it has to look weird. Making mistakes helps you learn what to improve. What works and what doesn’t. And, in my experience, the pieces I obsessed over were the pieces I felt like aged the worse, while pieces I had fun doing and relaxed drawing are still pieces I really love.

All in all, just don’t be afraid of mistakes. You’ll make them, just have fun making them.

EXPERIMENT, EXPERIMENT, EXPERIMENT! Experiment with colors. With more lineweight, with less lineweight, with weird anatomy and proportions, try out aspects of art styles you love, try out aspects of art styles you hate! Just have fun!

Step out of that comfort zone! Learn something new! You don’t have to curate an entire art exhibit on horses if you can’t draw horses, but sketch a couple at least.

Take bits and pieces from everywhere and adapt them to what works best for you. Does this method of sketching not work for you? Okay, change it. Find a new one. Find one that works better. That includes this list of tips! If something I’m saying doesn’t work for you? IGNORE IT! find something new. Don’t try to force yourself to work in a box that doesn’t work for you. It’ll just make you feel inadequate, and instead of spending time improving, you’re spending time trying to fit into the box.

I can’t give you too many super specific tips because I don’t know your art style or what you want to improve, but in general, just experiment and adapt to whatever works best for you.

This one is more of a catch all for developing your art, not nesecarilly improving it: Don’t treat things like color theory as sacred rules of the land that cannot be broken. Learn anatomy, learn color theory, learn about lineweight and how it works, learn about light and shadow! But keep in mind; they’re a guide for how things work, not an instruction manual. Do whatever you think looks cool, even if that isn’t what other people say looks good.

Learn at every opportunity! You think that lighting is cool? Try to replicate it. You watched a speedpaint and you liked their technique? try it out for yourself. Like that color palette? Analyze what you like about it and try to replicate that feeling.

Draw as often as you can! And “draw as often as you can” does not mean draw until your hands and arms hurt! It means draw a little when you have some time, if you have the energy. Don’t hurt yourself.

Time for another kitten break

Take a step back if you don’t like how something’s turning out. close it up, have something to eat, sleep on it, work on something else, whatever. If you’ve just been looking at it too long, that’ll fix it. And if there’s actually something off, you’ll come back to it less frustrated and with fresh eyes!

Draw fingernails on hands. This sounds really weird and dumb and random but it literally upped my hand game by at least 25%. It does WONDERS for portraying the angle of the hand.

A major chunk of my artistic development and improvement was done in a very unhealthy way. When I was younger, I would push myself to pain, I’d stay up until 3-6 am drawing something, I’d cry at least once every two weeks because I wasn’t good enough. I improved a lot very quickly, but I pushed myself way too hard because I was so desperate to improve…

Don’t do that. I mean it. I’m very thankful for the growth i achieved in that time, but if you can avoid that phase, do. It’s better to improve slowly and keep a healthy relationship with your art than to push yourself so hard that art becomes a chore and you lose your passion, or even hurt yourself.

Finished not Perfect

Your art has improved!! I promise it has, it may not seem like it but it has! You don’t see it right away, but every single drawing is a little better than the last as long as you keep striving to learn a little more with every drawing. Everything grows at a different pace, and you’re growing at the right pace for you.

You’re good enough right now! Have goals for what you want to do with your art, not standards for how “good” you need to be!

I’m sorry this post is long, I wish I could say “I sacrificed my soul to the art demons” but… I can’t say that. I didn’t do anything special.

Draw as much as you can, draw what makes you happy, draw new and exciting things, and surround yourself with art, artists, and people that inspire you!

BEND ART TO YOUR WILL AND MAKE IT YOUR PET

If you know an art demon that might help too idk?

aaaand here’s one more incredibly small, incredibly round kitten

#long post #litriu text #art advice #probably incredibly questionable art advice #my tips and tricks for art pretty much amount to #'idunno sound' + have fun do whatever you want #palepinkroses

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griffinxwoods · 7 years ago

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pose for me: clexa oneshot

Clarke is an art student taking a sketching course, but she’s having trouble drawing portraits for her assignment. She hangs up flyers around campus for a model and Lexa responds.

disclaimer: sup kids, this is my first venture into fic writing, probably writing in general i guess. i’ve only ever written like 3 or 4 scripts for class so ,,,hope this is decent. i’m kinda used to just writing action and dialogue (in my small handful of works lol) as it happens so like backstory is weird to me idk. anyway, if it seems rushed and rough, it probably is. i definitely didn’t reread it! but uh, let me know what ya think i guess. maybe any tips, things i can change in my writing.

______________________________

“Please stop.”

“Come on, he’s pretty hot.”

“He’s not.”

“Really great in bed, though.”

“Raven.”

“He did this one move the other night I’ve never done before and it felt amazing.”

“I swear to God, I will throw up on you.”

Clarke laughed at her friends’ antics as she sipped on her latte, not at all phased by the conversation taking place next to her. Raven released a laugh and sat back in her chair. Octavia just tried to keep her lunch from resurfacing.

The three of them sat for lunch at the Ark Cafe, a hotspot on campus. Every Tuesday since the semester began, they’d meet here and catch up on anything they’d miss during the week. Granted they did all live together, seeing entirely too much of one another in ways you would never want to see your closest friends. But between going to class, homework, jobs, and a variety of other events, it’s difficult to really check in on each other. Therefore, weekly lunch dates at the Ark.

“Raven, ease up a bit,” Clarke says.

“Aw, why, come on. It’s fun seeing her squirm,” Raven grinned.

“I could go the rest of my life without hearing about my brothers sexual encounters and it would still be too soon,” Octavia shivered. She faced Clarke, ready to wipe the mental image of Raven and Bellamy doing, well, anything at this point really.

“So, moving on to a safer topic. How’s that assignment going, Griff?”

“It’s… real shit right now, thanks for asking.” She sighs.

Being an art major, Clarke liked to think she had some talent. Growing up, she always had some writing instrument in her hand, a brush, a crayon. She’d grab something to write with and drew on anything she could find. Sometimes that might just be the walls in her home. Her mother would be furious, but Jake, he never bothered much. Always encouraging Clarke to draw, to practice. So she did. And she got pretty damn good at it. One thing she couldn’t seem to fully grasp were portraits. So she decided to hone in on that part of her craft this past year. Currently in an advanced drawing course, one of her assignments was head shots.

Raven lowered her head and looked at Clarke through her lashes. She ran a finger up Clarke’s arm and said, “I’m always down to pose for you, Griff.”

“Tempting, but I’ll pass.”

“I’ll make it worth your while, ya know?” It came out huskier than she intended but Raven wasn’t one to back down from some good old teasing fun.

“Rae, you’ve posed for me before and, hate to break to you babe but, not really jonesing for round two any time soon.”

Octavia snapped her head towards Clarke, biting her lip to keep a smile from bursting, while Raven sat back and nursed her bruised ego.

“That was just uncalled for.” Raven whispered.

Clarke laughed and shook her head, looking down at her latte. “Seriously though, I’ve drawn you guys so many times it honestly does nothing for me creatively now.” Clarke wiggles in her chair, adjusting her position and sighs. “I don’t know, I think I need something new… fresh, maybe. I feel like I’m in a rut.” Clarke always felt a less confident about her skills in portraits.

Octavia and Raven both hummed knowingly. Raven snapped her fingers, bolted forward, Clarke’s sure she has a terrible idea on the tip of her tongue.

“I know!” Raven exclaimed, “You could post an ad for a model on Craigslist. A girl in my English Lit class did that once - don’t look at me like that - she’s fine! She needed a new roommate!”

Yup, definitely a bad idea.

“Yeah, fine,” Octavia huffed, using air quotes around ‘fine’. “She’s probably being held captive somehow without a way out. Next time you see her in class, ask her to blink twice if she needs help.” Raven rolled her eyes and sat back once again. She pushed up the sleeves of her red henley and snatched up her fork, stabbing her lunch.

Clarke glared at Raven, “No way in hell, Rae, and you know that.”

Octavia watched Raven as she played with her pasta, “Why don’t you just, post a flyer on campus?” She turned to Clarke and took a sip of her water. “You’re bound to get a few chumps call you up to pose for you.”

Raven’s face lit up, “Griff, imagine the nude paintings you could do. The possibilities…”

Clarke let out a breathy laugh. Never one for letting an opportunity turn remotely sexual, Clarke was half expecting Raven to come to that conclusion for her. She knows Clarke would never ask a stranger to pose nude, but of course, it wouldn’t be Raven if she doesn’t at least suggest the idea.

“Thanks, Raven. I’ll throw in a nude just for you.” Clarke runs a hand through her hair and exhales a breathy laugh. She closes her eyes for a moment, thinking about it. “You know, O, I’ll do that. I mean, why the fuck not, right?”

Octavia and Raven cheered; Raven pumped her fists over her head, quietly chanting Clarke’s name.

Octavia looked to Clarke, leaned forward and spoke softly, “You know that you’re gonna do so good on this assignment, right Clarke? You’re incredible.”

Clarke gazed at Octavia fondly and grasped her hand on the table. She really did love her friends.

___________________________________

Aristotle, Plato, Kant, Bentham. Every single student sat in this classroom could not care less about these dead men and their supposed ideas. They fidgeted with their pens, shuffled in their seats, eager to run out of the room, out into the modern world filled with snapchat filters and ridiculous memes.

But the woman at the front of the classroom, walking from one end to the other while lecturing? This was her one of her favorite places. Commanding a room, discussing one of her favorite subjects in the world, engaging young minds (granted they’re probably just as old as she is). Here, she was comfortable. She was at ease, and she loved it.

“Immanuel Kant’s most notable contribution to moral philosophy is the categorical imperative. I hope you all read up on it. The first formulation of the imperative, also considered the formulation of a universal law of nature, is ‘act only according to a maxim whereby you can, at the same time, will that it should become a universal law.’”

She paces the front of the room, hands clasped behind her back. Sleeves rolled up to her elbow of her otherwise pristine shirt, slim slacks and brown oxfords ironed and shined to perfection. Glasses perched up the bridge of her nose, the picture of professionalism. She surveyed the room. A handful of poor souls watched her as she spoke, mostly indifferent.

Lexa sighed and straightened herself at the center of the classroom. She leaned against her desk and brought her hands forward, crossing her arms across her chest. She decided to switch gears for a moment, hoping to revive her students and engage them in, really, anything.

“Okay, take the case of the murderer at the door.” A few students sat up straighter. One boy in the middle had his head down, resting on his extended arm on the desk. He rolled his head around and looked at Lexa, intrigued. She hitched an eyebrow up. Of course, it had to be murderers.

“Let’s say, for example, Max here,” Lexa pointed at the boy with his head rested sideways on his arm, “excused himself from the class to use the restroom. We all know where he went, right?”

Scattered nods around the room.

“We can assume he went down the hall, the closest restroom. After a few minutes, we hear a knock on the door.” Lexa walks to the side of the room, knocks on the door. “There’s a gentlemen behind the door asking where Max is.”

Lexa clears her throat and her voice booms. “'Hello, I’m looking for Max, I’ve come here to kill him. Do you know where he is?’” She’s turned to them, holds a hand up and forms a finger gun at Max.

Lexa glances around the room at her students. Some laughed at her antics, but thankfully, most of them were paying attention, thank God. Life has been reignited in her classroom.

“How many of you will lie and say that Max is actually in a classroom in a different building?” The boy in question has sat up a while ago, now looking around the room to see who would inevitably betray him, as if anyone in college is loyal to some kid they only see twice a week and never speak to. Most of those speaking agree, muttered yes’, not ratting out Max. He releases a breath, nodding. The class has allowed the kid to live another day, safe from Lexa’s finger gun.

Lexa purses her lips, nodding, crossing her arms. She chuckles, knowing the response she’ll receive, “Kant would argue that you all just did the wrong thing.“

An uproar among everyone, Max is now lamenting the hypothetical loss of his life because he just had to use the bathroom.

But how could that possibly be the wrong move? The entire classroom just saved Max’s sad life. He can go home and play Call of Duty in his underwear while shoveling Doritos and wiping the dust residue off his fingers on his chest, if the boy pleases. They did the right thing.

"Professor, that’s fucked,” was heard, a delinquent in the back of the classroom. Lexa internally groaned.

“Mind your language.” she said.

He sank back in his seat and crossed his arms. “There’s no way that can be the wrong answer to this. We probably saved his life so kudos to us,” he smirked.

“According to Kant, it’s wrong,” Lexa says, curt and final. She paces the front of the room again, “he believes if you know where Max is, you have to tell this man at the door that Max is, in fact, in the bathroom down the hall. Solely because lying is wrong. It’s always wrong, no matter the situation you’re put in.”

Lexa stops by her desk and glances at her watch. Five minutes to spare. Not bad. “Alright class, seems like a good place to end so that’s it for today. Please don’t forget your next test is soon. I hope you’re all well prepared by then. Have a good weekend.”

The students quickly pack up their bags and bolt out of the classroom. Lexa walks around her desk and begins packing her laptop and lecture notes into her leather messenger bag. A few students wave goodbye and throw small smiles at Lexa as they leave. Some of them blushing when Lexa returns the gesture.

A woman clad in black - black leather jacket, black ripped jeans, black combat boots, the only thing that isn’t black is the plain white shirt under the jacket - props herself against the doorway, watching as Lexa finishes gathering her things. Lexa drapes the bag over her and moves towards the door.

“You know, if I were you, I’d definitely take advantage of the amount of students fawning over you.”

Lexa gasped, her emerald eyes wide, “Anya,” she breathed, “that’s illegal - don’t say that so loud.”

Anya raised her arms in defense, “I’m just saying. There’s some pretty hot chicks in your class. I’m always here to encourage my little sister to get some action.”

“Thank you, Anya. Much appreciated. Will definitely take that under consideration. Wonderful to see you anyway,” Lexa rolled her eyes.

Anya smirked. She loved teasing her little sister. It was too easy.

“Alright so, where to, hotshot college professor?” Anya clapped her hands together.

“There’s a good place near campus, amazing tacos,” Lexa responded.

“Sold.”

The two sisters walked through campus. Anya was just relieved of the longest shift of her life at the station, and before heading back home, she decided to check on her little sister.

“Anything new and exciting happen within the last maybe 37 hours since I’ve seen you?” Anya asked.

Lexa sighed and adjusted her glasses slightly. “Not really. Class was alright today. I like my students when they actually participate in discussion. They’re smart, they just need a little push sometimes so I did the whole ‘murder at the door’ scenario.” Anya hummed and nodded, familiar with that story. “I got ‘em talking. But otherwise, you know, same old.”

“How about you switch it up from the usual same old to something, I don’t know, different?” Anya suggested. Lexa has been doing just about the same things for the past few years. She knows that going through what Lexa did was difficult - she wouldn’t wish it on anyone. But Anya just wants Lexa to enjoy herself, live a full life like she deserves.

“What do you mean, I have fun,” Lexa scoffed.

“Reading articles on the space program isn’t what most people consider to be fun, Lexa. Neither are documentaries”

“Sending people to Mars is so incredible. I mean can you imagine being able to step foot on a planet? The moon is one thing, but another planet?” Lexa said, arms waving around as she spoke. Once you get her going on anything space related, she can really run with it. “And lots of people watch documentaries, okay. It’s like in style now or whatever.”

“Yeah, that’s really cool, Lex. But I mean more along the lines of this crazy thing called socializing.” She chanced a look at her sister. Lexa sighed. “Going out. Meeting someone new, sharing a couple drinks and talking. It wouldn’t hurt you.”

As they walked past the campus cafe, Anya slowed, looking at the cafe’s storefront. A neon sign flashing above the door, letting the world know they’re open for business. A list of specials for the day, and a few flyers hung up by students. One of them is for math tutoring, triggering some flashbacks to high school pre-calc and Anya shivers. Math is an abomination and ultimately impossible to understand. Another flyer - an advertisement for a band playing near campus at a bar Anya frequents. She won’t attend that night, thank you flyer. The last one mentions needing a model to pose for an art student, a brief description of a meeting beforehand, along with a phone number.

Anya yanks Lexa back by her bags strap and points at the flyer, “Look, this person needs someone to pose for them for an art project. Why not start there? It seems like it’ll be a one on one meeting, and then they’ll draw you.”

Lexa huffs and crosses her arms. She doesn’t need this. “It’s fine, Anya. I’ve met people, I socialize.”

“Lexa, if you even think about telling me the people you socialize with are the teachers in your department, where you talk about old dead philosophers, I swear on my own grave that I will throw you onto the back of my bike, ride out of town to the highest cliff I could find and throw you off of it into the black depths of that valley.”

Lexa opened her mouth to refute that claim, but closed it and scrunched her face up instead.

Anya nodded, “Yeah, I thought so.” Lexa glanced down and shoved her hands in her pocket.

Anya stepped towards her, she spoke softly, “Look, just meet with them, feel it out, and if you’re really not into going forward with it then fine. But I just want to know that you tried. You left behind your comfort in your routine and you did something new and unexpected.”

Anya looked at Lexa, pleading, hoping Lexa would agree to at least meet her halfway on this one. Anya has tried repeatedly for Lexa to try something different. After the incident, she let Lexa heal, take as much time as she needed. But it’s been so long, and she’s worried Lexa’s going to stay stuck in this rut Lexa’s put herself in.

“Okay. Yeah, okay. Fine. I’ll call them. But if I’m not feelin’ it, I’m leaving.”

Anya’s smile was so wide it reached her ears. "Good. That’s all I ask.”

Lexa huffed and pulled her phone out of her back pocket. She took a picture of the flyer, deciding to call them later after lunch. A part of Lexa knew that Anya was right. She had a point, after all, it had been too long since Lexa genuinely did anything of her own volition. There’s no harm in trying new things, is there?

___________________________________________________________

The Brew is a quaint coffee shop on the edge of campus where most students pop in on their way to class. Not entirely too large, it housed a few couches for its customers to lounge on, some scattered tables and booths, a handful of paintings and photographs done by some of the students lined the walls while today’s hits played softly throughout the shop. The employees scattered around behind the counter, taking orders and preparing drinks. It was cozy.

Clarke walks in and heads up to the counter. She orders a small caramel frappucino, hands the barista a bill and picks up her drink at the other end of the counter once it’s been called out.

Clarke picks out a booth in the corner up front. She still has a few minutes to spare before meeting with her potential model. She shifts in the booth, fidgets with her drink and pulls out her phone to occupy herself. Clarke’s nervous about this chick. They spoke on the phone briefly, set up a meeting before Clarke makes a final decision. But the last thing she needs is to draw a student in her apartment and end up on the floor, gutted like a fish - although as normal as they probably seem here, that could very well still happen. Shit. Am I even sure this is a good idea? What if I just use Instagram models as reference instead? Could that work?

Just as Clarke was pulling up Raven’s contact, the door to the Brew chimed open. Clarke looked up as a woman walked into the coffee shop and her jaw dropped. Donned in brown chelsea boots, ripped jeans, a leather jacket over a dark blue button up, wearing a pair of Ray-Ban glasses with frameless bottoms, the woman took a moment to look around and Clarke held her breath. She’s praying this is the girl she’s set up a meeting with.

The woman spots Clarke in her booth, tilts her head to the side like a puppy and strides over to her hastily. It seems like this woman’s out of breath.

“You’re the art student, right?” Clarke nods.

Lexa sighs in relief and drops down in front of Clarke, situating herself in the booth.

“I’m so sorry, I hope I made it on time. I don’t even know honestly, I just bolted from my classroom over here. I got a little held up by a student who -”

“Wait, you’re a teacher?”

“TA actually,” Lexa beamed. “I’m the TA for Professor Gonzalez - ethics and critical thinking. He lectures for the most part and I jump in half the time, when needed, but I definitely grade everything.”

Clarke was impressed. This woman looked about her age, and she’s teaching ethics to her peers? Honestly, that’s hot.

“That’s amazing,” Clarke sighed.

“It’s pretty rewarding. Nothing as amazing as being an artist, though.”

Clarke blushes and waves her off, “Please. I’d barely call myself an artist. That’s a long shot. A pipe dream, really,” Clarke says wistfully.

Lexa’s features soften, gazing at Clarke warmly, her emerald gaze locked onto Clarke’s cerulean eyes. They’ve literally only been in each other’s presence for all of six minutes and all Lexa wants to do is wipe clean any doubt from Clarke and make her believe she can be the greatest artist of their time.

“I haven’t seen any of your work but I’m sure it’s nothing short of phenomenal,” Lexa assured. She got so caught up just having a casual conversation with this stranger, she completely forgot the sole purpose for their meeting.

Clarke smiled and fiddled with the sleeve on her drink. She makes a mental note to thank her friends for pushing her into doing this.

“Speaking of, we should probably talk about what I’ll be doing. Probably where, too,” Lexa said.

Clarke’s eyebrows lift up in surprise and she smirks, “You’re awfully confident that you’d be my model. And that I’d take you anywhere, in fact.” A little savage, Clarke.

It was Lexa’s turn to blush. “I didn’t - I mean, I don’t want to presume anything. You didn’t - the flyer didn’t really have any specifics and I just want to know what I’m in for. I - that is, if I’m -” Lexa rambles, hands waving around as she talks. Completely avoiding eye contact with Clarke.

Clarke lets out a deep laugh and sits back. Arms outstretched on the table, hands cupping her drink still, amused at how quickly she was able to fluster Lexa.

“Don’t worry, you’re fine. I’ve heard way worse from this,” a wry smile on her face.

“Well, now I’ve gotta know what you’ve been told,” Lexa leaned forward, arms resting on the table.

“I’ll save you the specifics but I’ve had a few guys call to ask if this was a nude model position, and whether or not I’d join afterwards.”

Lexa laughed, “Oh Lord, gotta love college boys.”

“I really should’ve expected it, honestly,” Clarke quipped.

“Yeah, definitely part of why men aren’t really in my wheelhouse,” she looked down and shook her head, amused. It took Lexa a moment to realize exactly what she said, and when she did, she looked like a deer caught in headlights.

Clarke perked up at that, leaning forward again and grinned. Oh, if she didn’t want to ask this girl out before, she definitely did now that she can guess she has a chance. Wait, that’s not what we’re here for. Focus, Griff.

“Agreed.” Lexa smiled wryly. “But, anyway, back on topic,” Clarke narrowed her eyes at Lexa, “the model thing.”

“Yeah, alright, yes, of course. So, what exactly are you looking for?” Lexa cleared her throat, and sighed deeply, relieved to be on a safe topic for a moment. She’s never revealed any kind of information about herself so quickly to a stranger before. She’s not used to fumbling with her words. She’s definitely not used to any blushing around a girl. It’s a little unnerving for Lexa.

“It’s pretty simple, I’d hope,” Clarke said. “Here’s the whole situation, really. I have this assignment for one of my art classes where I need to draw a portrait of someone. Not my strong suit honestly, and I’ve drawn my friends so many times I’ve, kind of, gotten used to it? I guess.” She sighs, exasperated at the thought.

Lexa nods, listening intently. “Anyway, I just need someone to sit still for a while, couple hours maybe. Hopefully gather up some fresh inspiration.” Clarke cringed, “that sounds really boring for you, I’m sorry. I didn’t totally think that through but I promise to keep you entertained.”

“Oh, so I’ve got the job then, huh?” Lexa teased.

Clarke rolled her eyes playfully, “Yeah, well, it was a tough one - came down to you or some frat guy who’d, undoubtedly, try to feel me up at some point. So you’re a decent choice, I guess.”

“Glad to know I’m at the same high standards as some fuckboy,” Lexa joked.

Clarke gasped, “What kind of language is that from a college professor, ma’am?” She placed one hand over her chest, faux appalled, the other rested on Lexa’s forearm.

“I’m a cool professor, don’t you know?” Lexa shot back. She was hyper aware of Clarke’s touch, making her stomach flutter. Oh, fuck.

Clarke smiled brightly at her, “Alright hotshot, whatever helps you sleep at night.” She had the urge to rub Lexa’s arm gently, but let go before her body decided on it’s own.

Lexa already missed Clarke’s touch, her arm tingling where her hand has been, craving the warmth, wanting to know how it’d feel to slip her hand into Clarke’s. She shook the thought away.

“Are you free for today?” Clarke asked. Blue eyes gazing into deep green.

“I have absolutely nothing else planned, so, yeah. I’m free,” Lexa responded, barely above a whisper.

“My apartment’s not too far from here so, uh, we can go back there and I can get started, if you don’t mind? If it’s okay with you for today, I mean.” Clarke’s lips twitched up in a hopeful smile.

“Yeah, of course. I’d love to.” Lexa murmured.

Clarke beamed. The two gathered their belongings and headed out. Both of them a bundle of nerves. Stealing glances at each other as they walked down the street, hearts fluttering, yet trying to ignore it.

______________________________________________________

The walk to Clarke’s apartment was fairly quick. The two talked about silly things along the way; Clarke told Lexa about her favorite bands, Lexa told her about being on the soccer team in high school. They got to Clarke’s building and lead the way up the stairs to her apartment.

They reached the third floor and Clarke stopped in front of one of the apartments. 3C in large, faded gold on the outside of her door. Lexa shoves her hands in her pockets as Clarke unlocks the door and steps inside.

“It might be a mess in here, I share it with my two best friends so I never know how it’s gonna look sometimes,” Clarke chuckled. She placed her keys on the table next to the door and placed her bag on the couch.

Lexa still stood in the doorway, hands in her pockets, rocking back and forth on her heels.

Clarke glances over her shoulder at Lexa, looking nervous as her eyes dart around the room. “Do you need an invitation inside, like a vampire? You can come in, Lexa,” Clarke teases.

Lexa shakes her head and steps inside, smiling at how her name sounds rolling off Clarke’s tongue. Smooth and soft, like Clarke is the only one meant to say it.

“I am, actually,” Lexa places her bag on the counter and starts taking off her jacket. “So, thank you for the unlimited access to your apartment so I can suck your neck to live.”

Clarke snorted and watches as Lexa hangs her jacket on the highchair in the kitchen, blissfully unaware of what she just said. As soon as hit her, Lexa stopped cold in her tracks, ears burning, eyes wide.

“I didn’t - I was just - I mean, vampires do drink blood and they - they bite necks so -” Lexa rambled, hands flying as she spoke.

Clarke pressed her lips together, trying to hold back a laugh as she watched Lexa stumble. Lexa seems so easy to fluster, and that’s just too adorable. I wouldn’t mind if she did, honestly.

“Before we really go into vampire mythology, how I set up my supplies and you can make yourself at home in the meantime?” Clarke asked.

“Yeah! Yes, no problem,” Lexa clapped her hands together. “I’ll just, uh, be over here.” She hooked her thumb over her shoulder at the living room and nodded. Clarke giggled to herself and walked over to the corner of her living room where she had some art supplies laying around. Lexa clasped her hands behind her back and looked around the room.

The apartment’s fairly small, quaint but comfortable. An island counter in the kitchen, a few schedules stuck up on the fridge, a sectional couch in the living room along with a recliner both facing a coffee table and a flat screen. The floors were hardwood, the wall behind the television was red brick, photos scattered around. There was a gym bag thrown in one corner, some scrap metal on the coffee table. She looked over at Clarke’s little art corner, sketchbooks stacked in a small pile, a box of pencils, an easel pushed against the wall next to a window. Lexa loved it. It felt full of life and love. It felt like home.

Lexa walks over to a collage of photos on the wall, examining most of them, really just the ones with Clarke. Clarke and a group of friends drinking at a party, Clarke with two brunettes dressed up as supervillains for Halloween, Clarke getting a piggyback ride from an older man with similar stunning blue eyes. That photo’s a bit bigger than the rest of them.

Clarke snatches one of her larger sketchbooks and finally grabs a pack of graphite pencils when she notices Lexa. She inhales a deep breath and strides over, stands next to Lexa.

“That’s my dad,” Clarke says, barely above a whisper. Lexa chances a glance at Clarke, whose eyes are trained on the photo in question. Lexa’s all too familiar with the look in Clarke’s eyes. She turns back to the photo as well.

“A striking resemblance.”

“I got my good looks from him, I’ll give ‘em that much.”

“Eh, you’re alright, I guess.”

“I’ll have you know I won a beauty pageant once because of those good looks.”

Lexa chuckles, “Oh, yeah?”

Clarke smiles and turns to look at Lexa, “Okay, I was like six. Either way, it was a beauty pageant so…”

“So, the age kind of invalidates it, don’t ya think?” Lexa teased. She turns her body towards Clarke, smirking. Her emerald gaze meeting Clarke’s deep cerulean. Clarke’s smile is threatening to spill as she holds Lexa’s gaze. Lexa’s never felt so at ease with someone else, so quickly, before. Her eyes dart down to Clarke’s pink lips and licks her own. Her heart’s racing. Calm down, you gay mess.

Clarke watches as Lexa’s eyes dart down for a moment, just a second, and she locks eyes with Lexa again. A heat pools down in Clarke’s belly as she looks at Lexa’s plump lips. Clarke looks back up at Lexa. Both of them wrapped in the rising intensity of the moment. Neither of them wanting to move from here.

Clarke huffs and closes her eyes for a moment, “Anyway!” she exclaims. She walks around Lexa and waves her arm in direction of the couch. “Pick anywhere. Make yourself comfy. It won’t take entirely too long but, still, sit.”

Lexa takes a deep breath and closes her eyes, tilts her head back to look up. She presses her lips together, licks them, and nods to herself. I’m already so fucking screwed.

She turns and walks over to Clarke, clears her throat, “He was a handsome guy. You have his eyes.”

A shy, bashful smile on Clarke’s face. She loves being told all the things she has in common with her father, physical or otherwise. He was her favorite person, her confidant, her partner in crime. And she really misses him.

“Thank you,” she said softly.

“What was he like?” Lexa was hesitant, but she wanted to know as much about this girl as she could get. “I mean, if you’re okay with that”

Clarke nods, “Yeah, no, it’s fine. It was a while ago so I’ve worked through it,” she chuckles. She looks up at Lexa, sees her smiling sweetly. She looks down at her blank sketchbook. She should probably start on that.

“Try not to move too much, by the way.” Lexa nodded, sat back and crossed one leg over the other, her attention completely on Clarke.

She starts sketching Lexa’s face as she speaks, “Well, my dad… he has my best friend. I mean, I love both my parents - my mom’s great too, we just… fight more often. I guess.” A beat. “But my dad was the peacekeeper. Definitely my biggest fan in every way,” she laughs. “I don’t know how long it took me to understand you can’t draw on the walls at home and paper is a perfectly acceptable option but, he never got angry, even though Mom did. He always backed me up.”

Clarke absentmindedly sketched while she spoke. An outline of Lexa’s face, her beautiful curls, her blue button-up. She chanced a look at Lexa through her lashes. Lexa’s expression is as soft as ever, her eyes glossy and understanding. Clarke can tell she gets it. She hates that this is something they have in common; a loss.

The two lock eyes and Lexa inhales, “He sounds like an amazing father.”

Clarke smiles sadly and responds, “Yeah. He was.” They hold each others gaze briefly, and Clarke looks back down to continue her work.

“I lost someone special to me, too,” Lexa sighs. “Her name was Costia.”

Blue meets green again, Clarke feels so much for this complete stranger, it’s scary. The moment’s briefly intense, the silence a little thick.

“Long story short, she was in a car accident. It was pretty late, some guy had too much to drink, ran a red light,” Lexa fiddled with the hem of her shirt and shrugged. “You know the rest.”

“Lexa, that’s… terrible,” Clarke says.

“Yeah.” She folds into herself for a moment, rubs her hands over her thighs repeatedly, ready to switch gears. It’s been a few years but, every time she thinks about it, it aches a little more.

“Anyway, that got dark,” Lexa laughs an empty laugh, attempting to change the subject. “I uh - wanna hear about this one time in high school, I was on the soccer team and I wrongly got detention for a week because I accidentally hit my coach in the face with a soccer ball?”

Clarke bursts out laughing, “Oh my god, how did that happen?”

Lexa smiles, she tells Clarke all about her rivalry with one of her teammates, Ontari, how everything was made into a competition, how they ended up liking the same girl and their little competition spiraled and Lexa claims she was framed for the missed shot that smacked their coach in the face. To this day, she wholeheartedly believes she was set up. Clarke couldn’t stop smiling at Lexa, stealing glances at her, away from her sketch, as often as she could. She was just about finished but Clarke tried to take as much time as possible on it.

“Lexa, I’m sure you weren’t framed,” Clarke teased.

“I was! Clarke,” Lexa leans forward, serious as ever, hands clasped together, “That girl is satan reincarnate. She, no doubt in my mind, framed me.”

Clarke shook her head at Lexa’s antics. “Okay, okay. I’ll take your word for it. I had something similar happen in high school. Well, gym class, at least.”

“Ooh, an embarrassing story, is it? I’m intrigued.”

“Relax, nerd. I just witnessed it, it wasn’t me. Trust me, I barely participated in any sport, besides volleyball.”

“Volleyball? Oh man, wish I could’ve seen that.”

“Why’s that?” Clarke looks up from her sketchbook.

“You probably looked really good serving up shots during games.” Lexa smirked. Part of her can’t believe she just let that slip, but the more she talked to Clarke, she figured, why not? Anya pushed her into doing something new and it led her to a beautiful, amazing girl. If that’s not some cosmic sign then, Lexa doesn’t know what is.

Clarke’s cheeks turned bright red. She wasn’t expecting that.

“So, how’s the sketch coming? How terrible are you making me look?” Lexa asked.

Clarke huffed, “Are you saying I’m a bad artist?”

“No. I’m probably just a bad model,” Lexa replied amused.

Clarke scoffed, “How can you be bad at sitting still?”

Lexa rolled her eyes, “Just - can I see it?” she asked gently.

Clarke rose and walked over to Lexa, who stood as well. Clarke bit her lip hesitantly and shoved her sketchbook in Lexa’s hands.

“It’s probably really rough and definitely not my best work, so i’m just apologizing in advance and -” Clarke stopped rambling when she saw Lexa running her finger over the sketch. She was speechless. The slope of her nose, the hard lines of her jaw, the absolute softness and light in her eyes, her full smile and wild hair. She looks full of life. She looks beautiful in a way that Lexa’s never seen herself as. And she’s speechless.

“Clarke,” she whispered, “this is amazing. You’re so talented.” Lexa breathed.

Clarke smiled bashfully, heart beating wildly at the compliment. She can tell Lexa means it and it makes her heart soar.

Lexa clears her throat and hands Clarke the sketchbook. Clarke closes it, places it on the coffee table.

“I should uh, get going. Professor Gonzalez got called up for jury duty this week so I should probably go over the lecture for next class,” Lexa said as she gathered her things.

Clarke rung her hands together and nodded, “Yeah, of course, no worries. I’ll walk you out.”

Lexa pulled her jacket on and slung her bag over her shoulder. They walked together to the door of Clarke’s apartment.

“Thank you so much for doing this, Lexa. It was a huge help,” Clarke said.

“Of course. Let me know how the assignment turns out, yeah?” Lexa asked, hopefully.

“Definitely,” Clarke responded. She knows her eyes are blown and she can tell Lexa’s are too. They stand by the door, Clarke rocking on her feet and Lexa fiddling with her bag strap.

“Fuck it,” Lexa sighs.

Lexa reaches up, grabs the back of Clarke’s neck and kisses her. Clarke’s a little surprised, but she quickly melts right into the kiss. It’s soft, Lexa’s lips are soft and full. And Clarke’s lips taste like her lip gloss, strawberry flavored. Lexa’s lips parts beneath Clarke’s and the softness is gone. At the feel of Clarke’s tongue, Lexa releases a pleased sound, deep in her throat, and it leaves Clarke wanting to make Lexa do that again, wanting more.

Clarke digs her hands into Lexa’s jacket and Lexa cups her hands over Clarke’s cheeks, a thumb brushing over the curve of her jaw as Clarke’s tongue presses against Lexa. This time, it’s Clarke who groans.

Lexa comes up for air, moves back slowly, eyes still closed. She rubs her nose against Clarke’s and sighs.

Clarke’s eyes are still closed, too, and she smirks, “Been wanting to do that since I saw you walk through the cafe.”

Lexa laughs, “Wanna keep doing that, maybe, over dinner this Friday?”

“I’d love to, hotshot.”

#clexa oneshot #clexa fanfic #clexa ff #clarke and lexa fanfic #clexa fanfiction #clexa au #idk what else to tag #my writing #wow look at that tag #won't see that again dhcbckajsndn

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gregba3b · 8 years ago

Text

Week 27: “Mind and Body”

Triptych, Francis Bacon

I began this week with a little research following on form the conclusion of last week. The plan is to have 3 keyframes of the room housing “The Mind”.

Final Proposal:

The current plan is to do 3 final images to round off this area of my project. Using the development I have done so far I will be creating 3 environment paintings all from the same shot showing this AI in 3 stages of its life. The first would be a few months into its existence. A gold sun and the atmosphere would be bright and hopeful with scientists and researchers crowding round at their most recent creation. The second image would show the sun in a state of great stress, having swollen to 5 times its original size glowing crimson with the clamps barely able to contain it and researchers fleeing fearing the worst. And the final image would be of a small dark sphere a fraction of the original size inhabiting the now dark and desolated room.

These 3 pieces should be seen together and my intention is to have them stacked upon each other to show this narrative. Similar to a “Triptych” these pieces should be able to work individually but form a larger and stronger picture when together.

Before continuing on with that however I wanted to jump back to the character of “The Body”.

This character sole purpose is to be joined with “The Mind” and eventually act as a vessel for it.

I wanted to make some clear connection design wise with The Mind and The Body and spent time figuring out how to accomplish this.

A few pinned sketches later I had the idea to use the image of “The Mind” and create a far smaller and condensed version that would sit in “The Body”.

I thought about it having an orb/crystal ball like appearance with the neck or head acting like a cradle or pedestal. I created several quick ideas for how this could look.

I was definitely liking the direction this was going but similar to the first spit paint it was taking a darker turn than I’d like.

I looked back at my themes and wanted to make it look more innocent and human.

I then had the idea when looking back at my BA1b work to add a human mask yet not a complete face.

I began by cutting out the image of a human face and applying the globe within the space left. I created several variations looking at possible material changes and more ornamental appearances.

It wasn’t quite looking right with the blue orbs so I swapped it out for the dark star. I adjusted the face to look potentially like a blue wax mould that would sit in front of the rest of the head.

I finally found a design I felt was working well and chose to take it further. I made a quick look into the possibility that the orb is an entirely separate object that can be removed from The Body completely. There were also possibilities for animation within the design such as the core spinning or flaring out.

Very happy with the second pass of iterations I decided to explore the head of “The Body” further.

I continued by imagining how the design could look when viewed from the front as well as what the design could look like were the mask removable.

The removal of the orbs actually gave me the idea that the face could be linked to that activation. Perhaps the connection of the orbs is what brings this body life and perhaps the face is projected and powered once the orb is connected.

There is even the possibility that there could be different projections based on how the the body responds to the world around it. If this really was the next next in human evolution then surely people would want to retain some form of humanity and individualism and one way this could be preserved is through these holographic faces.

I did a couple variations on the selected design as it was looking a little power rangersy. When designing the head from the side I had not taken into account that a sphere would not be similar to the shape of a human head from the front in the same way that it could be from the side. We naturally have circle like shape when viewed from the side but that sphere has its sides shaved when viewed from the front.

I attempted a version where the orbs was not a perfect sphere to help shave down the form of the head.

Though the design was more detailed and worked in some ways I preferred the form of the older version and intended to use that when showing the character in full pose.

I decided to do a quick and yet informative single render of the character just to give viewers a concept of what this walking AI could looking like.

I decided to try my hand again at some image compositing and photo bashing. I must stress that the majority of these image was created using sourced images and then corrected and adjusted to make a more cohesive design.

In the majority of the composites I have tried in this project I end up doing very little paintings and use the brush mainly to add in highlight dodges and multiply shadows.

I chose to give “The Body” an unspecified gender or sexuality. Not because it wasn’t something I had determined but that this vessel was simply designed to carry a condescend version of “The Mind” and its physical appearance in its prototype like state simply would not have been tailored to any specification other than function. It did however end up leaning slightly towards a more feminine build but I feel that works and makes the the frame appear more elegant and somewhat ascended. It’s height also helps intimidation and power but not through strength. I imagine that seeing this walk by would cause a person to stare a while.

Its arms much like its face would also project a holographic image or hard light over the more threatening looking skeletal forms that the metal beneath resembles.

This is the conclusion for “The Body” and the rest of my time will be spent preparing, executing, and finalising the final 3 images of “The Mind”.

The first order of business was to return to my preferred room layout and created a more detailed version of the room.

I ignored the camera angle I had found with my thumbnails a while back and simply concentrated on what would look good in the room and what i could place where.

I found that the detail pass didn’t take too much time seeing as I imported many of the meshes I had previously created for the now left behind cryo pod. With some hacking, slashing and stretching I was able to create new elements very quickly using the old parts.

I surrounded the Core with some clamp like devices I had previously thumbnailed choosing to keep the inner surface flat with the intention to overlay solar panel like devices over them. The panels wouldn’t wrap around fully so as not to obstruct the view of the core.

Though I had previously hunted for a composition I went in searching for angles again to find a shot I felt worked best.

After sending the possible layouts to my peers and getting their opinions I went back in and found a new shot that was in fact better for what I wanted. I created a more drawn out shot than what I needed as I would crop down on the focused area after. Better to have more info that can bleed around the edges in case I framed things differently.

I wanted to use Arnold renderer to extract some renders as well as some clever masks as taught by Chris but for a reason I could not figure out my scene was coming out incredibly dark in the Arnold Render.

With not too much time left to spare I decided to use what I was not pretty comfortable in and imported the mesh and camera to keyshot.

Here I set up the lighting i wanted and rendered out the scene choosing to place different meshes in different groups in such a way that the render would mask them out separately.

This would make things such as creating a mask for the computers a lot easier when it came to painting.

Unfortunately despite being useful I was coming across a rather bothersome issue.

The render would extract and image of the scene but then cut it up accordingly before placing it into a psd. The issue with this, as shown, below is that there is no information on what sits behind objects when the layer is turned off.

This is a problem for this particular scene due to plan of creating 3 versions of the scene. The 3rd phase for instance will have destroyed areas of the environment and it might prove time consuming trying to understand the layout of the room if the information behind certain models is gone.

I tried to figure out ways around this but no avail. Though I had the idea of rendering out each object separately and then compositing after in photoshop but the issues here is that each render would have different lighting information as shadows won’t be cast by objects when they’re hidden in the scene.

The only solution I could imagine was finding a way to hide objects in the scene but set it so that they still react to light and cast the appropriate shadows. Though this feature appears to be possible in other packages I could not find a way to do it in Keyshot and figured I would just have to take this as a loss for now.

I rendered out the composition I wanted into a psd with masks, a clown layer, and all the separate components on different layers.

I then began to start overlaying textures and painting information slowly onto the scene.

This is as far as I have gotten this week. The plan was to spend a day on detailing the blockout and finding the camera angle, 3 days on rendering the first scene, 1 on the second, and then finally 2 on the last. I am currently a day behind on that schedule as I spent more time finding the scene and preparing the blockout to be rendered but hopefully the way I went about it will cause less headache further down the line of painting.

Taking an environment like this to a finished stage where I attempt to give it a realistic and detailed is almost uncharted waters for me. In second year i created a rather bad line work environment for the wolfenstein test, and my first year renderings for BA1a were simply awful looking back now.

Here’s hoping that what I have learned and practised this year will now shine through in these paintings.

#ba3

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