#this post is about guitars

[italiantea]

continuity and handedness in drawing is sometimes so inconvenient like sometimes a composition just objectively looks better if you put an object in a particular direction even if realistically that would not occur and then you have to make an executive decision to either edit reality a little or make your drawing visually awkward for the sake of reality. do you get me

[jjcocker]

i dno man i js really wish I coukd have her. just holding her in my lap .....

[nooodlezzz]

I like to think they act like birds. (Drop your headcanons RN!!!💛🤝)

[urhoneycombwitch]

in case it wasn’t clear. this blog and this bitch do NOT support the industrial military complex.

[uhbasicallyjustmilex]

“He was born to blow your mind… or something along those lines…”

Miracle Aligner @ BBC Radio 1 Weekend, 2016

[zubin-bus]

ROB CANTOR LIVE 4 THE APPLAUSE!!

alt versions v

[werewolfsmile]

Just watched The Big Bang Job again today and I rambled about this in an earlier post reblog but it deserves its own post..

The way Eliot dresses makes so much more sense after meeting Moreau and his goons. He rejects all notions of being anything like those well dressed men in their suits again. So blank and uniform, just another soldier in Moreau's private army.

That's why his shirt is always untucked, sleeves rolled up, collar unbuttoned. Not to mention the hair - the biggest rebellion is his hair. A constant reminder of who he is now that stays the same, no matter what he wears.

And it just makes me think how this is such a good representation of the identity crisis he went through (and let's be real, is still going through).

Eliot used to be one of those men. He had his hair short, wore the tailored suits and carried the guns. He didn't accessorise. He suppressed every aspect of an individual personality in order to fit the role that Moreau had for him.

Sure, we're not blatantly told all of those things in the show, but we can infer, simply from looking at Moreau's goons and how they're presented.

Seeing Eliot surrounded by those goons in the pool scene is more than just showing us the threat to Eliot and Hardison - and also the threat that Eliot and his reputation present. It's about showing us the demons of his past, the nightmare that he doesn't want to go back to. Eliot had alluded to his past before but it's been nebulous. Now, we finally see that past take shape and it's hideous.

But Eliot didn't stay like that. He got out - he got free - and he has been reclaiming pieces of himself ever since. Until, finally, he's the evolving Eliot that we know and love. He prefers to dress casual and relaxed, with strong reminders of his roots throughout. He keeps his hair long and loose - not military regulation, not 'professional' as far as male standards go, not even convenient for fighting. It's all a way of stealing himself back, and making sure the differences between who he was then and now are stark and vivid.

I could keep rambling but this is already twice as long as I intended. Just ... Eliot Spencer. He still doesn't view himself as a better man, never mind a redeemable man, but he is. When compared to those goons, his transformation is clear as day.

[fyeahlonnyeagleton]

emo secondary schoolers when you tell them there's wkd blue and strongbow dark fruits in the fridge:

[ljubitelj-sonca]

Ne Bi Smel by Joker Out, Vienna 09.12.2024

PRINCESS KRIS AND NACE NE BI SMEL BRIDGE SAVE ME

[heartorbit]

SPARKLE ON ✨✨✨

[rpfofficial]

It's Hard to Be a Saint In the City — Live at the Hammersmith Odeon, London, November 18 1975

[4th-make-quail]

some fave pics of Eric and Assad~

[ryuubff]

it's probably obvious that. sebastian is my favorite. sorry. i also like sam though hes cute

also in my first spring i kept fishign up flounders (because . BECAUSE I LOVE FISHING) and i found out only sebastian somewhat likes them and just kept giving it to him.

[starrysharks]

alright, here it is: ZENO'S COLOR GUIDE 3.0 !

here, i'll have three "chapters" regarding color:

CH1: how i color in illustrations

CH2: color and character design (in zeno's case)

CH3: how zeno makes his colors cooler

CH1: HOW I COLOR IN ILLUSTRATIONS

it must be noted that, as of lately, i heavily use halftones in my art and the way i use them for gradients effects my color choices. of course you don't need to use halftones if you don't want to, as it's just my personal choice, but anything regarding halftones here could (probably) also apply to regular gradients!

when choosing colors in an illustration, i usually have three things in mind: mood, character, and contrast. we'll be using "gloomy bunny naptime" as an example here.

MOOD: what's the vibe of the piece? for example, here in "gloomy bunny naptime", wanted a mellow, sleepy vibe, so purples and pinks seemed like the best choice. these colors also have a dreamy effect due to being common in real-life early mornings/summer nights - basically, i tend to use associative colors in illustrations.

i usually only use a pallete of 3-7 colors, though of course more characters calls for more colors. for multi-character pieces, i would actually make a "rainbow" of colors based on the mood of the piece - essentially, a bank of colors to use for your colorful casts based on the actual rainbow. you can alter this based on the saturation levels you want! hope that makes sense. i'm not the best at this though, so i would heavily recommend looking for guides from artists who are more skilled in that department.

CHARACTER: velvet is the focus of the piece, and as a character her palette is made up of many purples and pinks. of course, it's easier because she and ribbon both have similar designs, but i would still recommend using colors based on/complementary to the focus character's pallete, though this is a rule that can and should be broken if needed. gradients can be used to provide a smooth transition from color-to-color and add depth to the piece, as well as showcase velvet's pallete. when making any gradient, you probably want to have a vibrant middle color. this is difficult to achieve in most art programs, so i'd do it like this:

you can use gradients in lots of cool ways to make stuff pop! (i think this collage shows i use too much purple and pink though.)

CONTRAST: the context of the piece also aids the color through contrast. (that's a lot of Cs!)- we see that velvet is just waking up, and the light from her switch is glowing brightly. i wanted to convey something like her switch suddenly turning on in the middle of the night, waking her up - so the console emits "light" in the form of illuminating the contrasting color of pink against the purples. it might seem specific to this piece, but what i'm trying to say is that contrasting colors can lead the eye to the focal point of the piece, that being velvet herself. because a great deal of the rest of the piece is dark, we look at the contrasting switch screen - the brightest thing in frame - and our eyes move around and up to take in the focal point character. at least that's how i wanted it to be ;w; i guess you could convey it as something like this?

CH2: COLOR AND CHARACTER DESIGN (IN ZENO'S CASE)

this is where i start to get annoying, so stand back! when deciding on colors for a cast of characters, there are many factors: time period, variety, personality, and more that i can't think of.

TIME PERIOD: this one is simple. for example, a futuristic time period (such as that in x-calibur) calls for colder colors, such as greens and blues. for characters involved in futuristic professions such as space exploration, this works incredibly well. for modern time periods, less focus can be on colors and more on the shapes of the clothes, but this is not a shapes tutorial! i don't have any ancient times oc stories, but i'd probably use earthy and warm tones.

VARIETY: this is also rather simple. i try to be aware of the palletes that i used, and the similarities they might have with other characters. i try to use similar colors for characters who belong to certain organisations or have a uniform, but of course, it's not like catholic school students adhere their entire look to their uniform, so this is a rule that can be broken yet again. art is all about learning things and breaking them, remember that!!!

color can also be used for symbolism. my absolute fav example for this is vivica and octavia - the amount of red in their designs is supposed to represent the amount of freedom/passion/anger/confidence they have or are allowed to express under their different circumstances. as vivica belongs to a strict organisation, she has far less red in her design, showing her emotions are stifled - meanwhile octavia has it as her main complementary color because of her freedom to express her emotions, though those emotions may be destructive because of her circumstances.

PERSONALITY: what colors are associated with your character's personality? i actually usually refer to magical girl groups to see what's commonly associated with different colors. here's the main trend:

red: hot-headed, passionate, firey

orange/yellow: bright, happy-go-lucky, sunshine personality

green: wise, mellow, kind

blue: serene, graceful, elegant

purple: magical, regal, fancy

pink: usually the main character (though this because magical girl anime tends to be marketed towards young girls), sweet, relatable, determined

of course these are only stereotypes from one genre of anime, and different colors have tons of different meanings. color theory is the best way to learn this! these colors can also express different moods, which ties into ch1. i myself constantly ignore these rules - v-con, a bombastic hyper DJ, is purple (though he does have yellow accents) for example. basically, i just take them as a general rule and try to have them in mind while drawing.

CH3: HOW ZENO MAKES HIS COLORS COOLER

this might be the most important part of this guide. once again, there are a few things to consider here: filters, hue, overlays, and more!

FILTERS: for ibispaint, you can use an adjustment layer on your whole piece to use a filter. i usually only use brightness/contrast here - upping the brightness (or darkening it based on the mood of the piece) and upping the contrast. this helps to better express values and intensify the colors if that's what you want. i often use it in all my pieces to some extent.

hue/saturation/lightness is also helpful in moderation. you can alter the hue - though it usually only helps if you bring it back or forward by just a few points, or the entire pallete will change. saturation is what it sounds like, and slightly over/desaturating the piece can help with atmosphere. lightness is what it sounds like - lightens the colors in the piece. i don't use it at all.

posterize and sharpen mask are some that i've used recently. posterize can add some crazy effects to your art, but i'd probably need to edit it slightly after using it because it can mess with certain colors.

HUE: it's a layer type that can change the overall hue of the piece. i usually use it at a low percentage for atmosphere. kind of like a gradient map but nothing like it? idk

and OVERLAYS: i just use a very saturated blue/purple color over the entire piece at a very low percentage, around 5-10%. it can wash out the piece at too high a percentage.

and that's basically it! sorry it kind of derailed at the end i spent like 2 hours on this and got super tired. goodnight i'm going to sleep please also look at other artists etc etc. bye.

[fairyofshampgyu]

he’s literally so beautiful and handsome

[uhbasicallyjustmilex]

505, iTunes Festival 2014 🖤