#with color & ms paint brushes

[plaguedpriest]

dynasties & dystopia

lord give me strenght to draw clothes this detailed ever again 😭

[s-citrus]

They reflect each other so well it hurts me physically

[kesopan]

binghe wearing his shizun's husband's colors :]

[johnny-but-emo]

[knifegremliin]

attack for CARTOONGORE! >:3

[osmiumstack]

ms paint shenanigans part 2 (click for higher quality)

[mellowmaidenhairs]

have 2 ask… what’s ur rendering process??? because like idk if this makes sense but your work always looks like if someone drew with oil pastel colored pencils and i have NO IDEA how u do that shit 😭😭 sorry if this is like. a lot to ask i’ve always been so curious

i usually start out w a rough sketch and lay down base colors under it and when i’m ready merge the layers and start painting it and adding detail ! sometimes i even just paint over the sketch on one layer

i do this with most of my stuff becasue it makes it easier to bring together the lines and color in an interesting way and also easier to like. redo a face or something without having to go back and forth on each layer.

and for colors and shading i just experiment with colors and diff hues. go crazy use a bunch of varying hues and shades for shading and lighting instead of one chosen color. putting a slight hue change/jitter on ur brush also adds a lot to the piece. and when i render if it’s more stylized i just go in with fun shapes and scribbles and lines!!! sometimes a color choice looks really weird up close but really good once ur finished. just go crazy and experiment is my advice.

[fayehartz]

hi to my friend that fouhd my tumblr account,, ermmm

[tartintart]

Doing those -tobers but I am not gonna draw all of these one by one so I'm drawing some of the prompts at once

Cringetober Day 1. Heterochromia 3. Unnecessarily complex outfit 4. Angel x Demon 5. Ms Paint

[lucalicatteart]

A character reference sheet sort of thing for the main character of the Poll Adventures, drawn more in my usual style (taking a picture of messy pencil sketches then coloring it digitally lol) rather than the cutesy ms paint style of the daily poll images .. there he is.. the adventure boy..

[spaceflight-shapesight]

a look at the night sky (and this blog's header)

[wormonastringtime]

the henrys....

[sparrowlucero]

what prgram and brushes do you use for your work? sorry if already answered

MS paint:

Paint Tool Sai:

Ink and colored pencil with digital coloring:

ms paint is just the pencil tool, sai is usually this:

[thatlotuscookie]

ok ok, hear me out, hear me out I swear-

a Haikyuu character who's a teacher(you pick which one bc I am indecisive lol) who students don't like because they assign too much HW, x Art-Teacher y/n who's super eccentric and all the students have started calling "Auntie" bc they like her so much... and somehow the students realize they're dating

✧･ﾟ: a/n: hiii thank you for the req anon! i choseTsukishima Kei x art teacher!fem reader cause why not :) sorry for the wait, it got a little busy. please enjoy and thank you for requestinng <3

✧ Title: ✧ Paintbrushes and Equations ✧ ✧ Characters: Math!TeacherTsukishima Kei x Art Teacher!Reader, Fem!Reader ✧ Genre: Fluff, Romance, Slice of Life ✧ Rating: G ✧ Summary: Mr. Tsukishima Kei, the strict math teacher known for his tough assignments, and Ms. Y/N, the quirky art teacher adored by students, try to keep their budding relationship under wraps. But between secret coffee runs and after-school visits, it doesn’t take long for their students to catch on. ✧ Content/Tags: Secret Relationship, Soft Tsukishima, Teacher AU, Slow-burn Romance, Fluff and Humor ✧ WC: 1126 words // 6.8k chars

Mr. Tsukishima Kei was known as the strict, no-nonsense math teacher, infamous for assigning challenging homework and expecting punctuality from his students. Across the hall, however, was Ms. Y/N, the quirky art teacher who taught in a classroom full of painted murals, plants, and knick-knacks. Her students affectionately called her “Auntie,” loving her warm personality and encouraging nature.

Despite their differences, the two had quietly been dating for some time now, keeping things subtle so as not to spark gossip in the school hallways. But as careful as they tried to be, some moments were just too sweet to hide from their observant students.

Every morning, Tsukishima would stop by Y/N’s room before classes started. Though their relationship was mostly kept under wraps, there was one routine they couldn’t help but share—he’d bring her coffee, just the way she liked it, and stay for a few moments before his first class.

One particular morning, a student passing by happened to catch sight of them. Y/N was sitting at her desk, fiddling with paintbrushes while Tsukishima leaned against the edge of her desk, coffee cup in hand. She looked up at him with a bright smile as he handed her the coffee.

“Thank you, Kei! You know, I think your coffee runs are the best part of my day.”

“Maybe if you went to bed at a reasonable hour, you wouldn’t need this much caffeine,” he replied, rolling his eyes, though there was a small smile tugging at the corner of his mouth.

“Bedtime? Reasonable? You’re talking to an artist, Kei!” She chuckled, raising her coffee cup in mock cheers.

The student who’d witnessed it ran back to their friends, spilling the details in hushed, excited whispers. “Guys, Auntie totally has Mr. Tsukishima wrapped around her finger. He’s bringing her coffee like it’s a daily thing!”

During lunch breaks, Tsukishima would sometimes slip away from the teachers’ lounge and make his way to Y/N’s art room, which was usually open to students who wanted to work on projects or just hang out with their favorite teacher. Though he’d never admit it out loud, Tsukishima was growing fond of this habit too.

One afternoon, Y/N was holding a brush in each hand, struggling to finish a mural one of her classes had started. Tsukishima approached, watching her for a moment as she fumbled with paint colors.

“Need a hand?” he asked, taking one of the brushes out of her grasp without waiting for an answer. He began painting in neat, deliberate strokes, adding to the vibrant, playful mural.

“Mr. Tsukishima,” Y/N grinned, “are you sure you can handle all this color?”

He just shrugged, pretending to be annoyed, but there was a glint in his eye. “It’s not my fault you’re terrible at ladders.”

The students present watched with wide eyes as their usually stern math teacher helped their beloved art teacher, even taking her playful teasing without so much as a sigh. “Is he… actually smiling?” one student whispered, amazed. “And helping her paint? They’re definitely dating.”

On Fridays, Y/N would stay late to finish up art projects, often leaving well after most of the other teachers had already gone home. But one evening, as she was cleaning up her brushes, she was startled by a familiar voice at the door.

“Didn’t I tell you not to stay this late alone?” Tsukishima’s tone was gentle, though there was a hint of concern.

“Oh, but I had just one more layer of glaze to apply! I didn’t want to leave it unfinished,” she replied, smiling sheepishly.

Tsukishima sighed and moved to take some of the supplies from her hands, setting them aside. “That can wait. You shouldn’t be here by yourself. Come on, I’ll walk you out.”

They left together, but not before another student, leaving basketball practice, caught sight of them walking side by side down the hallway, Tsukishima’s hand brushing hers in a quiet, comforting gesture.

“Did you see that?” the student whispered to a friend the next day. “Mr. Tsukishima totally waited for Auntie after school. He’s such a softie for her.”

When Field Day rolled around, Y/N was the designated supervisor for the art activities station. Her students flocked to her booth, excited to paint, tie-dye, and get a break from competitive games. Tsukishima, though not usually one for field activities, had somehow found himself “volunteered” to help out at her station by none other than Y/N herself.

At first, he’d tried to stay in the background, sorting supplies and ensuring everything was organized. But as more students lined up, Y/N pulled him over to assist with face painting. “Come on, Kei, it’s fun! Don’t be so serious,” she teased, handing him a paintbrush.

He gave her a long-suffering look but, after a few convincing nudges, gave in. Soon, students were giggling at the sight of Mr. Tsukishima painting bright flowers and animals on their cheeks.

“Mr. Tsukishima, can you paint a dragon?” one student asked, grinning. And to everyone’s surprise, Tsukishima nodded, actually putting in the effort to paint a rather impressive dragon.

Meanwhile, Y/N leaned in close, watching him with a proud smile. “See? I knew you had a colorful side.”

The students at the booth exchanged knowing looks, watching the way Tsukishima’s gaze softened every time he looked at Y/N. One bold student whispered, “They’re definitely together. I think Auntie’s the only person who could get him to paint a dragon.”

The biggest reveal came on Y/N’s birthday. Her classroom was decorated with student-made banners, handmade cards, and small, thoughtful gifts from her students. But the real surprise came when Tsukishima walked in with a bouquet of wildflowers, which he set on her desk, much to the shock of her students.

“Kei…” Y/N murmured, her eyes shining with surprise. “You didn’t have to—”

“Happy Birthday, Auntie,” he said simply, giving her a small, genuine smile before glancing pointedly at the students, who were watching, open-mouthed. He gave them his usual glare but, seeing the excitement in their eyes, eventually gave up on hiding it.

And with that, the students finally had their confirmation. They all whispered to each other excitedly, some even daring to give Tsukishima approving thumbs-up. From that day on, Tsukishima’s “monster math teacher” title softened in their eyes. He was still strict and demanding, but he was also the teacher who went out of his way to make their “Auntie” happy.

As the weeks went by, more little moments started to unfold between them—moments the students watched eagerly, as if they were witnessing a real-life romance. And while Tsukishima might not have been the most affectionate in public, he showed his care in small, steady ways, making sure Y/N was looked after and supported in the little things.

[mclalan]

Can you share what your art-making process is? What software and tools do you use?? I'm falling in love with your work!!

Thank you, I'm so happy you like my work and are interested in the process. The short answer is I mostly use Adobe Animate.

I hate how I'm using an Adobe product (although I still regard it as a MacroMedia Flash product), but there's just no other software that compares to its jankiness. Perhaps it's just my long familiarity with the program, but nothing I've experienced matches how it simultaneously feels like drawing in MS Paint and using Microsoft PowerPoint vector shapes. The result is something that feels in-between the two; handmade yet computer-generated.

Typically, I'll start with a hand-drawn sketch, often beginning as a thumbnail done with pencil and paper.

I'll then do a mix of hand drawing and vector shape tool rendering. I use the Paint Brush tool to hand draw strokes, and the line and shape tools mixed with transform to make more geometrically accurate shapes. The design is rendered into divided closed loop shapes, ready to be filled with a solid. The strokes are kept or removed depending on the design.

These fill shapes are then either coloured and rendered in Adobe Animate, using fills, gradients, or a more complex process of masks and effects.

Alternatively, I'll bring all these vector shapes into Photoshop and use them as clipping masks. The vector shapes act like masking taped areas or shields to maintain sharp edges, while the brush is like an atomized airbrush used to build soft volumed forms.

Please excuse all that horrible Adobe Cloud and AI bloatware...

And there we go!

Variations in the process include just using MS Paint, index color in Photoshop, or 3D programs.

Very old works of mine were almost abstract, just exploring digital mark-making, which was a trend I was following in the mid 2010s that I loved. This kind of stuff.

While my current work uses its digital material specificity as an intermediary to the subject in the illustration.

For example, #ersatz.world parodies clip-art and flash edutainment styles but imagines the characters living within that kind of world. The designs are meant to be cute, easy to read, light in computer processing, but also irreverent, janky, and generic too.

People typically regard this sort of clip art style as ephemeral trash, but I always found them charming. I use Ersatz World primarily as a satire vehicle, parodying educational formats to spoof corporate explainer content and digital media.

However, part of the problem with Ersatz is I've made it look too polished, complex, and I've grown too attached to the characters, which I imagine is a typical issue with overbuilding a world. So recently, I've made an even jankier Ersatz-like set of characters to play about with, using an even simpler style with less cohesion. I like to try and use slightly different styles and digital material styles to relate to the property at hand.

That’s why #autonymus has a bitmap digital material and a denser feel to it. Unlike Ersatz, Autonymus is not meant to be an overt semi-meta fiction. It’s not exactly pixel art, but the pixels are just about visible, as the intention is to create a digital expressionist depth to the setting. Although it’s still stylized and not realistic to our world, I definitely still want to evoke semblances of our world. That’s why there’s attention to landscape, plant life, and implied life beyond what you see in the frame with the characters, etc. But I'm still making a cartoon, and I still want it to feel at ease with itself being a digital material work. Characters are therefore flat, simple, stiff, and the speech style is like a bad Shakespeare parody. I like to balance between ugly and appealing, simple and complex, familiar and unfamiliar.

In regard to things like inspiration, references, and my relationship to aesthetic genres; these things certainly factor into my work, perhaps I'm even overtly dependent on them. My work can definitely be post-modernist in method; creating new, ironic, or fragmented interpretations through deconstructing a mix of various styles or methods. But at the same time, I'm still trying to make a digital gestural representation where the aesthetic is driven by my relationship to the software and techniques directly—not simply in an attempt to reference a style. For example, I like drawing lines in sweeping strokes, not to a point of geometric perfection, but just in a way where the curves are smooth and simple. But if I want perfectly curved or straight lines, I'll use the vector tools.

Working this way, you can sort of learn why certain styles and design choices in past vector aesthetics were made, as they would have also needed to make similar choices. That’s why I’m more mindful of using digital material specificity as a foundation to build narrative and subjects upon these days.

For example, genre references like cyberpunk clichés for #cyberhell or late medieval design for #autonymus or 2005 to 2015 era subculture fashion for #gradientgoblinz.

I think it’s important to take inspiration and reference from a wide variety of sources, but I think they’d mean nothing without having something to say or express. Autonymus, although it is a collection of tropes and clichés, isn’t just about that. It’s a story about the tensions of socially constructed systems and how that shapes faith, technology, and the natural world, or at least that's what I'm aiming for anyway.

But despite all that, I think there’s a danger of locking myself into the past by using these methods. For example, using nostalgia and references to past aesthetics can result in just recreating the past in a form of role-play. To avoid that, I try and evoke the past through a messy, inaccurate pastiche rather than caring to accurately re-enact anything. I’m probably not always successful at communicating the deliberateness of this, and it can certainly get very frustrating and pedantic. To be honest, I do kind of hate aesthetic labels (terms like Y2K, global coffee house, utopian scholastic designs from a pre-9/11 world).

I do not believe that a project aimed solely at mapping history through aesthetic styles is worthwhile. Sure, they can be handy for organizing style trends, but they can also be reductive and ahistoric. Who are these people to define the history of these design eras? The result is a kind of suffocating simulation of design history but removed from context, perfect for moodboardism. I wish it felt more tongue-in-cheek, less absolute of itself in its own practice. Instead, it acts to legitimize and engender those making these labels, almost giving them ownership of the design styles. It’s similar to the logic and process of generative AI and its databases in a way, just done manually.

I’m very inspired by artists like Oneohtrix Point Never in this regard, as I think he’s able to create an aesthetic portal to all kinds of memories, feelings, and worlds reminiscent of the past, while still being in the present. It’s more a reflection of how timelines are messy now, like a memory or dream, rather than an audacity to say the past was actually like that, or to try to actually map some kind of timeline.

I think the benefit of this process is how it avoids the other side of the spectrum—being locked into chasing the cutting edge of digital processes. I don't necessarily think using an old digital process means your work inherits the semiotics of old aesthetics. Non-digital mediums don’t have this issue to this degree, as you can still paint in oils and be considered contemporary, or at least it's not frowned upon to such a degree. And I also don't think anyone in the heyday of Flash ever made work the same as I do, especially as computers are more powerful now so can handle more. I probably shouldn't boast too much about that though, as artists at the time probably just had more sense than to use Flash like a painting program! So then, why is my use of Adobe Animate critiqued as obsolete and an aesthetic dead-end? Because to whose standards is this process obsolete? If you value digital aesthetics as an apparatus in industry practice, then sure, my work is redundant.

But as wonderful as the latest tech can be in creating new aesthetics, I do feel it can be overtly dependent on the trends and directions of tech corporations, and therefore act as an indirect propaganda tool to their hegemony over digital aesthetics, such as the ever-demanding processing power needed for simulated realism. If anything, work that does follow in the direction of the latest tech trends is ironically the quickest to date once the trends move on.

I've noticed I've not really described what my work is about, just the process, in this text. But I don't know, maybe I like Flash because it is regarded as redundant. No one really cares about it, so I feel free to make whatever I want, and can decide on form myself, to my own standards, the quality of my work. As fun as making images is, I find it difficult to put into words what it is exactly I'm expressing in my work, and perhaps that would spoil it anyway.

[knifegremliin]

i have decided you guys are allowed to see my ms paint titty study (except not a study because i was doing this with no reference)