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mistysblueboxstuff · 1 year

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Hello, first of all, I’m really sorry for bothering you with this. I’m a person who other people consider an artist. I’ve made things all of my life with whatever tools I could get my hands on. My family was too poor to afford paper and pencils so I burned wood engravings with magnifying glasses. My handwriting is tiny and precise because I loved writing but had to squeeze every inch of space out of a page. Over the years I’ve done a lot of other things that caught my interest, including sculpture, 3D modeling, modding, making dolls, decoupage, graphic design, oils, watercolor, lots of stuff. I won awards, got into some magazines. People paid unreasonable amounts for my stuff. I even spent two years in college majoring in drawing and painting before admitting to myself that I hated the process and though I had some technical skill, I wasn’t a real artist and didn’t have the inspired creative spark real artists had. I was okay with that; I don’t want to express myself. I’ve always made things because I wanted to learn things and see something I wouldn’t have been able to see otherwise.

I’ve always thought of myself as someone respectful of artists. I’ve spent so much on commissions that I don't have a savings account. I’ve always paid artists as well as I can afford and sometimes more if I thought their rates were low or if I knew they were putting extra work in on a piece. I’ve also bought a lot of fan made merch. Almost a thousand of that has been on prints you’ve made. I love your art.

I’ve been passionate about text and art AI for years. At first I was excited when the public became aware of my hobby and I thought that I’d finally be able to talk about it with people. Except, it turned out that everyone hates this thing I’m passionate about and would hate me if they knew I used it. I’ve had to hide it and keep it bottled up inside, away from the people I want to share it with. Everywhere I look, I see words like AI bro and AI clown and lazy and that people like me should just die.

I’ve heard all of the arguments for and against it. I do get why people are scared and discouraged and feel like they’ve had something taken from them. But I also know that I can't stop loving AI. I can't stop making things and learning new skills in things that interest me. That’s who I am. If I know anything about myself, it’s that.

I have one enormous print of yours of Aziraphale hanging over my bed. It has given me so much happiness for the past two years. I’ve felt love and beauty when I look at it. It’s been a source of comfort and joy. Having grown up lesbian in a religious household that thought I needed an exorcism, there’s something about seeing him turn his face away from God that resonates.

It’s been eating me up inside for weeks because every time I look at the picture above my bed, I don’t see Aziraphale any more. I don’t feel that love. I can only think about the person behind it that I respect and how they’ve said I should die, and the community behind them that I want to be part of but would hate me.

Am I the bad guy? The pain feels like a festering boil that needs to be lanced, so I guess I’d like to hear you say that what I’m doing is unforgivable so that I can take the picture down, grieve and move on. I know that's a lot for a stranger to ask of you. It's probably messed up that I'm even bringing this to you. I'm sorry.

Hiya. Thank you for messaging me. first I'd just like to say I don't think anyone should actually die. I know I say AI folks should die but it's something that I don't actually mean or want, I'm just angry. I don't like being told to "adapt or die". I don't appreciate AI folks saying I should "get on with the times and use the AI". I don't appreciate being told to "learn a new skill" by people who by all accounts have none themselves. I don't appreciate being told to "go work at McDonald's bozo". Being told to "get a real job". These are the things said to me personally, not just to artists in general.

Have you seen the vile things artists are being told by the AI tech bros? How we are being treated? They call us "drawslaves", "paint pigs", but at same time we're the "elite" keeping the poor masses away from their god given right to be able to make art without putting any effort into it.

We have every right to be angry and I'm really sorry me saying they should die has hurt you. I'm hurting too. I haven't been in the best place mentally and I won't go into details but this whole AI thing has only made it worse.

I don't think artists are just scared or discouraged, they're angry because their art is being stolen by this thing made to replace them. It really really hurts, I can't tell you how much. It's also infuriating. A lot of the time it makes me want to just stop making art because what's the point? It'll just get stolen and chopped up, bastardised into some AI monstrosity and soon I won't even be needed at all. I spent my whole life trying to figure out what to do with it, finding one thing i love and managing to make a living off it, only for it to be taken away from me by a machine. Might as well just stab me to death and get it over with. It would hurt less. One of the things that hurt me the most is when people question if my art is AI or not. I hate that I also question every piece of art I now encounter too.

Your story is inspiring and it sounds like you enjoyed making art, so what happened? I can't understand how any artist would actually feel accomplished by generating images via AI. I do understand it's fun and brings joy to people I guess. As for being a part of the art community I don't think most artists will ever accept AI folks as being a part of it. There is a huge AI community though, as I'm sure you know.

Personally I find it really difficult to look at AI images, for many reasons, seeing them treated as art pains me. It's why I left ArtStation and why I'm no longer active on DeviantArt either.

I don't think you specifically are the "bad guy". The bad guys are the people who are pushing for this thing to actually replace artists. The bad guys are the hedge fund billionaire man babies behind it. I do think people using AI are helping it get better at stealing though. The support the AI has been given by folks using it has made people behind it more aggressive as well.

But like I said many times before I don't hate AI specifically and if it stops stealing and starts being used more ethically then it's fine (sort of). But I think everyone knows the AI would be nothing without actual artists' work, that's why they're gonna fight for their "right" to keep stealing from us. Wonder who they gonna steal from when most of us abandon art because we'll have to do something else to survive and there won't be time for making art anymore.

I'm really sorry my stance on AI is making it difficult for you to enjoy my art though, I never really thought about that so thank you for making me consider your perspective on this. I'm happy my art has brought you joy. For what it's worth I don't hate you, I don't think using AI is unforgivable, I don't think you're a bad person for using AI and finding joy in it. But as an artist I will never support AI. AI stomps all over everything art stands for, to me at least. It's a travesty. It mocks everything I've been through as a person to get where i am now. There are so many artists i love and seeing their art stolen and used in this way makes me so mad. It's easy to make the issue sound simple by saying "artists are just scared because AI is better" but it's so much more than that.

I'm sorry you feel like you need to take my Aziraphale painting down. I can't help but feel the way i feel though. i hate AI as it is now but that doesn't mean i hate every single person who uses it. I'm sorry though. i wish i had something smarter to say and something to make you feel better :(

#reply #anti ai #long post

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acaseforpencils · 1 year

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Gustavo Magalhães.

Bio: My name is Gustavo Magalhães and I am a Brazilian illustrator/cartoonist. I live in Caçapava, a small town in São Paulo state. I have worked as an illustrator since 2013.

As an editorial Illustrator, I've been published by The New Yorker, Golf Digest, Forbes, The New Republic, GQ Magazine among others. The first time I was commissioned by The New Yorker was in 2021, for "The Critics" session on a portrait of Sandra Oh" for her new show at the time, "The Chair," which aired on Netflix.

Sketch, refinement, finished piece.

I also have a web comic strip called "Curb Talk." It's published twice a week in a classic Comic Strip format.

Lately, I am a Senior Illustrator at a Studio called "Fried Design Company ,'' in Springfield, Missouri. But I work from Brazil.

AOIKTYE Procreate Keyboard for Ipad / Apple Pencil / Ipad Pro

Mac Mini / Asus Proart PA248QV Monitor / Huion Kanvas Plus 22 Display

Tools of choice: My process of work is mixed, I like to sketch the first thumbs and sometimes more advanced pieces on paper and "ink" / color them using digital tools. It's been 5 years that more than 90% of my final pieces are done in digital, and along that period I discovered that I'm a person that likes to do a significant amount of tests while inking, and digital tools help me a lot in that.

Lately, I've been trying to achieve an inking process that I could do both on paper and on digital, that way I could do my pieces however I feel on that day, and my comic strip has been a good place for this test field, and I'm enjoying that mix very much.

Pentel .09 Mechanical Pencil / Staedtler Water Brush / Staedtler Pig LIner 0.3 / Royal Talens No. 2 Brush

If you were asking me "You are on a desert island and can bring just one setup with you," I'd say I would bring my iPad. It allows me to sketch with an "analogic feel," where it's important to feel that you are actually crafting something. But it also gives me all the testing possibilities the digital work has.

Huion Display pen Battery Free Pen PW517

Tool I wish I could use better: Coloring in general, but mostly painting. It's always a struggle to translate what I have in mind to the final piece. And there are some aspects of texture and rendering that you can only get in analogical tools like gouache, oil, watercolor. Of course there are excellent artists that do those digitally, but there are certain aspects that you need a physical touch to achieve and I have never done anything like that. Maybe one day.

Tool I wish existed: A chair + desk set that automatically corrects your bad posture whenever your body is hurting or sitting in the wrong way. I hate having lower back and wrist pains while working, haha!

Tricks: One thing I brought from the full analogical days is an adaptation of the "drawing from your shoulder thing." Personally, I found it very hard to do, so I use a bandana on my pen hand, and use the other hand to pool this and drag. This is a thing that helps me a lot when drawing straight lines with a handmade feel, instead of just using shapes in Photoshop or any digital tool for precise lines.

Misc: "Go easy on yourself and have fun!" I never thought I could work with illustration. I spent almost a decade working in the aircraft industry (half of it doing freelance illustration jobs for local bands and brands) and the factory mentality lever left my mind, just now (after 10 years as an illustrator, 7 as my main activity), I'm recovering the passion that I had as a young doodling kid. Everyone sees artistic careers as this romantic thing, but it's always a struggle (at least for me) to face your passion as an obligation day to day, and make this trade of time and love for money. So after several years going hard on myself I am finally learning how to be lighter and having more fun and joy in my work.

(Outro/Editor's note: I asked Gustavo if he would care to discuss how working in the aircraft industry affected his work as an illustrator):

I think the biggest influence I got from this industry was the routine and how to deal with work. Artists naturally tend to be less rigid in the aspect of routine because of the nature of creativity, and I think that having almost a decade working in another industry in a more conservative environment helped me in how to take it more serious in all aspects, from my day to day process, to how to treat my clients and deadlines.

That's basically the biggest influence and learning I got from this period. How to understand that the work isn't just the drawing and thinking, but everything that happens behind it, from the clothing choice I pick to work at home, from the time management I need to have in order to balance all simultaneous projects I have.

Website, etc.

Portfolio

Curb Talk Comics

Instagram

Twitter

----

If you enjoy this blog, and would like to contribute to labor and maintenance costs, there is a Patreon, and if you’d like to buy me a cup of coffee, there is a Ko-Fi account as well! I do this blog for free because accessible arts education is important to me, and your support helps a lot! You can also find more posts about art supplies on Case’s Instagram and Twitter! Thank you!

#Gustavo Magalhães #artists on tumblr #illustration #illustration process #art process #comics

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repost-this-image · 2 years

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Tips For Aspiring Artists

I'm not an expert by any means, but here are some things I've figured out that I wish someone had told me sooner. 1 - 6 are for traditional artists, but the other tips work for digital artists as well.

Get artist-quality supplies. Crayola is nice, but Crayola costs less than artist-quality supplies for the same reason that Barbie's Dream House costs less than a real house: It's for kids to play around with. By all means feel free to practice with Crayola for now, but start saving up for the real thing. You may have to buy markers one or two at a time as you have funds, or ask a friend or family member to buy you that awesome paint set for your next birthday or whatever. Trust me, once you see and feel the difference, you will never go back. It is night and day.

Buy an artists' pen set if you're using traditional media. You know why professionally-inked art looks so good? Because they use a variety of line thicknesses. You know the easiest way to make that happen consistently? A set of artist's pens in varying thicknesses. This is a good set at a reasonable price, and the ink is phenomenal (read that description--your average writing pen doesn't have those qualities). I am not sponsored by Sakura; this is just the first really good pen set I ever bought and it's served me well.

India ink dries waterproof. Let me repeat that: India ink dries waterproof. It's also not alcohol-soluble, which means it's great for working with water- or alcohol-based markers or watercolor paints/pencils. Just make sure your ink has time to dry before you add color!

Prismacolor, Copic, and Spectrum Noir markers are REFILLABLE. This is why they cost more than the store brand. You are expected to keep the marker casing and buy a bottle of ink in a color you're running out of, and a set of spare nibs for when your marker nibs wear out. This is cheaper than buying all new markers, plus you're gonna run out of one or two of your favorite colors way before the rest and you'll be happy to have that ink on hand. These markers are meant for the long haul, and by George they're gonna make sure you can keep using them for the long haul.

Use the right paper for your tools. Sketch paper is great for pencils and some paints, but horrible for everything else. Marker pads are perfect for alcohol markers, but expensive. (I use white cardstock because of how expensive actual marker paper is. Gold leaf is less expensive per square inch.) Watercolor paper has a rough surface that isn't good for charcoal work but has the perfect amount of "tooth" for watercolor paints and pencils, and is thick enough not to pucker the way regular paper does when wet.

Painters, learn about gesso, thinners, and extenders. These items can make your time painting much happier, especially if you work with acrylics on fine details (like, say, doll customization).

Don't overwork yourself. If you're gonna do a marathon art session, set a timer for one hour. At the end of the hour, STOP. Put your supplies down. Get up and stretch your legs and do some wrist exercises. Then reset your timer and start working on your art again. You do not want to end up with carpal tunnel or chronic wrist pain by the age of 25 because you pushed yourself too hard.

Warm up before you start an art session. Nothing fancy--just get out a piece of regular paper and a pencil, and make some loop-de-loops, zigzags, and doodles for 5-10 minutes to loosen your hands up so you can get them to make the shapes you want.

Learn how to practice drawing That Thing You Suck At Drawing. Let's say you suck at hands, and you want to get better. Find a lot of photos of hands in various positions, shown from various angles. Study the way the light hits them. Trace the photos to get a feel for the shapes. Then and only then does it make sense to start trying to draw them freehand. Always refer back to the original photos, NOT to your earlier drawings, so you're less likely to repeat mistakes from your drawings.

Don't be ashamed to use tools that feel like cheating. Real, professional artists use rulers (or the straight-line tool in an art program) and compasses (or the circle program) and stencils (or the stamp tool) all the time. I hear people say things like "You're so talented--I can't even draw a straight line!" You know who can draw a perfectly straight line without help? NO ONE. Tools are there to help you. Use them. There is no special reward for doing things the hard way or Suffering For Your Art. It isn't morally better or a more "pure" form of artistry; it's just harder.

Break the thing you're drawing down into lines and shapes. You know those sketch layers in Photoshop, or those rough pencil marks in traditional art, or the perspective lines in a scene? Artists are basically using sketch time to plot out the general shapes and structures of their subject before fleshing it out more and making it look all pretty and polished. Everything you look at is basically made of lines, shapes, and regions of color. With time and practice, you get better and quicker at doing the sketching part. But you never really outgrow it.

#art reference #art tips #doll customization #traditional art help #digital art help

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entropyvoid · 2 years

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hi! i love your art! (i usually reblog from art blog hollyleafe)

i’m new to gouache but not watercolor, and due to learning about the lightfastness i’ve started mixing some of my winsor and newton watercolors with white gouache for pink and purple due to the himi gouache pink and purple being super fugitive. it’s a pain, though.

I wanted to ask a few things,

what gouache do you use,

what kind of paper is your favorite? I’m currently painting on arches cold press, but idk if i’m a fan of it for gouache…

what’s your process of painting with both mediums? I have been layering watercolor first and then gouache on top…but i lose the depth of the watercolor.

sorry for the long ask, I love your art!!!!! maybe you could make prints through a third party site for your pokemon? they are so beautiful!

Hi! Thank you so much! I'm super flattered by this!

I am, perhaps, not the best person in the world to ask about gouache advice as I also primarily use watercolor and also am kind of a beginner with gouache, I actually did all the Pokemon paintings to experiment with them. (And with not lining everything with ink, which is what I usually do.) Your process sounds very similar to mine, I start with a watercolor base (though I make sure to shade and finish it as I would a regular watercolor-only painting) and layer gouache over it, usually for colorful pops of highlights and sparkles and the like. I've only really tried this on my Pokemon paintings though, and I need to experiment more with other stuff. (But I do still plan on doing more Pokemon paintings.)

As for materials, I've been using himi gouache, I could probably really use some higher quality stuff, but all the tube-paint gouache brands I've tried so far kinda don't re-hydrate or stick to palettes I try to stick them on as well as watercolors do, and I like to sorta slather gouache on pretty thick most of the time, so... jelly gouache has kinda been what works best for my personal process. Mostly because it doesn't have the issue of drying out as fast, or being in too small quantities that run out pretty quickly. I got my big ol' himi palette a while ago, and it's lasted me quite some time.

I also love arches cold press for watercolor, it's one of my favorites to use when I can get ahold of it, (or any particularly nice, heavy, smooth paper) but for gouache, so far I've found that more textured paper seems to be nicer? Which, hot press papers tend to be more texture-y than cold press, but I've been doing my Pokemon paintings on Arteza's cold press watercolor paper and I think it's a pretty good middle ground. There is probably better quality paper for the task out there, but Arteza is a good cheap/accessible starting point.

Hope this helps! I wish I could give you more definitive recommendations, but I'm kinda still experimenting myself.

Also, I will totally consider the third party printing site thing! I was looking through sites to do that on a while back, but life kinda got in my way and ate all my time. I should definitely start looking again.

#asks #I haven't been focusing much on art or selling anything lately bc I've been spending the last year basically couch surfing #Which I know sounds silly because a shop would fix that issue #At least partially #But it's a bit more complicated when everything you own is in boxes and all of you time and energy goes into a min wage job #but now that I actually Live Somewhere I can shift gears again #And I definitely do wanna open up a shop #Right now honestly I just need to find a place to scan all the new stuff I have made bc everything you see me posting here is #at least a year old

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arctic-hands · 2 years

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[Image Description: a backyard on an overcast day. There's a lot of greenery at the base of a tall wooden fence, plus the top half of a simple charcoal grill visible. Behind the fence is a brick wall, behind which are some trees that spill over. There's a large tree on the left side, and a powerline runs through it. End I.D.]

[Image Description: a simplistic watercolor painting of the above scene, in a sketchbook. Next to the sketchbook a small metal watercolor palette is open flat. End I.D]

Wanted to paint something just to say I painted something, and I've been meaning to retry the (horribly designed) Himi/Miya watercolors because I'm frustrated by Viviva's lack of white and the learning curve that comes with trying to pick up pigment from a sheet of paper. Might use the Himi for my travel sketchbook after all, but only for sketchbooks. There's no info whatsoever about lightfastness aside from their claim. They also claim they're nontoxic, so I'm gonna have to take that at face value.

The big problem I have is that if you have nothing to keep your pallet flat on, you have to hold it carefully because the mixing trays just flop down and unless you have large hands you're going to end up having to sacrifice one tray in order to keep the other usable. And the trays don't secure so you'll have to wrap a band around it to keep it closed. I think Himi came out with a new pan recently, so maybe that's better designed.

Another problem is that they reactivate and absorb into the brush a little too well. I didn't use a whole lot of paint but there's already significant dents in the colors I just used.

The sketchbook isn't my tiny sketchbook for tiny sketches, it's Hahnemühle I got as a gift right after I had ordered the TSFTS. It's not my favorite–despite being watercolor paper it's thinner and more buckley than my Stillman & Birn mixed media Beta–but I can use it for testing and practice.

Not seen, but I used the Derwent Push Button watercolor brushes. They're much easier for my weak and painful hands to use than regular waterbrushes, but I had to get up in the middle of the painting to refill one, which I'm not pleased about because I don't want to be out and about and run out of water and then try to fill the tiny hole with whatever I've got. But whatevs

#watercolor #art #Himi/Miya #hahnemühle #derwent #image described #arctic's art adventure

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winchester-reload · 5 years

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How long did it take you to finish the watercolor of Cas? I have a watercolor commission that I have to finish and it's been awhile since i've painted with watercolor. I'm really nervous about this painting and I don't have that much experience with using watercolors that come in a tube. Do you have tips on starting a watercolor that includes a background?

I’m not sure if I’ll make you feel better by answering this question. That Cas watercolor took me a very long time to complete… Thing is, I was hella gun-shy coming back to watercolors after over a year without touching them, so I totally feel your pain here. Just work slowly and carefully, but try to stop dreading it. The way I got past it was I had a copy of the lineart (well, the original lineart) and I just told myself everytime I sat for another session that if I totally screwed it up, I could transfer that onto a new piece and start over.

You can always start over. It sucks, but it’s an option.

Generally, with tubed colors, I squeeze them out onto a palette (you can see a corner of it in that Cas painting link). They dry over a couple of days and then you can basically use them like you would pre-paletted watercolor paints. But, you can also use them while they’re still wet, just be cautious of how much paint you’re getting on your brush. A little goes a long way, and just a dot of wet watercolor is POTENT. Always do spot tests onto scrap watercolor paper before you try a new color to see how dark it’s gonna come out.

For backgrounds, I don’t think it necessarily matters if you do it first, during, or last. It’s gonna depend on what your aim is. If you want to do a color wash, you’ll have to do that first. If you want to do something a little more abstract, you can do it during the figure painting process, just make sure your figure is dry before you start spreading background colors to prevent bleed. And likewise, make sure your background is dry before you start in on your figure again.

But my biggest tip is to just sit down and start painting. And don’t freak out if the painting hits its ugly phase. I mean, that Cas painting looked like this for a bit before he started to come together:

And he worked out okay

#sirlsplayland #asks #art asks #watercolor #fanart

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jeoseungsaja · 3 years

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⭐️⭐️⭐️ - for Yeoshin? 🥺 v4, unless you'd prefer canon ;333333

@mythvoiced ♚ from x.

Send ⭐️ (or multiple) for a headcanon about our muses.

⭐️ Yeo used to draw and paint during the Goryeo era. When his Kingdom dissolved and he escaped from his initial, painful fate as King, the wish to pursue such an interest of leisure dissolved. He practically left hobby on the backburner, for he had to deal with other things, such as taking a firm hold of his abilities as a gumiho and simply survive on his own. Nevertheless, the itch to draw and paint returned when he started developing feelings for Kim Shin. He needed more than his memories to remember things about Dokkaebi, and so he picked up a sketchbook (sometimes he misses silk canvases, but he guesses small notebooks with several pages are more practical) to start drawing anything Yeo deems memorable about their times together. As such, Yeo has several pages with charcoal and watercolor sketches, all of them related to Shin in one way or the other. From cherry blossoms, to forbidden roofs upon high buildings; from bouquets of flowers with heartwarming notes, to the gorgeous face he desires to see frequently, they're all saved upon paper sheets. Some of the drawings even have notes, little quotes that resonated with him, or things he'd like to say out loud, but doesn't. Maybe, if Kim Shin were to ever discover this book, he'd find out how enamored Wang Yeo is of him. ⭐️ All these centuries, and Yeo's kept his past to himself. He does this as to protect himself, as to keep part of his weaknesses close so no one else can barge in and take them. Shin is no exception to this rule in the beginning, when they initially meet, Yeo tucking olden stories away --- especially from someone as powerful as Goblin, for he does not know his intentions once they cross paths. However, as sentiments flourish and he gets to acknowledge more of Shin, he begins to have the need to open a space to tell him about what he's done, to tell him why he sees the open mouth of danger and enters into the cave despite sharp teeth waiting. There's a bit of hesitation about this, not because there's not trust (Yeo's actually learned to trust him so much, especially after Shin being the one to take care of his wounds when he's too weak to do it himself; after Shin seeing him so vulnerable and deciding cloak him warmly rather than further expose frangibility), but because he's afraid this might push Kim Shin away (Yeo's being a fool here, but it is what crosses his mind). He keeps making questions in his head, like: what will he think? Will he still accept me after I tell him what I've done? Will that look in his eyes change once he knows who I was, what I'm doing? Despite this, Yeo also feels Shin has the right to know...so, based on this, I sort of...imagine them having a conversation, possibly outside; looking out toward vastness of sky, just in the serenity of it all...and them opening up about their past, about what wounds them still, about the scars which still feel fresh regardless of acquiring them eons ago. ⭐️ Excuse me, but, Yeo will absolutely make up any excuse (especially during the times their feelings aren't so clear or direct; he'll make up any sort of justification, even if most of them sound silly) to end nuzzled up against Kim Shin's chest, and here are some of the reasons: a) Shin's scent always brings him utter comfort and peace, b) his warmth is unlike any other and gumiho wants to bask in it for as long as he can, c) he sleeps much better when Shin's close. Yeo'll even wrap his arms around Shin's waist and appear smaller in height if needed; curling up against Goblin. Even...uh...may I say...once feelings are, out there and they're...possibly...bolder with their relationship...Yeo will also take this as an opportunity to press lazy kisses on Shin's neck and jawline--- BONUS HEADCANON BECAUSE I CAN'T HELP MYSELF: ✨ Kim Shin possibly taking Yeo to new gardens and forests around the world? Yeo hasn't traveled outside Korea, but Shin has (? please correct me if I'm wrong, since this is a different verse than main, so it's completely understandable as well, if you feel that some things are different in this verse), so this (along other factors) would make Goblin more well-versed in acknowledging nature (and other spots) outside main territory. And just...the thought of Shin seeing Yeo distraught for some reason, enough for Shin to take his hand, open the closest door, and transport them somewhere Shin thinks Yeo might enjoy? 🥺 Or, just taking him there because the topic popped up, or because Shin remembered a specific location and wishes to take Yeo there? IT'S JUST---A THOUGHT----also friendly reminder that Canada has about 9% of the world's forests, so I---👀

#mythvoiced #♔ || sword and ash is not what you are; you're the blue flame that's swallowed my heart (kim shin / verse four).#PHOTOSHOP SKILLZ ON POINT WITH THE GIF #lmao jk but I triED WIUEDHIUWEDH #just :3c look at them :3c #ALSO I!!!! HOPE THESE ARE OKAY????#PLEASE LET ME KNOW if I should change anything about them I'll be more than happy to redo them <3 #Not me getting carried away aGAIN---BUT I CAN'T HELP IT #our conversations and threads aND JUST EVERYTHING gives me so much inspiration I CANNOT BE STOPPED #love you <3 thank you for sending this in!!!!!!#♔ || answered.#♔ || queue.

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