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sometimes-love-is-enough · 4 years

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Character sheets and illustrations for @kieraelieson‘s @ts-storytime Big Bang story, Searching For Home! I’m very, very glad that I jumped in to pinchhit for her, because doing all this art has been an absolute blast.

Click on those bad boys for full size and details.

[image description: Below cut, due to length.

The first three images are digital art showing 'profiles' of the various characters - with one full-body illustration to the far left with their names next to them, and various smaller illustrations of them to the right.

First image:

1: 'Dee' - a medium-height man with shoulder-height wavy brown hair. His skin is light brown, and his ears are pointed. The right side of his face are covered in a dotted pattern, and he winks mysteriously at out at the viewer. He is wearing a long black cloak with bright golden highlights, and his arms are lightly crossed beneath it. Underneath it, he has a plain brown suit and long pants. He is barefoot. Next, a shot of Dee from behind displays that his cloak has a long gap in the back. He is glancing over one shoulder at the viewer. Handwritten text next to this reads 'back of cloak is also open to make room for wings' An illustration of Dee facing away from the viewer, now with a set of large golden-yellow wings on full display. They're similar in shape to butterfly wings, with two distinct sections to both sides and ragged edges, like a goldfish's tail. Light orange patterns run through them like veins. They appear to glow, faintly. Above this is a small doodle of Dee flying with these wings, arms outstretched to either side. He is glowing brightly, and a dotted line trails out from behind him, marking where he's flown frown.

2: 'Virgil' - a short child with pale skin and messy dark hair. His arms are crossed protectively over his front, and he looks out with his eyebrows raised and his mouth slightly open. His shirt is grey and has many patches and tears on it, and his pants are a dark purple and in a similar state. His brown shoes are untied. Next to this, Virgil sits cross-legged on the ground, expression delighted as he pets and plays with a very large black fluffy spider with red eyes. A small purple heart hovers over his head. Virgil faces away, displaying a set of large wings that are attached to his back. His wings are similar to a monarch butterfly's, but purple and violet in coloring. The edges have bright white and purple spots on them, and the middle of both has intricate dotted patterns with teardrop-shaped black and white 'eye' markings on them. They are glowing faintly white. Above this, a sketchier drawing of Virgil attempting to fly with these wings. He has an expression of panic on his face, and is flailing his arms wildly. A handwritten note pointing to this illustration reads 'Too skinny, clothes are a bit too baggy + beat up.'

Second image:

1: 'Logan' - a tall thin man in a long black trenchcoat with silver buttons. Underneath, a dark blue shirt with ruffles and a pair of full-length brown pants with a silver belt. He has light skin and brown hair parted neatly over his left ear. He's wearing square spectacles and raising one hand in greeting, with the other tucked behind his back. Next to this, Logan is giving a Patton (see next character description) a ride on his shoulders. He's holding firmly onto Patton's legs, and smiling up at him. Patton's eyes are closed in contentment and his arms are folded on top of Logan's head. There is a swirl of dark blue in the background of this. A handwritten note next to this indicates that 'this is the right way to carry a child.' Logan, no longer his his long coat, has fallen asleep next to a pile of books. He rests his head in the crook of one arm, with a cartoonish 'Z' in a bubble above his head. Logan, in motion as he sprints towards some unknown destination. His eyes are wide and his coat swirls dramatically around him. A circle of dark color encircles his head. Two small sketches of Logan carrying Patton. In the first, he has Patton tucked inelegantly under one arm, like you might carry a football. Both of them seem unconcerned, and Patton is smiling. In the second, Logan lifts Patton up, holding him under the armpits with a blank expression. Patton flails his hands happily, grinning. The handwritten text next to this notes that 'These are probably not good ways to carry a child'.

2: 'Patton': a short chubby child with a bright grin and square glasses. His skin is a darker brown than Dee's, but still fairly light. His hair is curly and dark-gold, and he's wearing a light grey coat with lighter grey fluffy bits at the neck, sleeves, and bottoms. His jeans are cyan and fall just below his knees. He wears brown boots and a light-blue shirt underneath the coat. Patton in profile from the chest up, facing right. He isn't wearing his coat, and he's still grinning. A note pointing to his glasses reads 'Doesn't actually need glasses! They're frames. He wears them so he can look like Logan' Patton, waist-deep in water, with his coat pulled up around his head. His eyes aren't visible but he's still smiling. His hands are extended outwards, like he's venturing further into the water. He's surrounded by specks of light. Two doodles of a baby seal, whose fluffy fur and coloring greatly resembles Patton's coat. There are spots of gold the same shade as Patton's hair on its back.. The first shows the seal lying on its side and looking left, flippers pulled close to its chest and water droplets exploding out around it. A label declares it '(FLUFFY)'. In the next, the seal pup is splashing downwards into water, bubbles spiraling out around it.

Third image: 1: 'Remy' - a medium-height man with brown skin, wearing sunglasses (from behind which yellow eyes are faintly visible) and a necklace with a yellow pendant. Short orange horns extend from his dark brown hair. He's grinning crookedly and flashing a peace sign at the viewer. He wears an unbuttoned black jacket with a ragged hem and a dark shirt visible underneath it, and black sweatpants with dark brown boots. He balances his weight on one foot, tipping the other back. A handwritten note pointing to him reads 'hides horns under hair, hides yellow eyes behind dark glasses'. An illustration of Remy's dragon form - a tall black dragon with the same coloring as Remy's jacket, and massive dark wings that are extended above him. His tail is long and ends with a puff of wavy brown fluff. A note pointing to it reads 'swishy soft tail'. He has the same orange horns as humanoid-Remy does, except longer and curved backwards, and glowing yellow eyes. His neck is curved and bent downwards as he looks at a pink sketch of a fat man with wings, who is there to provide size reference. The man barely comes up to the base of his neck. An illustration of Remy in flight with Emile riding him (see next description for details). Remy's massive wings extended out to catch the wind, and his limbs and tail are bent as though he's turning in midair. He glances up at Emile, on his back. Emile is grinning, his own wings open to catch the wind, and is holding tightly to Remy's neck.

2: 'Emile' - a fat medium-height man with light brown skin and light brown hair streaked through his pink. He has square-ish spectacles and a half-smile on his face. He wears a light pink-grey sweater patterned with salmon stripes, and a pair of light blue jeans. His shoes are brown. He also has a pair of large wings extending from his back. They're dark brown at the top but the color transitions from there into a lighter brown, into even lighter brown, and from there into cream. Emile faces away from the camera, his wings fully extended behind him. From here, we can see that they resemble a falcon's wings, and that the dark brown is more prevalent on the back of them. A note pointing to this explains that they're 'Slightly too small to properly fly with - better for gliding'. An illustration of Emile in flight. His wings are extended to catch the air and are not rendered in very much detail. His arms are raise and one foot is extended, as if he's coming in to land. Behind him is a blue sky and faint wispy clouds.

The fourth image shows all of the full-body portraits from the previous images positioned next to each other to show their heights in relation to each other. In order from tallest to shortest, this is Logan, Remy, Emile, Dee, Virgil, and Patton. Behind them is a light pink-to-blue gradient, with lines extending from the top of their heads to emphasize their heights. They are standing on a nondescript grey rectangle.

The last three images are watercolor A4 portraits featuring the character designs from the previous images.

Fifth image: Virgil and Dee, both with their wings out, are in the middle of a lush green forest, surrounded by oversized flowers and blades of glass. The gnarled brown wood of various trees frames the scene. Dee is standing barefoot in the grass, facing sideways with his glowing golden wings extended behind him. He's smiling up at Virgil, with an encouraging hand extended upwards and the other holding onto Virgil's own hands. Virgil is giggling and hovering in midair, wings fluttering and legs slightly askew as he tries to work out how to fly. They're illuminated by a beam of sunlight from above. A spider appoximately the size of a small perches on the wood in the left foreground, watching them.

Sixth image: Logan walks through a rushing deep blue river that comes up to mid-calf height. His long coat swishes around him and he is glancing back with a worried expression on his face at Patton, who he's carrying on his back. Patton's arms are wrapped around Logan's chest and his legs are behind supported by Logan's hands. He's wearing his grey coat and flasses and appears to be asleep. Puffs of white mist swirl near Logan's head. Behind them both, a black-and-blue night sky is patterend with many, many white stars, some of which are connected in constellation patterns. The moon is bright white in the sky, a half-crescent that illuminates both Logan and Patton from behind.

Seventh image: Remy, in his humanoid form, kneels behind Emile on a bright yellow beach. Remy peers over his sunglasses, looking concerned, as he touches Emile's wings gently - they're tattered and ragged with blood covering them in messy splotches. Emile is sitting with his hands pressed into the sand, glancing back at Remy with a sheepish smile. In front of them, the ocean is visible with bright blue waves foaming white. Behind them, there are many rocks in red, pink, orange and yellow gradients. The sky above is blue with fluffy white clouds, and the sun shines down brightly on the scene.]

#sanders sides #tss #ts-storytime #kieraelieson #my art #long post #image description #image described art

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jefpoo421 · 3 years

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How to draw Lammy (UmJammer Lammy)

steps inside this post!

Based on Dawn’s Dragoart Tuts, and made with Adobe Photoshop CS6.

1. To start, draw a big oval for the head, and add forty-five degree lines on the upper corners to make ear guidelines. Put two lines in the oval to make guidelines for the eyes and nose. Add a rectangle with two circles on each side, and a bigger torso on the bottom to make the torso. Put forty-five degree lines on each small circle on the torso, with curved smaller rectangles to make guidelines for the hands and arms. Make two more rectangles with a circle on the bottom to make the legs and feet.

2. Draw two curves on the slanting lines for the ears. Add ovals between the two lines on the bigger oval to make the eyes. Across the bottom-most line in the big oval, draw a tiny oval to make the nose. Add a curve with a circle on the center to make her mouth.

3. For the eyelashes, add five strokes on the eyelids, and three on the bottom part of the eyes. Consider her bangs. The right bang segment’s tip touches the top of her right eye. The center bang segment touches the very center. And for the left bang segment, it touches the eyelid/eyelash part. Lastly, to make her hair, draw curves on each side of the bangs that reach the bottom of Lammy’s face.

4. Continue working on Lammy’s hair and add another curve on each side. Now, draw semicircles which are supposed to be her horns. We are now done with Lammy’s head.

5. Draw her neck and work on her t-shirt. On the circles on each side of the torso rectangle, draw U-shaped sleeves. Add a slight curve on the middle of the circle under the rectangle. Add her insignia at the middle of the shirt. Put a rectangle on Lammy’s left wrist which serves as her bracelet.

6. Lammy has five fingers on each hand. Make sure to draw each of them oval-shaped.

7. Draw her pants. On the top, make an upside-down curve for her exposed part of the belly. On the bottom, draw curves that touch the ovals.

8. Draw Lammy’s belt, whose buckle is on the right side of the center. Then draw her shoes which have bean-shaped soles.

9. Ink the outline you’ve made and erase all leftover lines.

10. Color your finished line art.

#tutorial #reference #art #colored #um jammer lammy #lammy #how to draw #tut #parappa #parappa the rapper #lamb #guitarist #gaming #step-by-step #redhead #playstation #greenblat #sony #nostalgia

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wordswithkittywitch · 6 years

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Hi! I'm looking to start making my own clothes, mostly because I recently purchased and then subsequently ruined (bleached) the perfect tunic/ kurti and it's no longer being sold. I want to make a replacement. Do you have any advice for getting started? Where can I find cloth? What measurements do I need to take of myself? How much do I add to the cloth in addition to those measurements to allow for seams? Other advice for a beginner?(And maybe a primer on putting pockets in pants and dresses?)

Alright. I’ll see what I can do to help you. In order of asking:

Where to find cloth: I mostly buy my cloth either at Joann’s fabric or at fabric booths at SCA events. I don’t like buying cloth online unless I have to. I would recommend doing an internet search for fabric stores in your area and checking them out. Of course, you can order fabric online but I don’t recommend it if you’re just getting started.

You don’t need to know as much about fabric if you can touch it when you buy it, because if you know you’re looking for 100% cotton chintz with a chevron pattern you can search for that online. But if you only know that you want something soft, not fuzzy, and green, you’re much better off going through a store and looking at the stock.

What measurements do you need: This depends on what you’re going to be making. Here’s a generic illustration covering most measurements you might need.

(Source)

You probably won’t need all of these measurements for any one garment. Getting your back measurement is hard to do on your own, so it helps to have someone measure that for you. For a tunic, the important measurements are shoulder to shoulder, bust, waist, hips, arm length, and neck to wherever you want the tunic to stop.

If, heaven forbid, you don’t even have a measuring tape, you can wrap a ribbon or a piece of string around yourself and then measure that with a ruler.

How much cloth do you need: This depends on how much seam allowance you’re going to need. In most cases, I use a rolled seam, so I need about three quarters of an inch more than the actual size of the finished garment.

If the cloth is a type that tends to fray, cut the pieces about half an inch to an inch larger than you normally would, then put in a French seam. Whenever I buy cloth, I tend to buy an extra half a yard to a yard in case something goes wrong with the piecing.

But in general, try laying out a garment with the same amount of fabric on a table, get an idea of how much you’d need to duplicate it, and then add half a yard.

Advice for getting started: Do not be afraid of patterns. It isn’t cheating, it isn’t tracing, it’s using the same resources used by the entire industry from professionals to beginners.

Especially if you want to make trousers. Trousers are some of the hardest garments to make and the easiest garments to become terrifically uncomfortable if made wrong.

As with most creative endeavours, the first few projects are going to be a lot more impressive to yourself before you get used to it. Unlike many other creative endeavours, the first fruits of your labour are more likely to stick around and keep being used long after you start getting good at it.

Also, this applies to most things, but especially sewing: when you make a mistake, pay attention to how you made it. Once I sewed a sleeve into the neckhole twice because I was tired. Now I always pin the sleeves on and then hold up the garment and look at it to make sure I’m not doing anything quite that stupid. And sometimes, I was about to, because no matter how long you’ve been sewing you can do something stupid if you aren’t paying attention.

Basic pocketing:

If you’re making trousers, I really recommend buying a pattern with pockets. if the pockets in the pattern are too small, just make them longer. Sadly, you cannot make the pockets wider than the leg of the trousers because we are not timelords. This tutorial on extending pockets in jeans can easily be applied to making your own pants, just skip the step of making pockets that aren’t large enough in the first place.

But if you’re making a skirt, things get much easier.

Let us say you’ve cut out a basic panel skirt, which is three to six trapezoids attached to a waistband. (the waistband could be a tube covering elastic, or a folded over piece of fabric with a fastening like a hook and eye or a button)

This pattern can be used on any fabric that does not have a pattern with a distinct top and bottom, and is easily adjusted to make it fit pretty much anyone.

Fold your fabric neatly in half (it’s folded badly in the picture just so you can tell it’s folded).

Fold over the large rectangles cut out at the bottom. These will be your pockets.

The narrow rectangles at the top will become your waistband and can be any width you like. If your waist is smaller around than the fabric is wide, you’ll only need to cut one, but be sure to cut it twice as wide as you want the waistband to be (plus seam allowance) because it’s going to be folded over.

Cut the rest of the fabric into trapezoids as long as you want your skirt to be. Of course, the trapezoids will only form on the fold, and across from them you’ll get two triangles. Sew two of them together, bam. You’ve got another trapezoid. I recommend putting the panels with a seam down the middle on the sides and the big trapezoids you cut in the front and back, this makes it look intentional.

Add the pockets to the sides of the front panel, then attach the rest of the panels to each other. Then you attach the waistband. And finally, the hard part. Put on your skirt, with is more or less finished except for the hem. Stand on a chair and get someone to trim the bottom with the scissors parallel to the ground. The bottom of the skirt is now slightly curved, meaning it will look like it’s a flat line. Now you can hem it.

You can cut a curve onto the bottom of the skirt while not wearing it, of course, but if you do this it will not take into account your hips and bum, and unless you are a perfect cylinder this means that the back of the skirt will be higher than the back of the skirt. So find someone to help you trim the bottom.

Now here’s the tips that will work with any skirt pattern: To help distribute the weight of the contents of your pockets, attach the top of the pocket to the waistband of your skirt and make the pockets wide enough to be attached to the seams of the skirt. This distributes the weight across the waistband and makes it more comfortable to wear when you’ve stuck a couple loaves of bread, your wallet, your cell phone, and the dead sea scrolls in there.

Happy sewing!

#sewing #long post #pockets #fashion #tutorial #letterbird

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