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#Hope these help in some way ^-^
cinemamind · 3 months
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Do you think you could do more tutorials? Or show more speedpaints so that people will get a better understanding of how you shade, sketch, etc? Hopefully this isn’t too much or anything like that!
Oh absolutely! I regret not recording a timelapse for my previous pieces, so I decided to illustrate a Mermaid Ghost, a Smile Dog Jester, and an Archangel Dungeon
Along with timelapse videos of each one.
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vimeo
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vimeo
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vimeo
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stil-lindigo · 1 year
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the machine.
a comic about being a 'creator' online.
creative notes:
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corviiids · 1 month
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in the one (1) month since i watched death note for the first time i sure have been doing a fucking posting
bonus:
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age-of-moonknight · 7 months
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“Systemic Approach (Part Two),” Avengers Unlimited (Vol. 1/2022), Infinity Comic, #64.
Writer: Mat Groom; Penciler and Inker: Caio Majado; Colorist: Pete Pantazis; Letterer: Joe Sabino
#Marvel#Marvel comics#Marvel 616#Avengers Unlimited#Avengers Unlimited Infinity Comic#Moon Knight comics#latest release#Moon Knight#Marc Spector#Jake Lockley#Steven Grant#Captain America#Steve Rogers#hey Mr. Groom excuse me but how did you get access to inside my head because this is pretty much exactly what I could have wanted in life#because don’t get me wrong I love Mr. MacKay’s run but one thing I’ve been missing is just Steven - Jake - and Marc interacting#(and I was hoping that the name of this arc was in reference to the Moon Knight system but I hadn’t dared hope too much)#which means there’s so much I love here#love Jake’s jacket and the acknowledgement that the people he mingles with are in no way lesser than Steven’s socialite#or Marc’s superhero ilk but rather the people who often just need some help (whether that be through Steven’s funds/business acumen#Jake’s hands-on social support#or Marc’s /very/ hands-on support method of boxing villains over the head) but could be the least likely to get it#and !!!!! an acknowledgement that the system is a strength and an invaluable asset to Moon Knight work !!!!#and that it was Khonshu’s influence that was largely the problem as opposed to the system’s neurodivergence !!!!#and an acknowledgement from Cap of all people! I WEEP#it just means so much to me: Marc getting some support both from the system and from Cap#as well as how in character this is for Cap#as some of my favorite moments of his are where he reaches out to those deemed by others too ‘unstable’ or ‘unreliable’ to ever amount to#much in the grand scheme of things and he asks them to be Avengers#recognizing what invaluable talents they posses#could the cynical say this reads like a Saturday morning psa? sure but this is an infinity comic with Cap. Enjoy it for what it is akshsksj
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theramblingvoid · 2 years
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Low level/continuous pain tips for writing
Want to avoid the action movie effect and make your character's injuries have realistic lasting impacts? Have a sick character you're using as hurt/comfort fodder? Everyone has tips for how to write Dramatic Intense Agony, but the smaller human details of lasting or low-level discomfort are rarely written in. Here are a few pain mannerisms I like to use as reference:
General
Continuously gritted teeth (may cause headaches or additional jaw pain over time)
Irritability, increased sensitivity to lights, sounds, etc
Repetitive movements (fidgeting, unable to sit still, slight rocking or other habitual movement to self-soothe)
Soft groaning or whimpering, when pain increases or when others aren't around
Heavier breathing, panting, may be deeper or shallower than normal
Moving less quickly, resistant to unnecessary movement
Itching in the case of healing wounds
Subconsciously hunching around the pain (eg. slumped shoulders or bad posture for gut pain)
Using a hand to steady themself when walking past walls, counters, etc (also applies to illness)
Narration-wise: may not notice the pain was there until it's gone because they got so used to it, or may not realize how bad it was until it gets better
May stop mentioning it outright to other people unless they specifically ask or the pain increases
Limb pain
Subtly leaning on surfaces whenever possible to take weight off foot/leg pain
Rubbing sore spots while thinking or resting
Wincing and switching to using other limb frequently (new/forgettable pain) or developed habit of using non dominant limb for tasks (constant/long term pain)
Propping leg up when sitting to reduce inflammation
Holding arm closer to body/moving it less
Moving differently to avoid bending joints (eg. bending at the waist instead of the knees to pick something up)
Nausea/fever/non-pain discomfort
Many of the same things as above (groaning, leaning, differences in movement)
May avoid sudden movements or turning head for nausea
Urge to press up against cold surfaces for fever
Glazed eyes, fixed stare, may take longer to process words or get their attention
Shivering, shaking, loss of fine motor control
If you have any more details that you personally use to bring characters to life in these situations, I'd love to hear them! I'm always looking for ways to make my guys suffer more write people with more realism :)
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turbo-tsundere · 1 year
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Kokichisake-onna
*Happy anime narrator voice*: “And thus, Kokichi has once again successfully evaded the dread of emotional openness!”
Also here’s a random selection of derpy concept doodles for this comic :)
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Thank you byeeeeee
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pastelhooman · 11 months
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[WVW Exchange Event 2023!]
"The kisses on your lash, your ears, on the nose that keeps scrunching. The kisses on your hand, on your cheeks, and the exchanging soft words waiting for the break of day."
----- ID under break -----
A total of 6 pages of comics, starting with a close up shots of vash kissing sleeping wolfwood's nose, eyes, lashes, and he furrows them a bit. an overhead shot of the two of them in a motel room, on the bed with vash leaning over wolfwood from the left, laying soft kisses on him. their legs tangled. their normal outfits are thrown haphazardly on the floor, instead donning comfortable clothes. on the outside, the very first ray of lights are yet to shine.
"what a face you're making pfft" - vash says as he grabs both of wolfwood's cheeks, squeezing them a bit. wolfwood mumbles, "There's something that keeps landing on my face, it tickles." he grabs the hand that is on his right cheek. "Well you're letting it happens anyways right?" Vash muses, bringing the hand up to kiss on its knuckles. "Good morning Wolfwood. It's almost dawn"
"… Isn't it way too soon?" - wolfwood asks, but keeps to himself the prayers he's sending to god because the the boy on top of him was such a sight to behold. Vash flops down onto him, leaving the hand hanging and lace his own hand into Wolfwood's hair, peppering kisses to the side of his face. "Yep" - he answers - "But you woke up on your own tho" - facetiously. He giggles, saying that it was a joke after a beat of silence. A sigh, "don't make me upside you first thing in the morning." Wolfwood closes his eyes, hand combing through golden strands. "Heh, how merciful~" "We have a meet up with Milly and Meryl today, remember?" Vash reminds him, which does raise some vague memory. wolfwood hums, the other hand reaching around vash's torso, hugging him. " So, the sooner we arrive, the less likely she'll chew through my head." - Vash adds. "riiiight. And you were SO urgent in waking me up." in wolfwood's hold, both of them slowly turn to the right, towards the edge of the bed.
Well, you were just soooo cute, I couldn't help it! didn't thinkk you'll actually wakE UAA-!"
the bed creaks under the sudden shift in weight as wolfwood tosses vash over and under him, arms firmly hugging him, one at his back and one at his head, hungrily dives down to kiss. "!! Wolf-! Wait-!" Vash yelps, leg instinctively curls around the other's man hip to hang on, trying his damnest to grip on his shirt as HE is now half airborne, barely has any contact with the bed on his upper body. However, wolfwood seems to have another idea as he keeps deepening the kiss, pointedly holding Vash close, hands spread guarding the back of his head as both of them are sliding off the soft fabric.
"THUD!" a resounding fall, possibly enough to wake the room downstairs, followed shortly by laboured breaths amist wet smacks of lips. Heaves and huffs of air exchanging between the two bodies when the need to breath made itself necessary. They press close, cradling each other, and are lost to their own world. After a while they had to part. Metal arm shifts through black locks, caressing down to his nape and they hold eye contacts there, with lidded eyes, strands of saliva thins then breaks.
Wolfwood pushes up on his arms, looking smugly down at his now disheveled partner: "Now this is how it's done, Needlenoggin." he remarks. Vash tries to wrangle his thoughts back in order, but strings of Wolfwood's name and a wonderous question keeps filling his mind, of whether he should risk it all and have fun for a bit more. Regardless, snapping out of his trance, Vash sourly asks, with a wry smile and an aching head: "But did you really need to roll off the bed?" "Wrong side, whoops" - Wolfwood anwers unseriously, laughing as he finds the situation quite amusing.
----- End of ID -----
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just-an-enby-lemon · 7 months
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"The Mechanisms were Jonathan Sims college band" and "Jon is the secret real past of Jonny D'ville" are both great takes but I present "Jon's descend into an unwilling antichirst figure is The Mecs new album and Jonny plays him in the songs because they just have very similar voices for some reason."
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uncanny-tranny · 7 months
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To terminally-ill disabled people: you aren't going to be forgotten. You deserve a space here in this world no matter how long you'll be here. You deserve every chance to be happy, to be welcomed, to be understood, to be accommodated, and to be taken care of to the fullest extent. You haven't "given up," you are so incredibly important, and it takes so much to be in your shoes. I hope you can find pride in who you are. Your existence is meaningful.
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ruporas · 1 year
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soft (and some bittersweet)
#trigun stampede#trigun#vashwood#vash the stampede#nicholas d wolfwood#i think they both spent majority of their lives in solitude and ofc vash went town to town and made friendships promises and etc along the w#way + he had his home and whatnot in the long years he's been alive but he still just seemed so lonely.#in prior versions of trimax he had friends at home at least and maybe he mightv made some but luida and brad are basically just his#guardians in this adaption. like brad used to be a homie.... vash watched that little dude grow up.... and jessica too.... but he doesn't#have that in this adaption. nor a town like july where he had grown close to the townspeople and shaped that tragedy to be closer to his#heart. and wolfwood spent years fighting under the eom and doing shit under their jurisdiction when we saw him so adamantly try to reject#and fight back against that fate. i dont think he had a second at all to get familiar with townspeople or even care to#so its just these two lonely ass souls and  vash immediately seeing the good in ww and points it out#ww who is under orders again to be involved in vash's business but he's also SO touchy about it bc vash is so careless and lack that self#regard and also just is not seeing the world that ww is seeing. but then vash helps him and saves him by sharing a piece of what /he/ sees#and it fucking. rescrambled ww's brain for a sec. HE GAVE HIM HOPE!!! he gave him hope!!!! and in turn ww gave vash hope too and its#all done in like 3-4 eps. there's so much fervent attachment in what they managed to give each other in such a short time#but theyre limited to the contract to the inevitable confrontation with knives - so while theyd want to give into that chance to love this#person who managed to give them smth special they just can't at all#ruporas art
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icaruspendragon · 6 months
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im sorry to ask but i dont know what else to do—how did you do it how did you dig yourself out because it feels like i am choking on dirt and people keep shoveling it onto me and i miss her so much and i dont know how to make this feeling stop. she was my best friend. ive never lived in a world without her before. how did you do it. how are you doing it
grief is so hard and so heavy when we first meet it. it feels like all our arms will ever hold for the rest of forever. and it is, in a sense. once we pick it up, we never really set it down. not fully.
and I don't think it gets lighter, I think we somehow, impossibly, get stronger.
there's lots of metaphors for grief. that's one of them. another one I like to use is that it feels like you're in the grave with them. like lazarus. like yourself. waiting for someone to raise you from the dead. to raise you both.
I've learned a lot about crawling out of the grave. more than I would have ever wanted to learn. like how emptiness is actually quite heavy. or how to pretend like you feel half-alive. but I think the most important thing I've learned is that somedays, we inexplicably end up back in it. and that sucks.
because we just spent months clawing our way through the bugs and the earth. because our soldier-hands have finally breached the surface. because the sun is finally caressing our hell-fresh faces. because for the first time in months we feel like we can finally breath. and then, suddenly, we're right back in the terrible thick of it.
those days make it feel like I'm sisyphus and grave dirt is my rock. or like I'm prometheus and the darkness is my eagle.
but then it's tuesday.
which is to say my brother died on my 25th birthday, a monday. and that day is now a memory that's fuzzy around the edges. single snapshots I know are connected, but I couldn't tell you how. I remember my mother standing in my bedroom and tears and family and phone calls and cleaning my living room because I didn't know what to do with my hands. I remember going to my grandmothers and my phone vibrating off the table and leaving to go get coffee because I couldn't sit still. I remember joking, trying to joke. trying to do whatever I could to make sense of that impossible day. I remember checking my phone and reading and rereading the messages, a mixed bag of congratulations for surviving another year and condolences that my brother didn't, I remember not knowing how to respond to any of them. so I didn't. I remember being surrounded by so many people doing nothing but extending love and kindness to me and never feeling more alone. the world was ending and I was alone. I thought that day would go on forever.
but it didn't.
it ended, as all things do. monday was over and my first day as an only child was done.
and suddenly it was tuesday. and everything was different but also exactly the same.
it was tuesday and my brother was dead. I was so heavy when I woke up that first tuesday. so heavy and confused. I thought the world had ended. it surely felt like it had. but it hadn't. because the world couldn't have ended on monday.
not if it was tuesday.
it was tuesday and my brother was dead but the world wasn't ending. monday should have been our demise, but it wasn't. and it hasn't. and it won't. because just as sure as we have mondays, we'll always have tuesdays.
that's something I've taken a strange comfort in, knowing that we'll always have tuesdays.
the feeling never stops. but I think that's okay. because you're only feeling that way because there was love first. and as much as what I felt on that first tuesday hurts, as much as it suffocates, as much as it consumes, I'd take the hurt and the suffocation and the consumption because the love I felt first will always, always be worth it.
tuesdays will always be worth it.
like yeah, if I loved less, it wouldn't hurt this bad. but I don't want to live in a world where I have to love less. where I was loved less.
I'll take the pain. I'll take the grave days. I'll take the rock. I'll take the eagle. I'll take apocalyptic, earthshaking mondays. I'll take every last wretched bit because goddamn what a miracle it is to love so bad it hurts this big.
I hold that love, his love for me and my love for him, a love that's now become our love in the cage of my ribs while I'm in the cage of the grave. and I dig.
it's monday and I dig.
I dig.
and then tuesday comes.
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snivel1 · 1 month
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Kinito in the computer of a person in an abusive family.
Horror&blood warning under the cut!
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Transcript of the intentionally hard to read text:
"Friend! I made sure to give them a good talking to! They won't bother you ever again!"
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judasofsuburbia · 10 months
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So you’re looking to write some smut but feeling stuck, uninspired, or unsure where to start. Smut writing comes easily to some and not others, and that’s okay! Here are some tips I’ve gathered over my few years of writing smut to take with a grain of salt! It's my opinion; you can always do what you want!! <333
It’s fiction writing at the end of the day. So, it’s okay if you haven’t experienced what you’re writing about or maybe you have experienced it but you find it difficult to put it into words. I’ve never fought a creature from the Upside Down but I’ve written about it because that’s what fiction writing IS!! You’re creating a story from your own experiences/thoughts/emotions and applying it to a made-up scenario. So don’t feel discouraged by your own personal journey, anyone can write smut!!
When in doubt, plan it out. When I’m really stuck, just simply grabbing a piece of notebook paper and writing out each event in a sequence, even in the most basic terms, can make things so much easier. For example: making out, blow job, hand job, prep, fuck. Write down positions (sometimes limbs can get lost in the sauce and it is so hard to figure out how they’re actually doing it lmao). Write down settings. Write down if one person is leading it more than the other or if they switch off. Write down desperation levels (personally, I think it’s more fun when desperation is very high but casual fluffy smut is fun too!!) This will help the writing process feel a lot less daunting. 
More specifically, remember that prep is important. I can’t tell you how many times I’ve been taken out of a smutty fic because they get to the main act (penetration, typically) way before someone should be ready to. Fingers, mouths, and lube (actual lube or something that can be safely used as lube. Blood is not lube. Blood is not lube as it is a liquid that dries quickly and offers no moisture so it will not help you penetrate anything, as hot as it would be.) Foreplay and prep can be a really good tool to establish a sexy dynamic between your characters and get the reader ramped up to read through to the end! 
If you feel like the action part is getting too technical, this is where you can add in thoughts and emotions that will give your smut some personality. It can feel very silly to write, for instance, your character A thinking “Wow character B is so hot” but it’s a thought that would probably cross their mind!! Write out any nerves the characters are feeling or maybe even the confidence they’re feeling. Write out what sensations they pay attention to. Write out what they like and dislike. Write out what actions cause an immediate response from them (moaning, bucking their hips, groaning, eyes rolling, etc.) Write out how your character would verbally respond (Are they dirty talking? Are they praising? Are they degrading? Are they stuttering through their words? Are they incoherent because the sex is so good?) It’s important that your characters still feel natural and not like sex robots. Unless your story is about sex robots, then go off!!!
The thesaurus is your fucking FRIEND!! Smut can feel ridiculously repetitive, especially if you’ve written it before. I say every time I write a blow job scene that “god blow job scene is blow job scene is blow job scene” because that’s how it FEELS! Use your resources like the thesaurus or there are a million posts with other ways to say “said”, ways to describe a kiss, etc. Just be careful that you don’t fall into using words that seem unnatural to the flow of the story (for example, a lot of synonyms for cock are simply…unsettling and can take your reader out of the story). Find ways to creatively tell the same action again and again which leads to tip #5…
Go read some smut. The tag “porn what plot” is so unbelievably helpful. Even if the writing isn’t exactly your style or your preference, sometimes reading someone else’s descriptions of sexual acts can be helpful if you’re lost! I have a few faves that I go back to read to get inspiration and I have notes about what it is specifically I enjoyed about their work. While you’re at it, if a fic inspires you and you feel comfortable doing so, leave a comment! It’ll make the author’s day, I promise. 
TAKE THIS TIP WITH AN ABSOLUTE GRAIN OF SALT but…go watch it. Or my personal preference, go listen to it. If I’m really lost, I’ll seek out audio porn that follows the same ~vibe~ of whatever I’m writing. There are many websites for this but Soundgasm is my go-to (it’s a free upload site so there are THOUSANDS of sounds and varying quality levels so it might take a second to find what you’re looking for)! Even a sexy playlist on Spotify can put you into a good headspace for writing. Just make sure you’re being safe and looking out for your own comfort levels. Never put yourself in a situation to experience something triggering for the sake of writing a good story. 
All of this to say, it is so different to write smut than it is to write a regular plot. It can feel incredibly daunting to go about it and find the perfect balance between technical actions and thoughts/feelings/dialogue and then make it all cohesive in the end. It’s hard to do but it’s not impossible! 
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zabreus · 10 months
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one thing i see a bit with disco elysium fan script is a conflation between a failed skill check and bad advice from a skill. one of the beautiful things about DE is the skills are not arbiters of truth; successful checks won’t always lead to the correct outcomes, and a skill level being too high can impair you. in that sense, a failed passive (“anti-passive” according to wiki) wouldn’t be a skill giving bad advice, but a skill failing to fulfill its duty.
(bad example ahead) so it wouldn’t be:
LOGIC [Trivial - Failure]: Stick a fork in the toaster.
but more like:
BREAD-TOASTER: You peek into the narrow opening at the top of the electric bread-toaster.
PERCEPTION: You find a slice of bread wedged between the filaments. Smoke wafts into your nostrils. It’s burning, and you seemingly have no way of retrieving it.
INTERFACING [Challenging - Success]: The metal fork you found in the cupboard. It should be both long and sturdy enough for the job.
You: Grab the fork.
INLAND EMPIRE [Medium - Success]: The tips of your fingers tingle. This seems like a very bad idea.
LOGIC [Easy - Failure]: You are uncertain of the outcome here.
1. Use the fork to fish out the toast.
2. “This is beneath me.”
3. [Half-Light - Godly 16] Establish dominance. Fuck the toaster.
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wellfine · 1 year
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HII I love your art so much it's so expressive and it feels like theres so much movement in it! I was wondering if u had any tips or advice to help with that? I practice anatomy and expression so much but it seems like everything I draw on my own is so stiff!! Anyway I hope you have a great week :)) <3
Hi there! Firstly, thank you so much for the kind words, it means a lot that you would take the time to tell me!
Second- my advice is to take everything you've learned about anatomy and THROW IT OUT THE WINDOW!!!!!!!
... For now. Just into the front yard so you can keep an eye on it. But I have seen many artists concentrate chiefly on studying anatomy only to feel like their art ends up too stiff. My own experience has been to treat anatomy as a tool best used to correct an image in the later stages of construction rather than as your driving foundation.
If "correct" anatomy (however you choose to define that) is the priority of your undersketches, I find that you end up with a sort of Skeleton Song approach to drawing - y'know, the knee bone's connected to the thigh bone, etc etc. Whatever energy, emotion, or intent you wanted your drawing to convey is getting lost each time you split it into another anatomical segment. By over-focusing on individual parts, you lose sight of your image as a whole.
The key to conveying dynamic movement in motionless art is to ensure every element of your image agrees on and communicates the same action, the key to which is something called the line of action.
A line of action is simply that - an implied "line" with wich you lead the viewer's eye and communicate movement. Think of it as the core of your figure's action, simplified to its rawest form. By knowing this, you know what to emphasise and what to de-emphasise.
Well, art is a visual medium and I am better explaining with drawings than words or I'd never have picked up a pen in the first place, so:
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Images can have multiple lines of action, lines of action can complement and contrast each other, and a line of action isn't always as obvious as something like running. Imagine you're tring to make your art more "aerodynamic" to the eye. Since I draw a lot of One Piece fanart, I assume you're also familiar with it, and you can probably imagine how Oda uses "lines of action" when composing panels of Luffy punching something, Zoro slicing something, Sanji kicking something- etc etc. He's really good at selling the "oomph" of action shots by reducing visual clutter so that the impact of the action is greater.
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(The Monster Trio's abilities are all designed in such a way that allow for REALLY striking lines of action... you can tell Oda loves studying manga fight scenes and wanted to create a world where he could push these concepts to the limit, and it's no wonder One Piece caught the eye of animators even before it was serialised by Toei)
You're probably already noticing how line of action also feeds into composition and silhouette when it comes to conveying movement in an image. Basically put, once you've isolated whatever action it is that you want to convey, the more visual clutter you can streamline away from that action, the stronger an impact that will have on the viewer. A firm line of action, an uncomplicated silhouette for your figure, and a readable overall composition of your image/panel are all ways to minimise visual clutter.
You can also use this information to achieve the opposite effect! Sometimes the ideal action you want to convey is not fast, or powerful, or confident, and you can use the same principles.
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In fact, you can apply line of action to images that don't have any "action" in them at all. You can make a drawing of someone simply standing there feel more lively by applying these same principles to their body language:
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You can develop an eye for how to simplify movement down to its "lines of action" by studying real photos and other people's art. Try simplifying a figure to its silhouette, and then simplify that silhouette further to a stick figure. And honestly, a lot of this could be boiled down to "see your image as a whole and not just a collection of individual pieces". Set anatomy aside during the composition stage and bring it back in when you start building up the sketch.
Moving away from the line of action, my second piece of broad advice is simply to exaggerate more. Lots of artists subconsciously hold themselves back from pushing motion, expression, etc. out of concern that it will look "too much". Well, maybe it will- but you won't know that unless you try! You can always walk it back if you think you took it too far, but I think you'll be surprised by how far you can push your art before you hit that point.
My final piece of advice is to work on line confidence. Even if you follow the rest of this advice, if you have hesitant and scratchy lines, you're undermining the flow and punch of your art. The best way to improve line confidence is simply by practicing! Do a lot of quick, timed studies, and use a permanent medium like a ballpoint pen or marker. Focus on unbroken lines wherever possible even if it makes your studies look like garbo. I find traditional studies are best for improving line confidence, but if you'd really rather stick with digital then just don't let yourself use the eraser tool, and try using a chunky brush with limited pressure sensitivity.
And that's it! Don't stress about it too much though. Loosen up with your art and, like any other skill, you'll improve with practice, time, and analysing what you like about other people's art. Good luck!
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finncakes · 1 year
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"I'd be up shit's creek by myself. I was by myself. It's not great."
"Yeah. No, it's not."
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