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#i felt very painterly
murplemuddle · 9 months
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jupiter
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felixandresims · 9 months
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Hello Everyone :),
I've been creating custom content for almost six years now and this month felt a little bit like time travel. For the 6th part of the 'Chateau Set,' I decided to create historical items again like I used to (but in a more maxis match style) and wanted to use all the skills I learned over the past years.
I wanted a very French-looking set of seating items and had a look again at what I created for the Petit Trianon. Also for years I have been obsessed with rattan and cane and incorporated those details, my trip to the Provence helped for inspiration too :). I made a three seater, a loveseat and an armchair and something for our little friends, two pet beds, a large and a small one. The pet beds require the cats and dogs expansion pack! All seating items come in the same 40 Swatches which you can see in the Gif above, some have the pattern that I used for the Petit Trianon loveseat and chairs.
Another item I was looking forward to making was draped curtains. I hand-sculpted those in blender to give them a painterly look and make them extra soft :) The curtains come in 22 Swatches.
Still inspired by the Petit Trianon I roughly recreated the fireplace found in the Salon. I added a simpler version of the fireplace for variety too. On top of the mantelpiece, you can place my new mirror :)
Last but not least I made two sets of panelling, a simpler and more ornate version. Each paneling consists of 4 wallpapers, don't forget to check them out in the build mode :).
This Set is on Early Access and you'll find it here
Thank you so much again for all the love and support from the past six years, If you are already interested in what's coming next month, it will be a bedroom set :)
Happy Simming and lots of Love,
Felix xxx
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iwouldvebeendrake01 · 14 days
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Crimson Peak (2015), costumes designed by Kate Hawley Poor Things (2023), costumes designed by Holly Waddington
"The house really dictated how to approach the costumes, from a sculptural point of view, to give them extra depth, to give them a painterly quality. I didn’t want to get myself caught up in detail that didn’t feel like it meant anything, like generic lace or decoration. So all the details we made and they all came from the symbolism of the characters or the house itself. The leaves on Lucille’s dress were constructed by hand, with a single piece of cording. And for Edith, the motifs of the flowers, she blooms. It was about trying to create an atmosphere. [...] [Edith's] like a chrysalis at that point. She’s very fragile, so the butterfly is dying and becoming this little husk. [...] When Guillermo said to me, “It’s about a house that breathes,” that’s why we chose the lightest fabric, just a little thing to try and help the storytelling with the idea of the house." "[As Edith falls in love with Thomas Sharpe,] the silhouette of the sleeves becomes fuller, and the flowers start growing on her dress. You have the world of the moon, and black, and Lucille being the moth, and Edith being the butterfly.” - Kate Hawley
"I wanted texture to be everywhere in the costumes… for everything to feel like it was living and breathing – from an animal or a sea creature from a shell. It all has a kind of organic quality to it. There are curvy, linear shapes, and no sharp lines. Bella’s costumes are very airy. Those sleeves are like huge lungs full of air, and she’s just been reanimated so that felt like a good thing to include. The huge sleeves also affect her body shape, which felt like a good idea, because she is more creature-like when she wears these.” - Holly Waddington
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pansear-doodles · 9 months
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30 Days of Artihunter Complete!
Below the cut would be a side diary on the thought process of each day- how I felt during the time and what made me decide to draw the ship in that portrayal. It would also contain some deep thought messages of how I feel I suppose.
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Day 1 revolved around me thinking quickly on this idea- that it is pride month and its their time to shine again. What is anything more appropriate than the first art style I drew Rain world in for the first day? I've thought of the roses of explosion spears.
I was feeling creatively driven on this day- wanting to use my painterly style but with not exactly my designs- I also want to mimic how they appear in the game more.
Purple, orange, yellow. Great colors. I'm a sucker for citrus and sunset palettes.
Was feeling lazy this day, but also experimental. Some people saw this piece and thought that the shelter is the tent- that's actually just the entrance. The "tent" is a carpeted roof to the entrance, and the two are enjoying the light rain or the start of it before they head in to the actual shelter. At some point in the future I should design more unique shelters and entrances.
Around the time, I was listening to The Cardigans. Sometimes Youtube gives me sped up versions where the thumbnail has a cute stuffed animal or character. It reminds me of the Sylvanian Family toy series. My very first Artihunter-related commission was the two in pretty dresses with the pups, so I was reminiscing on that too.
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I was feeling sleepy so I wanted to draw the two comfortably. I think I was in the mood to draw a wrinkled blanket.
When a character kisses another, it leaves a heart. This is not usually lipstick but rather just an evident smooch mark. You might've seen a similar thing in the newest picrew. Yes- those are smooch marks!
Felt stylistic. Wanted to be different I think. This was the first daily artihunter piece Videocult retweeted. I'm not sure if they realized but whatever floats their boat. I was really fond of how people draw Artificer as this rough, scraggly, rat coyote thing, so I wanted to draw it my way.
It was at this point I realized my daily artihunter hasn't shown the one aspect of their relationship- that they both are fighters and relish on the violence. I drew them fighting a vulture because of Hunter's expedition: Birdwatching
I think... I was feeling sad this day. You'll see this pattern soon in the future days.
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I was feeling violent. I wanted to draw gore for once.
I was browsing through twitter and found funny slugcat GIFs and drawings where the slugcat is shaped like some sort of long stringbean. This would be one of the few pieces where it involves another character unrelated to the two.
I think I was on a manic state this day- feeling silly.
Then the silliness crashed down from... something. As the days progressed, my anxiety attacks would worsen and be evidently consistent throughout (and as of writing I still have them, but to a lesser extent at least). This would continue until around day 26. But as of this day, I wanted to show my arti's caring side, comforting hunter.
Amidst an anxiety attack, I wanted to draw them as beans in reminiscent of the specific style of an artist whose small doodles make me smile and laugh.
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I think I was feeling empty headed for ideas on this day, so I looked at the rain world art tags for inspiration- it just hit me that I could also draw other artist's depictions of artihunter, so I drew them in one of my styles. Maybe someday I will do more of this. I hope the other rw artists don't find this weird.
I've randomly thought of shovel knight and thought about how cozy the campfire cutscenes were. I wonder if shelters could have ventilations to warrant a campfire inside. It would be nice I think.
It was father's day. This is not a genderbent drawing- I just wanted to draw them in different colors and wearing cool ties, while receiving mugs that call them dad. That's about it. If you think about it, I think arti and hunter would get a maximum of four mugs per year for each- on mother's day, on father's day, on their birthdays, and on rain world's version of the winter holidays.
Butch sapphics/lesbians. I was humorous.
I was feeling upset and certainly riddled with the anxiety and restlessness. I just wanted to draw the family at peace.
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I was curious on my friends' input on what prompt for this day, so I asked them what should the two be doing. Several of them gave different answers, so I combined all of them.
I was feeling terrible but I wanted to push forward with the daily artihunter. Their arms have bruises here but they're holding on- just like what I was going through that day.
Anxious, again. I wanted to draw them resting closely. I think I was touch starved.
I wanted to cheer myself up so I went around for memes on tumblr and saw one I found funny and could fit my vision (er- one of my visions) of the ship. I found the sunstone dialogue at the back to replace the dialogue of Hatred a genius move and I'm glad I cracked people up with that detail.
People seemed to like this one- I was feeling painterly that day. Arti's kids are part of their life, and now they're part of Hunter's. I think Hunter would be a great mumdad.
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I think... It was around this time my anxiety attacks started to leak out and break open completely. There was a lot of buzz. I was restless. Uncomfortable. Spiraling. People left and right trying their best to comfort me, and then finally the people who helped me snap out of it out of reasonable concern and grips on reality. I'm quite ashamed of being that, but I think at this time, I finally learned how to slowly breathe again. I felt mellow. I drew them as tomatoes with iterator farmers.
I wasn't feeling sad. More like tired. I had school all day until late at night and I had no time to make the drawing, so I made something relatively simple.
I planned this prompt for a while- I wanted to draw them in their wedding wear. The complexities are the exchange of the simplicity for the day before. I at times still cringe at the wedding comics, but they were fuzzy. I think they should slow dance after everything they been through. I think they should hold each other gently until their next stressful moments come. I think they should be happy.
A round about way of compiling most depictions I have of the two. Its funny I always draw their anthro versions taller than the other portrayals, but thats the vibes. They all each have different ways of showing affection. They all each have different experiences despite being similar to one another. Yet they're all the same persons at the source.
Today was polarizing. There were a lot of things I did not expect. A rollercoaster of emotions. But somewhere in there of the today, even with the tears on my face, the throbbing headache and the shaking hands- I was happy. I should acknowledge that I have accomplished another of what appears to be another consistent art month, with absolutely no missed days. I wanted to make it off with a bang- something reminiscent of one of my first artihunter drawings. I shall rest, but I'll see everyone in the fields of Art Fight, where I will smile once more to hopefully live up to my prime and focus on what's important to me in drawing.
With pride month ending, I would like to thank my friends and the rw community for being supportive of my barbie playhouse. 5 Months went by so fast, so many episodes and mistakes but I march forward, evolving and fluctuating, learning. There were things that meant a lot to me and are significant that is considered otherwise by others.
Some people will look at this- all that I've done- think its crazy, maybe unhinged, think I have made them with the intent of malice. Maybe I have not done enough. Maybe I misrepresented them. Maybe I was too proudy or ignorant- perhaps all that was true and I didn't know about it until its too late. There is a certain truth in me that it difficult for me to explain to others and there are some things I think about that don't need sharing.
I wish I wasn't so sensitive to everything but me frolicking about with whatever I want to draw contradicts it. It makes me want to step down or run off to a new quieter place- a new account to disguise myself- but I know I can't let them win that way.
Maybe there are two or more people in me, all conscious. Or maybe I am indecisive and want to explore everything about thing because I love thing and I want to see it in all angles. Whatever I'm doing, I know its out of love and appreciation. I misremember even significant things. I lose myself, but I pick up the pen and draw because its the one thing I know best for myself.
I do not look for validation. I only look for peace. I only look to be comfortable knowing that I'm not making the opposite of peace. I only look to make myself happy.
To the people I've hurt on my journey, the people I've thought fondly of but also fear, the people who hurt me- thank you for being part of my stay in Rain World even if painful and I'm sorry for everything I've wronged you on.
To the people who brought light to me, who tolerated me, who were kind to me, who were patient to me, who didn't mind what and how I was, who encouraged me, who defended me, who talked to me, who shared memes with me, who were calm and honest to me, who acknowledge my flaws, who made me feel safe- thank you. Even if some of these moments were brief. Even if I don't know who or what you are on the other side. Even if something in the future may happen to us. I love you. /p
I say this all with genuine thoughts, and I hope I'm not being emotionally manipulative because I genuinely do appreciate this fandom and I'm grateful that lots of people in it are appreciative of me.
Thank you, again.
P.S. I have realized throughout this month I have worded the drawing artihunter everyday thingy wrong (oops) Well. At least know that I will continue to draw artihunter, and I do not think I'll get tired of the ship and drawing them anytime soon.
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flowerandblood · 15 days
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oh my god, the fragment of your short story is very cool and your illustration looks beautiful😍😍😍. I'm always extremely happy when I see Slavic mythology somewhere (I'm from Slovakia). I keep my fingers crossed for your work, it will definitely be amazing
ps: I wish you a early recovery
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Beloved Husband
Especially for you, the entire story is translated below
[ warnings: character death, violence, progressive madness, depression, mourning ]
Although it had been two springs since her beloved closed his eyes forever, it seemed to her that just a moment ago she was standing at his side in front of the altar in a small wooden church. She was clad that day in her new linen chemise and kaftan, under which stretched her skirt sewn from long, colourful strips, embroidered by her own hands over many nights.
That morning, her mother herself had collected fresh flowers in the field, from which she later wove a beautiful garland of daisies and forget-me-nots for her. The smell of baking cake spread throughout the room as her sisters helped her dress and prepare to leave her family home.
All her belongings, which consisted of several linen shirts and woollen skirts, two kaftans, one winter coat, two pairs of shoes − one for colder days, the other festive, only for church − hair pins, a set of bedding and a holy picture she had received as a gift from her godparents, fit easily into a small wooden chest decorated with painterly ornaments.
Her beloved was beautiful, joyful and kind, his lips curving into a lazy smile at the sight of her, for he had loved her ever since she could remember. He called out to her when she returned from the fair, when she left church with her parents, he made her laugh by looking at her over the fence as she fed her geese, by telling her made-up tales and legends.
He would come to her parents with gifts, wishing them to look upon him with a more favourable eye, as he was poorer than they were − she was the daughter of a respectable farmer, while he was the son of a simple serf peasant apprenticed to a blacksmith.
Although her guardians at first regarded him with disapproval and reserve, they eventually recognised his industriousness, which also brought him a tangible income. He spent days and nights in the forge, creating things that were not only useful and durable, but also beautiful, appreciated by the villagers and the heirs of the manor houses.
Without delay, he came to the aid of his future parents-in-law when the hinges of their doors and shutters began to loosen and fall off. He forged new ones for them, beautifully fitted, with indentations and swirls, which they later showed off to their neighbours. She watched it all from afar, daring to offer him only her warm, happy smile and a gratitude that filled his heart with fervent hope.
− Wait for me, pretty dove. − He called out to her then, and she laughed, not even thinking of marrying another.
His approach full of patience and understanding eventually won the hearts of her parents. Her father decided, after some thought, that it was good to have such a swift, hard-working son-in-law, who, in addition, was cordial to the women.
He believed that he would certainly be a good and gentle husband, who would not hit or shout at his daughter, and who would also gladly drink vodka with his father-in-law, and would conduct a conversation well, as his mind was sharp and enlightened.
She knew that she had caught God by the feet when they finally agreed to give him her hand, and she did not hide her joy. She thanked her Lord during every evening prayer for the fact that she did not have to marry a drunkard, a scoundrel, but a kind, handsome, hard-working young man, at the sight of whom she felt warmth melt through her heart.
Not even one spring of their marital happiness had passed when her beloved fainted, having returned from the forge all hot and fiery. He coughed terribly and babbled, only making it home with the help of their neighbour. They laid him on the bed together, wondering what to do. Fear then overtook her and she immediately sent for an herbalist who lived a few huts away.
The woman arrived in the evening and, without saying anything or demanding payment, prepared water over the cooker by throwing dried leaves and herbs into it, muttering something at the same time. After these mysterious procedures, she gave her decoction to her husband, ordering him to drink.
She rejoiced, for the colours returned to his countenance, for life returned to his members, for he recognised her, calling her his pretty dove.
Her heart was filled anew with hope. Lying by his side at night, she prayed fervently, thanking God for his grace.
Only in the morning, when the first rays of the sun woke her up, wanting to attend to her daily chores and prepare his morning meal, did she feel that the body lying next to her was cold and stiff.
She was afraid to look at him, and when she finally did, she saw his face, pale and blue, his lips parted slightly, as if he were in fact still asleep. She tried to wake him, at first with a whisper, then with cries and wails, clamping her fingers over his body, but his eyelids never opened again.
She couldn't name what was happening to her. It seemed to her as if her speech had been completely taken away. Her body was left without strength, her mind became blank, dulled. She lay next to him, looking at his face, holding his cold hand in hers, unable to let go of the thought that the only thing left of him was his body.
She didn't understand what her mother was saying, stroking her cheeks and shoulders as they stood over his grave on the day of his funeral. She stared at the simple wooden cross stuck into the fresh, damp earth, listening to the women wailing and crying raucously around the coffin, chanting mournful hymns that only increased her despondency.
It seemed to her that her mind was foggy and sluggish. She drank, she ate, she did her chores, but she did not feel or experience anything. Her body was as if in a state of prolonged shock. In her mind there was still the conviction that her husband would cross the threshold of their home as he did every evening, that he would take her in his arms, speaking of his longing, that they would sit down to supper together, recounting what the day had brought them.
Her parents, seeing the impact of her bereavement and such a sudden loss, ordered her to return to the family home, which she did. From then on, she helped them with their daily chores, as she had done when she was still a maiden.
She would speak to them and be in their company, but her mind seemed to be out of her body, the emptiness that filled her began to be slowly replaced by a progressive rage and irritation, as she noticed that everyone had begun to forget about him. They laughed and smiled, got drunk and danced as he lay there, deep underground, alone.
Shrill thoughts flashed through her head as she lay alone at night under her quilt. Her heart squeezed with pain at the notion that perhaps the gravedigger had not buried him deep enough and his body would be desecrated by wolves or stray dogs or, God forbid, her poor beloved would wake up in his wooden grave and be unable to get out, driving his nails helplessly into the wooden lid.
She would cry aloud then, burying her face in her hands, holding her thoughts and pains deep inside her, feeling that no one else would understand her suffering, that only he, her dearest, if he were still alive, could comfort her.
It was then that she heard him for the first time since the day he closed his eyes forever: the loud, clear rustling of the grass and the quiet cracking of the branches beneath his feet.
She rose quickly, feeling the aggressive, chest-shattering pounding of her heart. A cold sweat ran down her back as she leaned out uncertainly to look out of the window.
There was no one in the courtyard.
She sat still for a moment, feeling a tightness in her throat at the thought that there was a graveyard beyond the woods overlooking her small room.
The next day she lay down to sleep faster than usual, excusing herself to her family for being unwell, feeling a pleasant tingling in her fingers and excitement at the thought that perhaps her beloved would visit her again, give her some sign, tell her what he needed. No one came, however, and salty tears of regret and disappointment ran down her cheeks as she lay, facing the window, watching the first rays of the sun.
She wandered off to the cemetery in the morning, explaining to her relatives that she wished to place fresh flowers on her late husband's grave. However, when she arrived at the site, she found to her disbelief and dismay that although grass should have grown on the grave long ago, the sand on it was still wet and fresh, as if he had been buried only the day before.
Walking back home along the dirt road, wrapping herself in a warm woollen shawl, she thought of her grandmother's stories. Of how people who had died, called wraiths, rose from their graves to haunt their families, peering down on their children and placing cold, corpse-like kisses on the lips of their wives and husbands.
At this thought she felt heat in her lower abdomen, a pleasant tickling sensation engulfed her fingertips and lips, and she imagined that her beloved had come to her then, that night, wanting to prove to her that he remembered her, that he loved her and could not leave without her.
The realisation that he could wander still in the world without knowing a holy rest both frightened and delighted her at the same time, that their love could be stronger than death, that his desire to stay with her was more important to him than the will of God himself, who had called him to join him.
She stopped and trembled as she heard a loud rustling in the depths of a field filled all around with tall, golden wheat. She lifted herself up on tiptoe, feeling the rumbling of her yearning heart, looking around carefully. Her breathing became raspy and loud, full of excitement.
− My love? − She heard her own trembling, warm voice, sounding as if a mother was calling her child, wanting to give him courage.
However, she saw nothing, nor did she hear any reply.
Nevertheless, the conviction that her husband was still prowling the earth and watching her was growing stronger within her. Candles would suddenly burn out in the rooms she was in, although no one passed by them, doors would open with a loud creak of old wood even though no one was standing behind them. She was awakened at night by a quiet tapping on the windowpanes that kept her awake. She had the impression that she heard someone's footsteps even when there was no one in the room but her.
She whispered to him each time, asking him to appear to her. She would convince him that his cadaverous, pale face would certainly not scare her away, that he still remained her beloved, her only one.
He did not answer.
It seemed to her that she was slowly losing her mind. She was getting thinner and thinner, her face becoming pale, bruises from dozens of sleepless nights surrounding her lifeless eyes. Her parents, worried about her behaviour and the fact that the slightest sound or movement made her flinch as she looked around the rooms, suggested that perhaps it was time to find her a new husband.
− You will have your children, and he too will comfort you with a kind word and a strong embrace of his arms. − Her mother said. She looked at her dully, feeling that her pale lips trembled parted in disbelief. Cold sweat trickled down her neck, her fingers clenched tightly on the material of her skirt.
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That night, she cried aloud with her face pressed into her pillow, calling for her beloved, her kindest, cursing him and begging him to relieve her suffering, to prevent her from being given away to any other man, because they had promised each other that they would be together, now and for eternity.
It was then that she heard him again − the quiet crackling and rustling outside her window, someone's footsteps so clear that her heart leapt into her throat. She pulled herself up from her bed and looked out of the window, pressing her palms against the glass. A pitiful, low sob escaped from her throat as she spotted a male figure disappearing deep into the dark woods.
She got up quickly, putting a warm blanket over herself, and slipped out of her family home in only her nightgown, moving after the mysterious silhouette, wanting to shout for him to stop, fearing, however, that she would startle him. Seeing only the full moon and stars above her, she trudged through the tall shrubs, the needles of the pines and the sharp stones beneath her feet hurting her skin.
She knew that in order to reach the cemetery she had to walk straight ahead, and despite her fear, her heart was filled with courage, because for him, for her beloved, she was willing to do anything.
A loud sigh of relief left her lungs when she finally stood at the border of the forest, seeing clearly the outlines of wooden and iron crosses. She froze completely when she noticed a male figure leaning deeply into one of the grave pits. A broad smile appeared on her face for the first time since fate had separated them.
− My beloved! − She shouted with joy, with hope, with relief, drenched in tears, running towards him with confidence, thinking only of throwing herself into his arms again, of speaking to him again, of hearing his voice again.
My pretty dove.
She stopped halfway, feeling her heart freeze, shivers ran along her spine as the man she was running towards jumped out of the pit like a burned man.
She saw his terrified eyes, he was panting heavily as if he was some wild animal, raising his hands high in the air. She found to her horror that she did not recognise either his face or his figure, looking at him in the moonlight. He was older and taller than her husband, dressed in dark, dirty trousers and coat, his large hands black from the ground.
Only after a moment did she notice a long shovel lying next to his feet, a sack lay immediately next to it, she swallowed with difficulty recognising in its contents something that resembled shimmering gold jewellery in the moonlight.
The stranger moved suddenly towards her, grabbing earlier a shovel lying on the ground. She screamed loudly, throwing herself into flight, understanding her mistake, her stupidity, her naivety. She stumbled several times over tombstones and tree roots, her sore feet seeming to scream with every step she took.
Her voice stuck in her throat when suddenly something dull and hard hit her heavily on the back of her head, then again and again; she fell to the ground, panting heavily. Everything around her seemed to spin, she no longer recognised shapes or where she was, warm liquid ran down her forehead, the metallic taste of blood that had flooded her face melted between her lips.
She wanted to scream for rescue to her beloved, to her parents, but she was unable to get the words out. She cried out loudly and drew in a loud breath, bursting out crying when she felt his large, rough hands clamp down on her bare calves, pulling her back on the ground. Her fingers impulsively dug into the sand and grass, fruitlessly trying to resist him, something akin to a grunt escaped her throat.
My God, have mercy.
She was already completely limp when he threw her into the middle of the grave. No sound left her lips as the heavy, cold sand began to fall on her body. Her empty gaze, from which the life was slowly escaping, was fixed on the bright moon disc spreading over her head.
Before the last breath left her lungs, a thought flashed through her dying mind, from which she smiled gratefully at the stranger who stood high above her like death itself.
I will see him again.
_____
Illustrations and text are created by me. Do not repost.
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moondust-writes · 6 months
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『Painterly Help』 desc;; struggling with a project your professor had assigned, Kaveh attempts to come to your rescue a/n;; first time writing for the resident over thinker of Sumeru,,,and honestly, i love him so much. as an artist with heavy anxiety myself i relate too much word / character count;; 404/1802 line dividers made by;; @ / benkeibear
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With a flick of the brush, you pull your hand back to study the progress you’ve made so far on your canvas. It wasn’t a secret that anything involving paint was your downfall within artistry, in fact the moment you were assigned this specific medium by your professor all you had done was whine and moan about how this was the worst thing to ever happen to you at the Akademiya. For some reason, adding water to a pigment and trying to blindly create a scenery or portrayal of a living creature was something your brain could not wrap itself around.
To say the least, this was probably the worst thing your teacher could have given you. But while you did try to have it changed, to get an exemption, they declined your request. All with a simple “If you wish to accomplish more, you have to do more than what you are comfortable with,” something that you vehemently believed was an insult. Some kinder way of “you won’t accomplish things if you don’t learn this medium.”
Well, your professor was a bitch, for lack of a better term. You wouldn’t be surprised if that was in fact what they meant. 
Your internal monologue stopped there, jolting back to reality when you felt a kind of warmth behind you. Another hand encasing yours, the one that held the brush, you felt the breath of an amused architect on your ear as he spoke; “Here, let me help you love.”
“You’re using too little water…which means you’re using too much paint…” Guiding your hand, he opted to help you with your project whilst taking a break from his own. A rarity in itself, but one you’d gladly welcome- even if you couldn’t pay attention to the words he spoke so carefully and serenely. Your face flushed as you watched your hands move, cursing Kaveh and his accidental charm, but thanking the Archons for that very thing all at the same time.
As he leaned back and let go of your hand, he turned his eyes away from the painting and towards your face and raised an eyebrow. “Did you catch any of that?” With wide eyes you opened your mouth to answer, only for nothing to fall out. “Uhhh…” Your face burned as he shook his head fondly.
“Alright, let’s try that again. You’ll get a hang of it- but pay attention this time. Okay?”
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tag list;; @gutzjunkie, @i23kazu shoot a message or comment if you want to be on a tag list for certain characters / fandoms / etc~
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woagopossum · 1 year
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every now and again i give detailed lineless art a try and i felt inspired by sausage's various godly interactions to make something painterly. also very loosely inspired by that one bisexual sword painting. also sketches for fun v v v
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subzeroparade · 11 months
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(long post ahead sorryyyyyy)
Some process shots at the request of @lizteaart :)
(sorry in advance - I was not struck with any impulse for originality, so you get these two posh mfs looking dumb and pretty.) 
This is not meant to be a guide by any means, just a glimpse at how I (generally) build up paint and then colour correct. I work the same way unless I’m trying to achieve a particular style for practice or effect (like this piece, in which I strictly followed lineart and hated every second of it; or the Byrgenwerth portraits, done completely in greyscale and coloured with custom gradient maps). 
I work in Clip Studio because there’s something about the colour blending that feels extra buttery, but I used to work in Photoshop; all of this applies cross-software anyway. 
Step 1: lineart. If I’m not working stylistically for clean lineart, I leave it pretty loose. I almost always change things around while I’m colouring. I have about 3-4 rounds of progressive lineart until I’m happy (in a loose watercolour brush).
Step 2: I will have the lineart on multiply so I can work under it for a while. I sometimes (but not always) block in some rough colour underneath just for extra texture and in case I need to clip to layer later. I also put down a tentative palette (skin in this case) just so I can have a range for the colour dropper. I add and subtract from the palette while I work - but it also prevents things from getting too muddy, which can happen if you’re exclusively selecting colours from inside the work itself. 
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Step 3: (sorry, the screenshot is super small here) I do a VERY rough blocking in of colour just to see if things make sense (and so I don’t have to change my mind so much later). These are clipped to the colour-block layer from the previous image to save time. Sometimes I duplicate these layers and play around in modes to increase saturation, contrast, etc. Here I left them as is cause I’m going for a colouring style that’s a little more subtle. 
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Step 4 ad infinitum: refining. Here I’m starting with the skin and hair, since the focus of my work is always the character’s face. I try to work in a way that’s non-destructive: every time I establish a baseline of good build-up, I create a new layer and work on top of that. That way, if I over-render or muck something up, I can just delete that layer, and the previous state will still exist. In this work, I deleted at least one layer of rendering from both their faces, because at some point I felt like I’d over-rendered or lost some nice texture or good shape definition. But I still had whatever acceptable state saved beneath. I merge them as I go so they don’t get to be too many.
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I’m trying to build a pretty smooth surface of skin here, which is a new thing for me, since I used to render with heavier, more textured brushes. Here I’m using about 3 different watercolour brushes. I work soft-hard-soft-hard: softening and blending, adding hard edges, and then going again until it looks somewhat convincing. I try to colour select as much pure colour from the palette so it doesn’t get too muddy, and I also like injecting some unexpected colour here and there, especially in shadows, like cyans, for a little more life. 
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Step 5: By now, I’ve started layering above the lineart. I only do this when I feel the facial structures are solid enough that I don’t need it anymore. But the lineart layers are still there, beneath, if I ever need to go back to it as a guide. 
I also add a very low opacity gradient map at this step, for little more interesting saturation, and continue to work above it. I go back and forth between skin and hair so I don’t spend too much time on one thing, and give my brain a break to come back and notice things I would otherwise glaze over. I try not to over-render and still leave lots of evidence of painterly gesture. 
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Closeup of the hair from base to almost-rendered. I add a sharpen filter to the hair often to get parts of it a little visually crispier. 
Step 6: the exact same thing but with fabric/armour/whatever. I mix my watercolour brushes with bulkier, meatier brushes for textile, since I can’t be arsed to render clothes with the same care as I do skin. These are the types I use (folks can DM/anon if they want the brush names, I have a million different sets and use maybe…ten). 
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The chalice midway through render. 
At this stage I will let it sit for a while longer. Whether it’s done is debatable and usually up to personal preference - you can render till kingdom come if you want something more realistic, but you might lose some lovely, sensitive evidence of gesture or interesting accidents. I also highly encourage playing with gradient maps if that’s something of stylistic interest. A good gradient map can do a bunch of things - change the whole temperature of a piece, push back certain details and pull others forward, etc (example here - this particular gradient didn’t suit what I was looking for, but it still manages to be visually interesting). 
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I usually come back and nitpick a few things before moving it into Photoshop where I’ll do colour management - another gradient map, fixing saturation/vibrancy, selective colour, etc - and anything structural that I may need liquify for. Then I’ll sharpen it one more time, slap a noise gradient on it if it feels like it needs some extra texture, and try not to hate it right after saving it LOL. 
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(I'll probably come back to this a few more times before posting something that feels more "finished").
Sorry for the long post - and hope this was helpful (•‿•)
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didididraws · 1 month
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my tablet is currently halfway across the country for repairs (my brother's the most tech-savvy in my family and asking him to take a look at it was cheaper than taking it to a shop) so i haven't been able to draw lately. i've made a bunch of traditional sketches in the meantime, but none of them are presentable enough to post here, so i decided to take a trip down memory lane and fill out one of foxorian's influence maps!
below the cut are the names of the artists featured here, as well as a little bit of director's commentary on how they've influenced me :]
yugo limbo (website, tumblr, twitter) - some time last year, i realized something profoundly unnerving: i actually... don't like the art in smile for me's original release all that much? that's not to say it's bad, just that there isn't a whole lot about it outside of maybe its architecture that stands out to me. which is REALLY WEIRD, considering i wrote a whole retrospective about how much this game means to me. art-wise, however, it was only after smile for me's release that yugo limbo's art evolved in a way that really resonated with me; i love how textured everything is, i love the way they simplify clothing folds and the way that skin wrinkles around the joints, i love their love for puppets; all of those things ended up worming their way into my art style and tastes one way or another, and i couldn't be happier!! it didn't feel right to leave smile for me out of the equation entirely, though, so i chose a piece that was both related to that game and that i felt reflected a lot of what i love about yugo's more recent art.
echobsilly (twitter, tumblr) - oh god, speaking of yugo limbo - god. i fucking love echo's art so much i have no idea how to even do it justice in writing. like many people i first found him through his smile for me/limbolane fanart and animations - and those are some of his best work, don't get me wrong, but i really wanted to include one of his original designs to make a point that he's just fuckin great at art in general. character design, facial expressions, body language, composition, LIGHTING... he makes it all just. so so so gorgeous. i always liked "painterly" art styles for lack of a better word, but i think his art is what first pushed me to embrace that more in my digital art. i also like how he talks about dr. habit like he's his dead wife. i'm very proud to call him a friend these days :]
japhers (tumblr, twitter, instagram) - i first found japhers' art in high school and he very quickly became a HUUUUUGE influence on my taste in character and costume design. one of the big reasons i never fully bought into the idea that men's fashion is inherently harder to design is bc so much of his art is already dedicated to exploring fashion Without the restrictions of a gender binary in place which is to say that he's really good at drawing buff dudes in frilly outfits. i also think he gave me more confidence to draw more intricate costumes without having to worry about super dainty and clean lineart, bc a lot of his art looks like it's kinda been carved/rendered out of sketches, and it is Gorgeous.
moe suppe (website, tumblr, cohost) - another artist i found in high school, albeit originally from a long-gone instagram account. his art is what kickstarted my desire to have some Roughness in my art, some Texture. it may not have stuck to my lineart, but it Definitely stuck to my rendering. it helped that i was going through a pretty big angel/demon phase at the time, which meant i was pretty immediately drawn in by his delightfully weird worldbuilding. i should probably read fear not now that it's an actual serial...
val wise (website, itch.io, twitter, instagram) - a more recent influence, but a pretty significant one nonetheless. i featured the cover of délicatesse here because it was the first thing from him that i had ever read, but in general his grasp on the human body really blows me away given how deceptively simple his style looks at first glance, especially his faces. the way fat and hair sits on her bodies, and how much it varies from character to character... it's beautiful without being So glamorous that it feels untouchable. his costume design is also great. i recommend his comics for low fantasy/ursula k. le guin fans who are Dying to see more fat characters in leading roles. i also just found out that i am of two hearts is free on itch.io, so i'll be treating myself to that over spring break.
partycoffin (tumblr, twitter) - if you have known me for any amount of time at all then this should not come as a surprise to you. i actually wasn't going to include partycoffin in this map at first, because while welcome home has inspired me in Many creative pursuits, i didn't think visual art was one of them? i definitely picked up some of clown's love for dramatic lighting and thinner lines with just a smidge of well-placed hatching subconsciously, though.
ryoko kui - probably the most recent artist featured here? anyways i have a confession to make: i have yet to read dungeon meshi. i just know that when i saw a post compiling a bunch of ryoko kui's sketches from her daydream hour series, i was so overwhelmed with this feeling of, like… "oh, yeah, these capture almost everything i love about women as flesh and blood people. when i draw women this is the kind of beauty that i want people to see in them." of course, ryoko kui is a great character designer in general, but something about her women specifically really speak to me. the earthier color palettes and rendering also do a lot to endear her art to me.
shuzo oshimi - specifically his art in blood on the tracks. something that really stood out to me in that series was whenever the shadows would get really intense, and you'd get these big blocks of black with just the faintest bit of hatching to soften out some of their edges. it was always very effective in creating this sense of claustrophobia. i really want to keep incorporating that in my more intense pieces!
person918x (tumblr, instagram) - i don't work with 3d art often and i don't see myself doing so any time soon, but the composition of person918x's pieces is something i take a lot of inspiration of. i also love his sequential art, as someone who does a lot of dream journaling it's sick to see the exact Vibe of a dream be put to (digital) canvas. i also firmly believe that he's one of the only people out there who knows what he's doing when it comes to using generative AI in art.
oops i made this list too long so now i have to put the last two artists in a new block.
10. meatgiri (twitter, instagram) - definitely the artist i've known about the longest out of this selection. i think i've been following her since…. oh god. since i was in middle school. way before she was meatgiri, even. i think her influence probably shows up the least in my art, but there are definitely some characteristics that stuck with me for a very long time (the lil block of black accompanied by one or two lines for shading on the neck, the looser lineart making it really easy to incorporate soft curves and sharp edges, the Eyes, etc etc.) i chose this drawing of her oc juniper bc i thought it was both reflective of her current art And a good embodiment of a lot of things i wanted to emulate from her art as a young'un.
11. dragan bibin (website, instagram) - specifically his 'deimos' series. much like with person918x, it's his compositions that really stand out to me the most, and you probably know by now that i'm a sucker for high contrast. i find it interesting though that he uses high contrast to obscure more than he does to highlight... helps a lot with giving the deimos paintings that air of Quiet Unease. another thing i want to incorporate in my horror-adjacent art! manmade environments gone wrong!
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jodeeeart · 1 month
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Hello Jodie, I was curious about your work on Black Mass Rising. How did you manage to do it without burning out, and what did you take into account to keep things simple. Thank you for gracing our eyes with your art
Hey nonny,
Thanks for the ask! Honestly, I am not so sure I did escape without some burnout. I was completely exhausted by the end of it! I was working on BMR over lockdown so the stress of it was kind of amplified. I made a few mistakes that I wouldn’t make again but by far the biggest one - I took on other work alongside it. If working on that book taught me anything, it’s the limits of what I am capable of haha! I would never load myself up like that again. I think it took me around a year and a half after I had handed in the finals to truly feel reconnected to any creative desire of my own. I don’t think I was fully burned out as I continued to work over that period, but it felt like I was at a distance from what I was making in a weird way. I think another contributing factor was that it just wasn’t my baby. Perhaps if that level of labour had been in service of my own idea and vision, I may have felt very differently at the end of the project. That all sounds very doom and gloom I know but I did learn a lot about economy, working under pressure and time management, those skills have transferred to other projects! I have since had the opportunity to work on some motion comics and animated 2.5D stuff on Valorant map reveals and New World cinematics. Being able to juggle many tasks at once definitely came in handy! Same with some concepting jobs I have had since too, I have developed my own economic shorthand which answers the other part of your question about style. I was delivering 3 fully painted pages a week to the editor which necessitated a much simpler visual! It was all about reduction in the right places. Big shapes and readable forms with focus on expressions and body language to assist the dialogue and narrative. Creating character designs that were distinct from one another but not too complex that they would require loads of detail on every pass. Theo Prasidis (Author) wanted to give the book a more European feel, less like something you might get from one of the big two so we leaned into a more painterly and looser vibe.  That got a little waffles there but I hope that answer was useful to you in some way at least!
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kirbydaily · 1 year
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any tips on lineart or coloring? I adore your art style!!!!!
thank you! this post might be a little rambley because i'm not the best at explaining things
ok for starters, i don't want to go into my own personal preferences for choosing colors too much. when i started drawing i really stuck with what other artists said was the "correct" way to do things and that can really hinder your art a lot, so i'm going to give general descriptions of colors and color schemes and let you decide which ones you find the most appealing or enjoyable to use. i think choosing colors comes down to personal preference most of all. don't take anything i (or any other artist) say as law, drawing is a lot more fun when you make your own decisions about it. if you want to use a lot of super bright/dull colors, or no colors at all, go for it! your art should be what you want it to. this post is more for people who want to know more about color schemes than for people who want to draw exactly how i do lol
also you can use solid black and white in your art its not illegal and it doesn't always look bad idk why this is such a common thing people say in tutorials/tips about colors
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color schemes can be monochromatic or polychromatic, with my art i usually use different colors but i like to use monochromatic schemes sometimes too, art can look very nice with both of them. characters with multiple colors (like kirby) can be drawn with monochromatic palettes as long as you have varying values of the color.
with polychromatic color schemes, remember that less is more! limit your colors and try not to use way too many, it makes things less confusing. reuse colors for different things instead of adding new ones
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value is how light or dark a color is. i like to use color schemes with a lot of tints (or pastel colors), usually with a few darker colors in order to define shapes a little better. value is Very important to make the thing you're trying to draw clear to see and separate details from each other, so i'd study this before learning about picking colors individually.
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saturation is how "intense" a color is. it's different from value, and it works alongside it (saturated/desaturated colors have tints and shades.) i don't use many very saturated or destaturated colors, and a lot of my art kind of lies in the middle. when i do use them, i try not to put very saturated and very desaturated colors together in the same color scheme, as using all of one or the other can make things more cohesive. (also, don't make dark skintones too desaturated. they should be in the middle)
the most important thing to remember about color schemes is that colors don't work independently, they look best when they're cohesive with other colors. think about how you want something to look before you color it, consider if it's supposed to look cute or have a gloomy/dark feel, if its daytime or night, etc. try not to follow a character's reference sheet colors too strictly, and change them as needed given what you want your finished art to look like.
lineart is a lot more simple (at least to me). i usually use a dark blue or whatever color i associate with the character for it, and i like to keep the stablization setting very low, as that helps it make look more sketchy/painterly. (i use clip studio paint, so if anyone wants these brushes let me know and i'll put them in a different post)
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hopefully this was a little helpful and not too much of a pain to read! i've gotten a Lot of asks about this so i felt like i should make this post as detailed as i can. do look for other resources if you want to learn more about this stuff, there's people way better at explaining things than i am lol
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animebw · 1 year
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Short Reflection: Winter 2023 Anime
Is it just me, or did this season of anime kind of blow? Yes, anything would be a step down after the absurdly stacked Fall 2022 roster- and in fact, two of my favorites this season were continuations of shows I already liked from fall (Blue Lock and MHA)- but man, there was just a stench of failure around so much of Winter 2023′s offerings. Not just in how many of them turned out to be disappointments, but in how many of them didn’t even get to finish in time! Barely a week went by without another show suffering long delays, production after production crumbling under the weight of mismanagement and corporate apathy that doesn’t care how many animators are worked to death for an inferior product as long as they can make some extra cash from rushing it out early. I mercifully managed to avoid all the victims of these delays (well, almost; RIP Kubo-san Won’t Let Me Be Invisible), but even existing in the same space as them felt like it took a toll on everything else. This was a rough one, folks. But there were still some gems worth highlighting, so after spilling my thoughts on Onimai, Trigun Stampede and MHA Season 6, here are my thoughts on the rest of the anime I managed to finish this season!
(Also no Vinland Saga review yet cause I’m waiting for the season to be over, but spoilers, it’s still really fucking good. You’re shocked, I can tell.)
Tokyo Revengers Season 2: 1.5/10
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You know what? I give up. I gave Tokyo Revengers every opportunity to finally pull itself together and turn into a good show. But not only did it drop the ball so hard the shockwave registered on the Richter scale, it felt like it was actively going out of its way to suck as hard as it could. Every single plot thread in season 2 is bungled so horrendously, from Takemichi’s increasingly unforgivable stupidity to the insulting cul-de-sac fights that change nothing about the status quo to the truly infuriating mishandling of every female character (Hey, I know, let’s give Yuzuha a panty shot while she’s being beaten by her abusive brother! Great idea!), that there is no possible way this show can ever recover. Even if the next season is somehow a masterpiece that fixes all the series’ issues- which it won’t be, let’s be honest- it won’t change the fact that Tokyo Revengers has established a new low for lazy, intelligence-insulting storytelling in shonen. The only reason it managed to get so popular is that it keeps making you think it’s about to do something really cool and meaningful with its high concept. But at this point, it’s all but proven that it never will. Fuck this show, fuck the manga it’s based on, and fuck everyone who accepts this barely-animated hackjob slop as anything close to acceptable entertainment.
The Fire Hunter: 2/10
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Between this and Mars Red, I’m really starting to hate studio Signal MD. They’ve got a habit of turning fascinating highbrow fantasy premises into some of the dullest, sloppiest, most poorly produced pieces of pretentious dogshit that think they’re high art imaginable. And this one’s directed by Mamoru Oshii! He’s supposed to be a veteran director who knows his shit! How did he turn out such a colossal flop? Almost nothing in The Fire Hunter works on an audiovisual level; the animation is embarrassing, the direction is incomprehensible, the editing is somehow even worse (I have never seen such poorly timed painterly insert stills), and the whole thing is smothered under a droning soundtrack that drowns every scene in the same overbearing, tuneless sonic dead air. Even the best script in the world couldn’t survive this cataclysmically bad production, and suffice to say, this is very far from the best script in the world. It’s equal parts mind-numbing exposition, dull narration, and pointlessly mean characters with no interesting internal struggles or worldbuilding to justify the air of arrogance about the whole affair. The Fire Hunter desperately wants to convince you it’s art, but it’s just crap. Skip it.
To Your Eternity Season 2 (2nd Half): 3/10
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I’ll give it this: the second half of To Your Eternity’s second season is unquestionably better than its first. Not a very high bar to clear, I realize, but after the utter slog that was Bon’s introductory arc, it’s good to have actually interesting things happen for a change. Unfortunately, for all the fresh air the siege of Renril brings to the proceedings- new characters, new kinds of stakes, a bonkers re-imagining of what Fushi’s powers are even capable of- it’s nowhere near enough to save this show from running itself into the ground. Whatever magic To Your Eternity once had is well and truly gone, buried under a flood of terrible production compromises and questionable story choices that have lead it down a path it can never recover from. No matter how much future arcs might try to turn things around, they’ll never escape the lesson this show has somehow forgotten it used to preach: when something dies, it can never truly return. To Your Eternity is dead. It’s over. Let it rest in piece while it still has some faint shred of dignity left.
Giant Beasts of Ars: 3/10
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Did someone open a time portal to 2006? Giant Beasts of Ars feels exactly like the kind of original fantasy anime that studios were pumping out two decades ago- and unfortunately, that’s not a compliment. It gets off to a good start with a strong introductory episode that sets the tone well for a fun magitech adventure with some giant monster fighting, but the second that adventure gets under way, pretty much everything goes to shit. The characters are bland. The world itself is dull and uninspired. The action is lifeless thanks to a weak production that can’t give these fights the oomph they need. And the plot escalates from understandable low-key stakes to some of the most asinine “suddenly we’re fighting god now” swerves I’ve ever seen. Seriously, the way this story loses all sense of scale in its final episodes as it barrels head first toward a climax left me stunned in disbelief. Never mind the fact it ends on an asspull cliffhanger that’s almost certain to never get resolved because nobody’s going to want a second season of something this limp and underbaked. What a waste of time.
Kaina of the Great Snow Sea: 3.5/10
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I was really excited at all the fantasy anime coming out this season. After being swamped in the isekai sewers for so long, it was such a relief to see the industry remember they could tell stories about actual fantastical worlds and not just, you know, reskinned Dragon Quest knockoffs. So imagine my how immeasurable my disappointment was when one by one, all these promising series let me down. Kaina’s Naussicaa-inspired world of snow seas, giant spire trees and steampunk skiffs navigating an allegorical prayer for co-existence with nature and rejection of militarism should have been an easy slam dunk, a new Miyazaki for a modern landscape. Unfortunately, as beautifully realized as the world is- Polygon Pictures is no studio Orange, but their impressive background art and environmental storytelling continue to make a strong case for CG anime- the writers forgot to populate that world with anyone worth getting invested in. The characters are the stockiest of stock archetypes, photocopies of photocopies of tropes that have already been worn to the bone by decades of misuse and overuse alike. If you’ve seen even one generic fantasy anime, chances are you’re already sick of these characters, and there’s nothing fresh or particularly meaningful here to make up for the lack of originality. Don’t get me started on how poorly the princess is treated, yegh. Is it too late to unplug the concept of fantasy anime for a few years and hope it recovers some steam before we plug it back in?
High Card: 3.5/10
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There is no excuse for High Card being as lame as it ended up. A Kingsmen-style goofy gentleman spy action comedy written by the author of Kakegurui in which secret agents in dapper suits fight with the power of magic transforming playing cards? And the entire world is themed around cards and card games (the country is Fourland, the spy organization is Pinochle with its office on Old Maid street)? This should have been a camp masterpiece every bit as delightfully unhinged as Kakegurui. This should have been the most gloriously Anime Bullshit (affectionate) experience of the year. But instead, it was mostly just Anime Bullshit (derogatory). It takes so little advantage of its concept, wasting episode upon episode on trite plotlines and cliche developments, jumping between so many tones and focuses without ever settling on a single one. I came here to see Twink Bruce Wayne summon bazookas out of thin air with the power of Instant Interdimensional Marketplace, not slog through the umpteenth iteration of “the stoic katana girl needs to open up to her male colleagues” or “tragic little sister with an incurable illness.” The bouncy ED, which sees the main cast all singing together in the car, was the one consistent bright spot, and even that started feeling more and more like an insult as time went on. If only the rest of the show were as loose and freewheeling as those painfully short 90 seconds per episode promised.
Don’t Toy With Me, Nagatoro-San Season 2: 3.5/10
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Look, I’m no prude. I’m not above trash. Nagatoro’s first season was far from a masterpiece, but it had enough actual charm and character depth that I didn’t mind coming along for the ride. But the thing about trash is that just like every other show, you still have to do it well. Nagatoro wasn’t ever entertaining because it was a shallow wish-fulfillment rom-com for masochists, it was entertaining because it found something recognizably human in spite of being a shallow wish-fulfillment rom-com for masochists. And sadly, whatever spark made that first season work didn’t survive the transfer to OLM studios. There are fun moments here and there, but the overall package is just too half-hearted to care anymore. Not even the introduction of Nagatoro’s sister keeps the proceedings from feeling increasingly mindless. What’s the point of this show, really? What does it offer that I can’t get better elsewhere? Because if the only appeal is the teasing gimmick, well, Teasing Master Takagi-san is right there, people. You could be watching an actual good show about a girl mercilessly teasing her crush instead of this flavorless assembly-line mushburger of an anime. Just saying.
The Tale of Outcasts: 4.5/10
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There’s something strangely endearing about The Tale of Outcasts, despite its many flaws. Does it read like every thirteen-year-old girl’s embarrassing stash of unpublished Ancient Magus Bride fanfiction? Yes, unquestionably. But you know what? There are far worse things to be. Maybe it’s the isekai exhaustion getting to me, but there’s something so refreshing about a cringey wish-fulfillment fantasy adventure populated by stock archetypes and hacky plotting that’s actually, like, wholesome? That feels like it was made out of genuine amateurish love for Victorian splendor mixed with demon furries instead of incel resentment that the world isn’t catering to their every whim? Yeah, it’s still cringe, but it’s charmingly cringe, not revoltingly cringe. I still can’t really recommend it unless you’ve got a real soft spot for deep-voiced daddy beast people who can be your angle or your dveil, but out of all the bad shows I kept up with this season, this was the one where I never minded clicking on that next episode button, and that’s gotta count for something.
Urusei Yatsura (2nd Half): 5.5/10
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I think it takes a change in mindset to really appreciate Urusei Yatsura. True to its 70s roots, this is not an anime to watch for a constant sense of forward progression. This is a show to be enjoyed as a reliable weekly comfort, 25 minutes of mayhem every 7 days with a familiar cast of characters bouncing off each other endlessly. If you come in looking for a tightly woven narrative that’s always driving toward a forseeable endpoint like most modern anime confined to single cours runs, you’re likely to be disappointed. But if you let yourself just enjoy the chaos and don’t worry about what might come next, I think you’ll find a lot to like here. If nothing else, I appreciate Studio David sticking to that old-fashioned spirit. But I have to admit, I might’ve preferred a more streamlined adaptation that doesn’t waste a second of runtime. What can I say, I’m used to modern anime pacing. Or maybe I’m just annoyed by yet another instance of a tomboy character who wants to be more feminine. Which, you know, not Ryunosuke’s fault that particular trope has gotten so beaten to death these days, but still. Sometimes making changes for modern times isn’t such a bad thing, you know?
Revenger: 6/10
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So y’all hear about this Gen Urobuchi guy? Apparently he was pretty famous back in the day or something, IDK. He’s been plugging away at his goofy Taiwanese puppets show for the past few years and slapped his name on the story concepts of a few high profile projects for extra buzz, but now at last, he’s returned to grace us with a full story and script from his own hands! ...and apparently from 17 years in the past as well, because from what I’ve heard, Urobuchi originally wrote Revenger back in 2006, well before the one-two-three punch of Madoka Magica, Fate/Zero and Psycho-Pass that would make him a household name. And boy does it definitely feel like a trial run of those shows. Not that it’s bad by any means; it’s slickly produced, the cast has good chemistry, and the Booch is clearly having fun coming up with creative ways for evil bastards to be mercilessly slaughtered. But that’s really all it is, with little of the staggering depth and emotional complexity that would later earn him a place among the greats. It’s a first draft of basically all the thematic ideas he’d later perfect: the corruption of systems of power, the failure of blind heroism, the necessity of finding hope even in the darkest corners of the earth. I still recommend it for any fans of creative edgy violence, but don’t come in expecting another Madoka. It’s a bite-sized snack of an Urobuchi show, not the main course. And I’m totally fine with that; it’s entertaining enough on its own modest merits to be worth a look.
Play It Cool, Guys (2nd Half): 6/10
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Yeah, I knew this one was gonna grow on me. There’s nothing like a really good low-key deadpan comedy to put me in a good mood at the end of a long day. Really, I think Cool Doji Danshi’s secret weapon is how much it appreciates the mundane awkwardness of everyday life. I have been in many situations much like its titular characters, little moments of confusion where the pieces don’t quite line up how they’re supposed to and before I know it I’m putting my umbrella in the fridge because I momentarily mixed it up with the groceries. And also like its title characters, I’ve learned just how damn important these moments are to my life. None of us are perfect meat machines 100% of the time; in many ways, our clumsiness is what makes us human far more than our accomplishments. And there’s something so wonderfully comforting about watching these boys (and men) come to appreciate their own imperfections much as I’ve done of myself. We need more shows that celebrate that simple silliness as well as this one does. So if you’ve been looking for something to lift your spirits in this increasingly grim world, I cannot recommend this show enough.
Sugar Apple Fairy Tale: 6.5/10
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Do my eyes deceive me? A non-isekai, shoujo oriented fantasy that’s all about slavery being a bad thing? Stop the presses, we’re defying all the norms over here! Between this and the new season of Vinland Saga, it feels like we’re finally starting to push back on the noxious floodgates that Shield Hero pried open, and I could not be more thankful for that. Now, is Sugar Apple Fairy Tale a perfect depiction of the dynamics of slavery? Fuck no, it’s a young adult wish-fulfillment romance about a hot sulky fairy boy falling for the woman that was once his owner, this thing’s as problematic as an Antebellum-era Uncle Tom’s Cabin ripoff. But at least it’s actually trying to say something about the effects of dehumanization on a societal scale and how it manifests, and I’d argue it succeeds more often than it trips over itself. Plus, how fucking great is it to have an actual shoujo romance again? Set in a charming fantasy world with some actual originality? Sugar Apple Fairy Tale’s not perfect, but its charms are evident of a trend I hope to see countless other shows follow. The more fantasy anime looks like this instead of The World’s Strongest Necromancer is Reincarnated With a Cheat Skill In Another World Harem (I just made that title up, but admit it, you weren’t sure at first), the better off we’ll all be.
Ippon Again: 6.5/10
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We seriously need more good female-centric sports anime. The guys have been dominating the field with their shounens and seinens while the girls are forced to subside on moeblob table scraps more concerned with being cute than actually telling a compelling sports narrative, or else being handed the absolute bottom of the production barrel (cries in Farewell My Dear Cramer). Ippon Again isn’t gonna right the ship all on its own, but it’s a damn good first step. The characters feel like believable teenagers, their judo matches are given genuine weight and strong animation, and while it suffers from some tired sports anime cliches, it always executes them with heart firmly on its sleeve. At its best, it captures the same freewheeling adolescent spirit that defines the likes of A Place Further Than the Universe, and I don’t say that lightly. It’s no masterpiece, but it’s a damn good time with no caveats, and hopefully it’ll only be the first of many great lady-centric sports anime to come.
Tsurune Season 2: 7/10
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If you’ve somehow forgotten about the first season of KyoAni’s pretty boys doing archery show Tsurune from back in 2018, well, I don’t blame you. As a testing ground for the studio’s rookie talent to take their first crack at putting their own show together, it was by far the studio’s most workmanlike production, an all-around solid experience but lacking the insane polish and panache that defines the KyoAni brand. But my god, what a difference five years makes. Tsurune’s second season isn’t just a massive upgrade on the production front, it’s a complete overhaul on the show’s entire look and feel. It’s sweeping and elegant, it’s vibrant and explosive, it’s as expertly poised and shimmering as a bowstring drawn at dawn right before it releases a brilliant arrow. This show has gone from KyoAni’s simplest looking show to one of its most richly cinematic, complete with earthier color tones and revamped score from Fruits Basket composer Masaru Yokoyama. Yes, it’s ultimately still just a show about pretty boys learning to shoot bows well as they overcome their issues together. But with such a massive step up in its look and feel, it’s officially become just as much appointment viewing as any KyoAni masterpiece.
Blue Lock (2nd Half): 7.5/10
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Now that’s more fucking like it. Last season I bemoaned the lack of edgy death game nonsense I was promised in this edgy death game sports anime, but once we reached the second selection, Blue Lock kicked into high gear and made good on its premise at last. Betrayals! Allies turned enemies! Enemies turned allies! Overcharged homoerotic rivalries and break-ups alike! Overdramatic shonen boys trying to crush each other underfoot to grow stronger! Self-actualization through rejecting the power of friendship and embracing the power of “Fuck this guy!” This is everything I wanted when I first learned about Blue Lock’s premise, twisting the classic shonen sports formula into an equally blood-pumping tale of clashing egos and selfishness as everyone fights to become the best player by embracing their worst selves. It might have taken a hot second to get there, but now that it’s arrived, this show has become some of the most deliriously entertaining chaos you’re likely to find in the genre. Well done, you mad genius.
Buddy Daddies: 8/10
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Man, whoever’s making the decisions on what shows PA Works produces is really on a roll lately, huh? It takes a real genius to look at premises like Ya Boi Kongming and Akiba Maid War and see an opportunity to create something truly special. But even that pales in comparison to the brilliance behind Buddy Daddies, a.k.a. “Hey, so this Spy x Family show is about to take over the world, right? What if we made our own version of that, but mix in the homoerotic buddy-cop energy of Tiger and Buddy to make it stand out?” That’s the kind of galaxy-brain thinking that’s rapidly making this studio a personal favorite of mind. And it’s that kind of confidence and pure solid storytelling chops that make Buddy Daddies just as entertaining and endearing as its most obvious inspiration. It’s not exactly the same- it’s set in modern day, it’s more focused on the child-raising than the assassin stuff- but it’s every bit as good at nailing that specific sweet spot of deliciously entertaining spy action, wholesome family hijinks, and the bittersweet space in between trying to reconcile those two worlds. Heck, Miri’s a way more realistic four-year-old than Anya ever was; you can tell the writers really did their research on what it’s like to care for a child that young. The year’s still young, but I think this show is already a strong contender for the feel-good masterpiece of 2023. Just don’t go in expecting the hot guys to kiss, because you will leave disappointed if you do.
The Magical Revolution of the Reincarnated Princess and the Genius Young Lady: 8.5/10
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We’ve done it, folks. We’ve finally cracked the code on how to make modern isekai great. Step One: Center it on a female protagonist with an actual personality instead of an empty self-insert male-patterned cooler full of stale oatmeal. Step Two: Make your story all about subverting the exhausting masturbatory self-centeredness of vanilla isekai in favor of a symbolic or literal revolution to give power back to all lovers of fantasy instead of pandering to maladjusted thirty-year-old manchildren. Step Three: As part of that progressive reinvention, make it GAY. AS. FUCK. The Executioner and her Way of Life was a strong step in the right direction, but as good as that show was, there was clearly still room to push things even further. But now, at last, that potential has been fully realized by the stunning tale of a reincarnated princess and a genius young lady coming together to revolutionize the world. Folks, MagiRevo fucking rules. The main leads are wonderful separately and even more wonderful together, the production is strong enough to carry the story’s soaring ambition, and it’s a genuinely powerful exploration of the harms caused by archaic systems of patriarchal power, and how difficult it is- but also how necessary- to change what’s been leading a society down the wrong path for so long. And while it drags a little in the midsection, it all culminates in a spectacular final act and a final episode that had me sobbing in my seat for 25 straight minutes. This isn’t just the best isekai since Re:Zero, this is a triumph of queer fantasy carving its own revolution through a genre that’s desperately needed it for far too long. So come join me and raise your banner with Anis and Euphie, because their journey deserves all the attention we can give. I promise, you won’t regret it.
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shadez-art · 8 months
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I just felt like drawing Link today! Something that I enjoy doing on my drawings is having more cartoony characters in very painterly backgrounds.
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knuttydraws · 2 years
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I was afraid to create a character/pairing sheet for a long time, because I felt drawing the same characters over and over and keeping them consistent is not my strong suit. But I am very happy that I finally tried! Also, it was a pleasant break from the painterly style - who would have thought that i like sketching and flat colouring so much 😁
It's Rylavellan again because, i dont know, rarepairs just hit different 😅 and I was in need of a relaxing distraction 😌 Better pic resolution on my Twitter
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artbean · 1 year
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5 years of drawing and redrawing the same concept since january 2018… had a bit of trouble with timing and inspiration with this year’s so it’s a couple months belated, but once it felt like i was executing my vision & utilizing skillsets i honed in the past year i started to feel good about it.
i’m so grateful to have this snapshot of my art style’s evolution over the years. each iteration has its own tone and vision, and it’s incredible to me to see how many different places i can take this one concept. to any artists following me, i heavily encourage you redrawing old art, even if it’s just once, to have a visual of just how far you’ve come!
i continue to unintentionally alternate between graphic and painterly styles each year—the pieces on the left all have lines, whereas the right are all lineless. i’m not sure why i cycle between the two, but it’s very amusing and cool to me. i enjoy aspects of each in their own right, and these days i find myself looking back on my old art and appreciating how i would lean on my strengths with room to experiment and innovate. i take the lessons i learned on each of these with me to use on future works.
reblog the newest version here!
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inklver · 8 months
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just because i feel like it:
some random thoughts about the art i made for ironstrange week + the very rough thumbnails for each piece (putting this under the read more so this doesn't take up too much space bc this is a Very long post)
day 1 - red/wrath
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first fanart for this fandom! there are a few things i don't like about this piece (questionable anatomy, use of values could be improved, + stephen's hair makes him look like a wet cat /hj) but i do like the lighting and the theme of red spider lilies. i've always wanted to draw them and i love their symbolism of death and final goodbyes—feels very fitting for these goofs :b
i started working on this a good amount of time in advance, and i'm glad i did—this was one of the only pieces i used a painterly style for despite it being my preferred style; it takes me a lot longer than lineart + color, so i didn't get the chance to use it again throughout the event (with the exception of day 6)
day 2 - nervous/orange
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i struggled with the anatomy on this one—i don't draw back views often (or, at all really) so the first panel was pure pain. the second panel wasn't much better; it took several attempts to pose the hand in a way that looked somewhat natural. pretty pleased with how this turned out all things considered, though! my only qualm with this is the rushed shading, but that's what happens when you're a slow artist on a time constraint :,)
day 3 - yellow/cheerful
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i think this may be one of my favorites from this event. i'm very very happy with the lighting and overall atmosphere of the piece :)
i realize now that i used flowers as a theme for every color prompt—anyways, like i said in the tags of the original post for this, i very loosely referenced yellow primrose (symbol of happiness, warmth, & love, conventionally given to those in long-term relationships or someone who has always been there for you through thick and thin)
day 4 - intrigued/green
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i ended up liking this better than i expected to! i had to play around a lot with the lighting/color scheme before i was satisfied with it, though that's on me for not having much of a plan for it beforehand (with most pieces, i already have an idea of the color scheme when i start working on them). not much else to say about this one except surgeon stephen my beloved <3
day 5 - blue/serene
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this was the first time i've properly drawn a kiss and holy hell how do ship artists do it. that shit is so difficult. i struggled a lot with the anatomy and ended up changing the poses a bit; i also flipped the composition because 1. it looked slightly better that way and 2. i could include tony's ring <3
and yes stephen's mug says 'cunt' (with the handle being painted in black to form the 'c'—very much inspired by jacksepticeye's mug); for tony's i had to search for funny mug designs lmfao
i was going for a very domestic/warm atmosphere, which i think was more or less accomplished, so i'm pretty happy with this overall :)
also, not really pertinent but i was listening to sweater weather on loop while drawing this so. make of that what you will.
day 6 - grief/indigo
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ah, this piece. definitely my favorite of the 7, love how this turned out despite ripping my own heart out a bit while making it :,) listening to hyacinthus on repeat didn't help
my initial idea for this—the thumbnail in the top left—was going to be one of them bleeding out in the other's arms, but i had another idea that i felt more drawn to so i chose that instead (this was a very last minute change so the thumbnail is pretty much just a couple of stick figures pfft).
i decided to go back to the painterly style since it felt more fitting for this & i'm glad i did, although it was a little rushed towards the end when i was adding in the final details (the butterflies are pretty much just lasso tool + glow layer). this was also my first time drawing stephen's robes and. man that was a pain to figure out. get a simpler outfit stephen.
day 7 - purple/disdain
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had to end the event on a happy note! this was very rushed but i still like how it looks, though the bg petals are a bit janky.
the prompt 'purple' immediately made me think of violets, which were used as gifts for newlyweds so. here we are (they also happen to be symbolic of faith, mystical awareness, and spiritual passion—pretty fitting for our favorite wizard)
i didn't dedicate as much time i should've to actually making the violets look like violets instead of some generic flower but again, slow artist under time constraint. i did spend a lot of time with the expressions in this one though! i really wanted to convey a sense of pure joy and love, and i'm very happy with the result in that regard :)
something that i noticed was that it had become a lot easier for me to draw these two by this point. suppose it makes sense considering i'd literally been drawing them nonstop for 2 weeks lmao, but it was still pretty cool to see how quickly i managed to finish a sketch i was happy with, compared to when i was working on the first few days (good lord was it difficult drawing stephen in the first piece, especially at that angle)
anyway, prepare to see more of them in the near future because the brainrot is far from over. if i am this attached to them without having seen the majority of marvel movies featuring them (i'd literally only watched ds1 until yesterday when i watched im1—yes i started shipping them without knowing who tony was, i don't know how either), i think i'd be a puddle by the time i catch up on everything :D
whoo that was a lot—if you've read this far, thank you and have a cookie 🍪
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