'A' Is For... by virginiainbloom - Chapter 7
He steps closer, but as he does the Captain sees his big, ridiculously brown eyes flicker with a sudden distraction, and then Anthony smiles.
“You've got glitter…” he says very softly, touching the pad of his finger first to his own face and then, so lightly it's barely there at all, to the same spot on the Captain's face, just to the side of his nose.
Goosebumps rise up all over the Captain's skin, even though he's anything but cold.
Initial sketch under the cut.
:)
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Not trying to wade too deep into the ongoing Jance debate (I've already reblogged people who've made the same argument I would)
But for those who interpret Nace's line in the film as him being tired/annoyed with the shipping stuff, I will point out:
That moment was filmed pre-Stožice while they were setting up the stage.
They made that "there's an ongoing conspiracy theory and it's all true" video while backstage before the show... so probably a few days AFTER the exchange we saw in the film.
If they really were tired of the shipping at that point, I doubt they would have thrown fuel on the fire with that video. So, at least at that time, I think it's fair to assume they were more amused than annoyed by it.
How they feel about it NOW... that's a different question. But at least during that moment in the film, I really think they were joking.
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Here your dreams are sweet, and tomorrow brings them true.
Here is the place where I love you.
@ofthegreekgods and I were talking about grandparents everlark, and we came around to "what if they had a little granddaughter with brown skin and curly black hair" and that emotionally hit hard. Then we talked about Katniss learning to braid her hair. Then we talked about the sentiment of maybe this time I get to protect you. So yeah, you get this.
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i adore your paintings so muchhh
would you happen to have any other tips or tutorials for your process? anything from thumbnailing all the way to final render
Thank you 😭♥ I appreciate that a lot!!
To start with I've got my advice tag (both new and veeery old stuff lol), & my youtube has a couple of speedpaints on it, one with commentary including process, brushes etc
In terms of general stuff about how I approach painting, I tend to tailor the method to the desired outcome. I talk about it more in depth on this post here, I also link to some references & tutorials that I really enjoy/recommend!
Besides that though, I guess I can do a little walkthrough of the Whisper & Tangle painting I uploaded a few months ago, since I tried something new with it that I pseudo integrated into my workflow & could be fun to talk about? 🤔
SO yes, I do always thumbnail when I'm doing a bigger painting, and they're definitely not pretty LOL. I usually use the colour fill lasso just to block in basic shapes and values with a gradient map slapped on the top -- I ended up swapping the values around in the end because it let me use the fireflies as the sole light source, making it more character focused! Then it's the usual process of resketching it all & flatting in the base colours (I also added Whisper's wisps hehe), then adding shading:
This is how I usually approach it, w/ all the shading layers clipped to the original flats to preserve editing. Multiply, screen & overlay are the most common layer modes I use while doing this, and if I'm ever struggling I'll sometimes add a gradient map too in order to unify awkward colours etc. The new thing I tried for this painting was doing what's often nicknamed as a 'clown pass' -- which is using hard edged shapes to create an easily-accessible selection mask for each part:
It looks Super funny but I actually found it very helpful, and I ended up using it to select & cut out all of their body parts onto seperate layers, which were then alpha locked. It meant I could go ham w/ large or textured brushes, smudges etc without worrying about losing those edges, or accidentally over-rendering and screwing up the anatomy in the process!!
I've kept doing something similar since, though it's a bit more dialed back; mainly using the lasso select to chop it up directly and preserve specific/necessary edges, grouping up similar body parts on a single layer etc.
After doing all that, I sat down and started rendering. The background was all blocked in & detailed with a hard round brush and these amazing brushes from Devin Elle Kurtz. There isn't anything super insightful that I think I could type on how I render, but I do have that speedpaint I mentioned earlier that'll probably shed more light. It's just a lot of eyedropping & painting, rinse and repeat
When rendering is done I usually add a concoction of adjustment layers, as well as an overlay w/ a noise texture on it. I also sharpen it all after doing so! These are the ones that I ended up adding for this painting:
The dupe & blur is a fun thing that doesn't always work, but it looks super neat when the painting itself calls for it, especially when paired w/ that noise texture. It can make stuff look like an old/low quality photograph or recording -- here's another example w/ a shadow and amy doodle I posted a few months ago:
That's about it for this painting, the majority of the time spent on it was honestly me rendering those damn leaves 🥲 Very tedious but worth it & it was a really good learning experience. I'm not sure if any of this will prove useful but thank you so much for sending in the ask, & if you (or anyone else reading this) wants a similar breakdown for a different painting of mine, please do let me know and I'll try my best to do one!! 🥺💞
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