asking and receiving (bonus below readmore)
[ID: A black and white, digital Trigun comic of Vash and Wolfwood. In the first panel is a close up of Wolfwood's mouth as he says, "Vash". Accompanying it is a close up shot of Vash's eye, widen and cheeks flushed. Wolfwood presses a knee against the open space between Vash's legs and says, "Tell me everything you want from me." Wolfwood's face is equally as flushed. He continues to say, "I'll give it to you. Everything." As he talks, a wide shot shows the both of them in white space. Vash is sitting, leaning a little back with both hands pressed against the surface he's sitting on. Wolfwood is in his white dress shirt, stripped of the blazer. He's still leaning in with one knee in between Vash's spread legs, his right hand touching Vash's lips and his left hand behind his back.
The shot closes in on Vash's mouth and Wolfwood's hand against it, pressing down on the lower lip as he says, "You have to ask though. Go on." His hand moves down to Vash's chin, gently holding it. With a shy and uncertain expression, Vash hesitantly asks, "Um... K... Kiss... Please?" Wolfwood, without wasting a second, leans in and kisses him and indulges by pressing deeper, eliciting a small noise of surprise from Vash.
Wolfwood moves away from Vash first and with a smile, asks, "What else?" Vash tugs on Wolfwood's left sleeve, wordlessly budging Wolfwood to give him his hand that was still behind his back. In the next panel, Vash utters, "Hold me..?" He's holding Wolfwood's left hand with his own while his right hand is reaching for his waist. Wolfwood complies, moving his left hand to Vash's shoulder and his right hand continues to touch Vash's cheek. Wolfwood asks again, "What else?"
More comfortable now, Vash leans in to kiss Wolfwood. Wolfwood catches him immediately, pressing his thumb against Vash's lips to stop him before demanding, "Hey. Ask." Vash looks back in surprise and Wolfwood meets his eye with a quiet, insistent look. They're quiet for a moment before Vash leans in again and curtly requests, "Kiss. Me." Wolfwood says "Good", smiling as he lifts his hand away, and meets Vash's lips. In the next shot, Wolfwood had adjusted his position, sitting on Vash's thigh. The hand that was once on Vash's cheek has moved its way to Vash's nape, pushing away the collar of his jacket with his pinky. His other hand continues to grip on Vash's shoulder. Still kissing, Wolfwood asks again, "What else?"
In the next shot, Vash is starting to turn, moving Wolfwood with him. Vash asks, "Let me on top of you?" Wolfwood says, "Mhm" before asking again, "What else?" The next panel shows a close look of Vash's face. He's looking down, flushed and shy just as he had been at the beginning, but now, more decisive. Vash asks, "Wolfwood... Let me have you..?" A panel of Wolfwood taking Vash's hand into his, pulling it towards his chest. The next panel shows Wolfwood lying down where Vash had laid him. Vash's hand is on Wolfwood's chest, covering the cross of his rosary while Wolfwood's hand lingers against his, loosely pressing Vash's hand in place. He looks up at Vash with a shy smile of his own, flushed cheeks. He says, "All yours."
A panel shows a close up of Vash's tender gaze before he leans down to be closer to Wolfwood. The final shot is a front view of their positions, Vash's face turned away from the viewer; Vash is leaning over Wolfwood who's lying down with his right leg draped over Vash's legs. Wolfwood's left hand holds onto Vash's left arm. With finality, Vash says, "...Mine." End ID]
[ID: A follow up bonus comic in a looser, sketchier style. They're laying comfortably in bed when Vash asks, "What was that earlier?" referecing to the start of the previous comic. Wolfwood glances away and says, "To get you used to it. Asking. And getting what you ask for. Since you're alwasy hesitant about it." Vash's eyes widen, tight lipped. Wolfwood continues, "Knowing you, it'll be a tough habit to break..." When he says this, Vash can't help but laugh, unable to deny it. Wolfwood slowly brings a hand to Vash's cheek and continues to say, "So I'll keep trying -- whatever ways I can... to get it through your thick skull." Vash takes Wolfwood's hand with his, kissing the the palm gently. Wolfwood's eyes soften and holding onto Vash's cheek, he leans in to try for a kiss. Vash says, "Hey..." before stopping Wolfwood's lips with the back of his hand, a smug look on his face, "Ask." Wolfwood's embarrassed and with little irritation, asks, "Really?" Vash smiles, saying, "You're in need of practice too." They pause for a moment, Wolfwood looking contemplatively, before he's leaning in again, asking, "May I please kiss you?" Vash looks him in the eyes and says, "Yes." The comic ends with a "chu", indicating an off-panel kiss. End ID]
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What if Dani's melting problem is less about being an unstable clone and more about the aging up process that she went through?
Obviously, if they can figure out how to reverse the process, she'll be fine. And they know just the right guy for messing with time!
But now they've got a baby with superpowers and nowhere to keep her. She obviously wouldn't be safe at Danny's house, the Manson's would flip their wigs and send Sam off to boarding school, and Tucker's parents would definitely ask a LOT of questions. Vlad's obviously a no-no since he's the one that made this mess in the first place!
I think either:
1) Jazz takes Dani with her to University. Maybe she pretends that Dani is her bio-baby or maybe she tells people it's her little sister. I think Jazz is smart enough to get some scholarships, but the Fentons also seem to be fairly well off, so she could probably support herself and a toddler with a part-time job. (Can be Jazz/Jason or Jazz/Dick; maybe go avant garde Jazz/Roy or Jazz/Starfire)
2) Danny, Sam, and Tucker use their skills to find someone to take care of Dani. At first, they wanted to drop her off with Superman, but then they find out about how he treated Conner (pre- or post-makeup.) and just don't feel comfortable leaving her with someone who's shown bias against clones. Then they thought about Batman, but the "No Metas" rule and how dangerous Gotham is made them decide against him. (I couldn't pick who they'd leave her with. Probably Wonder Woman or the Flash. Maybe they give up and decide to figure out a way to keep her. It'd make a good 5+1 fic)
To include:
*Several people mistake Dani as their/a friend's illegitimate child.
*Superboy has the same problem, but hasn't started melting yet. The JL/YJL finds out that Superboy has an impending melt issue due to meeting Dani. (Yes, they have to de-age Superboy too.)
*Dani hates one member of the JL and goes feral kitten on them whenever they're in the vicinity.
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Art Resources 01 [Facial anatomy]
Hi! First post of the Art Resources thing I mentioned a while back :) Figured I'd start with something people generally want to know more about- or something people think they already know about but could still used some lesser known tips!
Resources, break downs and tips under the Keep Reading thing :]
1. The Basics
There are thousands of methods to constructing the face. The most popular one is the little circle with the cross in the middle, and sometimes a few more lines for the jaw. While that can be a useful guideline, if you're just starting to learn the ropes it might be better to use a method that has more structure decomposition and land marks to help guide you. Here I'll leave two methods of deconstructing the face that I believe are the most useful to draw faces in different angles and perspectives as well as identify where exactly should each element be placed.
REMEMBER: All of these methods are just guidelines. In order to get different facial features, you can adjust proportions for each of these and play around with sizes.
1.1 The Loomis Method
A structural approach to drawing the head, based on first: simplifying general forms and second: identifying landmarks for the face elements. Pretty good for beginners, helps you understand the head from a more tridimensional stand point to be able to draw it from different angles.
1.2 The Reilly Method
Also a structural approach, but this one is based on understanding the rhythms of the face (proportions, harmonies, and even some general muscular anatomy). It can be a bit harder to understand and use as a building block for beginner artists, but it can serve as a way to check your proportions after an initial sketch.
Here are other two methods, a bit less known, but that go a bit more in depth about the head. If you're a beginner, I'd recommend watching the Loomis method first before diving into these other two methods. Note: these are playlists covering each method, and the videos are longer, but worthwhile.
1.3 The Michael Hampton Method
1.4 The Steve Huston Method
And here's a hybrid of a visual and structural approach too if you're interested! (Again, this one is recommended mostly if you already have a good grasp of the general structure)
Having trouble finding that reference of the head from that specific angle? Here's a 3D model that can be used as reference from any angle. Bonus: It has a built in light feature that allows you to understand which planes of the face the light would hit!
There's also a version with more feminine features.
Here's a website that lets you pick a head angle and then searches for reference images with that angle too. Allows you to pick age, gender, and other features like glasses, facial hair, etc.
2. Understanding What's Below
When drawing the head and face, what most people think of is what we see everyday: the skin. However, there's more to the head and face than just that: there's a whole structure laying underneath that builds up everything on top. Understanding that structure can lead to better execution of skin level facial anatomy.
And what's that structure? Well, bones of course. And muscles. Even if (most of the time) we don't draw them, knowing they exist and how they are placed on top of each other can help with building what we do draw. Understanding the building blocks of the face will make it easier to avoid, say, making one eye bigger than the other. Or a forehead that's too small. Or ears that are too high. Or side profiles that cut off the brain.
Something I recommend for this is making study sheets of the bone structure, muscular structure, and skin structure. For this it's important to name the main bones and muscle groups. Not because you need to commit them to memory, but because if you name them on your practice sheet, it's easier to remember later on that they EXIST (even if you don't remember the name).
Here's a 3D model of the skull
Useful guide for the names of the bones of the skull
Here's a 3D model of the face muscles with names
3. Elements of a Whole
So we now understand the general structure of a face and some useful guidelines to build it. Good! But now, a face has a bunch of individual elements with their own individual structure and stuff to look out for. Those are, of course:
Eyes
Noses
Lips
Ears
3.1 Eyes
It's important to note that the eye has a volume of its own- it's not just a sticker laying on top of the face. It can be helpful to think of the eyeball inside the eye socket when drawing it (taking into account the bone structure we learned before). When understanding the eyeball as a sphere, it becomes easier to place the skin above: the eyelids. This can help with drawing the eye from any angle.
This can also help when drawing the dreaded Other EyeTM, specially if you are still a beginner artist. If you start by constructing the eyes with spheres and approach it from the perspective of "placing" the skin above that sphere, it's easier to get sizes and proportions right.
3.2 Noses
Again, spheres can be your friend.
3.3 Lips
Spheres part 3
A funny thing with lips that often gets over looked when one is just learning the ropes of anatomy is that it also wraps around the volume of the face. Just like the eyes aren't stickers laying on top, the lips aren't either. It's important to take the curvature of the face when placing the lips from different angles and expressions. For example, when we thing of a smile, its usually this idea that comes to mind:
Which yeah, that's fine! ...As long as your subject is facing straight to the camera.
But when we have even a bit of perspective, the way the mouth looks changes, and we often don't think of that and just draw what we think the mouth looks like... which can lead to odd looking mouths, like they're pasted on. So, it's important to keep in mind the volume of the face:
This is true for all features of the face: keeping in mind the volume. But, it can be more noticeable on the mouth.
3.4 Ears
Spheres part- no.
Even if the ear is one of the "flatter" parts of the head, it doesn't mean they don't have volume. Depending on the angle of the face, it'll change how much of the ear is shown- or which parts.
All ears are different and have their quirks, but they all can be divided in three major segments, colour coded in the image. If you deconstruct the ear in these three major parts, keeping in mind they have their own volume, it should be easier to figure out which of those parts will be seen depending on the angle of your face.
4. Expressions!
Now that we understand the elements and construction blocks of the face (bones and muscles), we can play around with them a bit more. So, time to make expressions!
When playing with how the skin moves, it's fundamental to understand the muscle groups of the face and how they move, relax and tense depending on the expression. Knowing that these muscles exist and how they interact with the skin above will help you know where the eyebrow should furrow, where wrinkles would form.
A BOOK I widely recommend is Anatomy of Facial Expression, which you can find here for purchase
Or here as a PDF
This book also covers skull anatomy, so it's a useful tool to study the structure talked about in 02.
There's also an ArtStation account that uploads a bunch of useful 3D model resources for anatomy (facial or otherwise).
Scott McCloud's book, Making Comics, has a section dedicated to facial expressions too (great book in general, not only if you're interested in comics!). You can find it in PAGE 80 (or 88 in the document).
Another thing that can be helpful is studying from life! You can do that by making different expressions in front of a mirror and pay close attention to which muscle groups tense and relax, where wrinkles appear, how your skin moves. Or, if you're like me and hate staring at your face, you can also study from video references.
Here's a link to a PLAYLIST containing various videos of people making different expressions.
The previous playlist contains real people, thus, REALISTIC ANATOMY. It's important to note that even if your drawing style is heavily stylised (like anime, cartoon, etc), it's still fundamental that you understand real world rules so you later know how to bend and break them properly to implement those to your own style.
However, that doesn't mean you can't study STYLISED EXPRESSIONS too! It's actually a great idea to see how other people exaggerate certain anatomical aspects to their own work so you can also understand how to do it in yours. Here's a list with various videos of EXPRESSIONS IN MOTION for animation tests. Study them the same as the previous ones: paying close attention to how the face and muscles MOVE.
Pause the videos you study as needed! While all of this might seem more useful for animation, it's also incredibly useful in illustration, and studying things in movement can help with understanding them better, thus putting them to paper (or tablet) becomes easier.
Finally, here's some videos in a sort of CLASS FORMAT that can help with walking you through drawing expressions more effectively than a text post could lol
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okay but wait @bumblepony u GENIUS. you gave me an idea:
mariatommy step up au
in which pro-dancer maria miller is in desperate need of a waltz partner for the american dance championships. to her rescue comes tommy miller, the younger and more troublesome and secretly phenomenal swinging-dancing brother of famous ex swing-dancer, joel miller
guess what i did 😋 i made it long
so we start with pro-dancer maria miller as she wins as many dance titles as she possibly can, trying to prove to her mother that quitting law school for dance was worth it. she’s already been taking home a fuck ton of titles as a ballet and lyrical soloist, but lately she’s been interested in smooth forms of ballroom, like the waltz and tango
a good friend of hers, frank, has been her partner for three months, and they’ve been unbeatable so far. literally every competition she they shows up at, other dancers will groan and rolls their eyes like “aw come on bro this is unFAIR” because they already know who first place is going to: maria motherfucking miller. every goddamn time
then, four titles in and two months away from their biggest competition, frank tragically breaks an ankle doing some stupid gardening shit with bill. and it is exactly that: a tragedy. he’s maria miller’s partner, and now he can no longer be that. he might as well be a dead man
frank makes bill tell maria, both because it was his idea to have sex do work in the garden and because he’s too scared to. when he does, she cusses him out so bad that, for once in his life, he has no grumpy smartass response. maria is fucking pissed—because that entire competition, that title, that trophy is supposed to be fucking hers. they already have the perfect choreography, the perfect costumes, the perfect music, the perfect everything. she’s already made space on her awards wall for the crown, the sash, and three-their trophy. this is a batrayal, frank. how could he do this to her????? how could he?????
but maria miller does not dwell on problems: she fixes them. she has replace bill or withdraw from the competition—which she has never done in her entire life. withdrawing, like losing, is not an option. she needs another partner, and she needs one fast
of course homegirl tess would come through—her best friend, retired fellow dancer, and one of the most reputable talent managers in the region. maria calls tess hoping to get in touch with her ex-partner, joel miller, because she wants only the best. he’s known and respected in the dance world as an amazing swing dancer and phenomenal lead in partner-work—much to her chargrin, unfortunately, he’s not dancing anymore. he’s apparently too busy with a new baby, which—great, beautiful, kids are great—does not help her. maria needs someone available, someone good, and someone now
enter tommy miller 🤠 who maria is at first not even willing to consider, because he’s never danced competitively in his entire fucking life (“are you fucking with me, tess? are you trying to fuck with me? i thought we were past the point of fucking with eachother. i though we were friends.” she says, when tess tells her. she gets an eye-roll in response)
to his credit, tess tells her, he’s been dancing alongside his joel all his life. he’s watched him and learned from him and is apparently just as good—he’s even danced with tess, and he impressed her. this impressed maria. when she asks tess why he hasn’t done anything officially to actually prove himself, tess says he’s “not the competitive type,” which is a major turn-off. maria is more than the competitive type—she’s the competition entirely.
still, tess convinces her to give him a chance. they basically meets blind-date style because tess is just like “dude just trust me trust me TRUST ME. meet him at our studio on saturday and freestyle with him. one song. then tell me what you think”
so maria goes, and she waits. she’s dutifully ten minutes early, as she is to every rehearsal. what would be five minutes before their meet time, she hears the studio doors open behind her and lets herself be only a little pleased that he is early. then she turns around to him—and boy, is she very much so pleased
tommy is broad-shouldered and well-dressed and tall, but not too tall, and well-groomed for a man—especially with one with so much hair. my god, just this man have a beautiful head of hair. as admires him, she also appreciates that (aside from his audaciously hot suede fur-lined jacket and cowboy boots, lord help her), he look’s ready to dance: black loose muscle tank, black breathable joggers, and black sneakers held in his left hand. in his right hand, to her suprise, is a single red rose.
is he fucking with me? she immediately thinks. a rose. a fucking rose?
“what’s that for?”
“uh, the rose? it’s—,” he hesitates, clearly thrown off guard. somehow, with only three measly words, maria notices that his voice is nice and low and gravely and— “it’s for you, ma’am. you’re maria, right?” —southern and sexy and distracting. his voice is far too distracting. it will present problems for her.
“right. i’m maria,” she repeats, mostly to remind herself who she fucking is—maria fucking miller. maria miller, who does not get distracted by tall sexy cowboys at dance rehearsals. “you’re tommy?”
“yes, ma’am.” he has to stop. he has to stop with the ma’am thing. it’s another distractor.
no distractions. she’s at a rehearsal, albiet an unofficial trial one. it is still a rehearsal—one for a competition that she will win.
maria straightens her shoulders, gets her head on straight, and steels her voice to say coldly: “well, tommy, i don’t like flowers. i like trophies. you think you can get me one of those?”
at that, tommy smiles as bright as the sun, white and pearly and perfect. distraction number three. she’s fucked. “i reckon i can,” he says, amused and sure.
“then prove it,” she responds, voice still steely. “let’s dance.”
and they do
for @bumblepony for your amazing writing as always and @marceltheshellwithflipflopson for your loveliness and inspiration and @clickergossip wifey and @ameerawrites miss u baby and @liveandletcry23 MISS U CAT and @hypnotisedfireflies because the work youve been doing with IO????? INCREDIBLE????? its been making me want to get back to writing so bad
all my mariatommy truthers love u guys kiss kiss kiss
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