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meanbossart · 2 months

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Oh boy, VaM is kind of a trial and error experience LOL I couldn't really show you how to use the interface and stuff without a whole video or something, but it's not THAT difficult to get a hang of if you just give yourself a day or two to play around, not to mention the number of tutorials you find out there. Luckily, if you only want to use it as a reference software that makes the process far easier (to this day I have no idea how to animate on that thing, since that's not what I use it for)

As for how I use it, it's pretty self explanatory - if there's a complicated pose I want to draw but I'm either having trouble with it, or just want to double-check angles/anatomy, I will use it as a resource! I use for most of my "proper" pieces (y'know, the nicer looking ones) and every once in a while for my silly comics if I'm having trouble with a pose.

Lets use this drawing for example (the character on top of DU drow belongs to @namespara )

I don't draw a lot of mud-wrestling (shocking, I know) but I had an idea of the kind of pose I wanted them to be in. So the very first thing I did was make a rough sketch of what I was envisioning:

I often do a rough sketch first, even If I know I'm going to be pulling the program up because A) It's less tedious than adjusting the models over and over again until I pick a pose and B) because sometimes I'll decide I don't need the reference, after all, and so that's 30 minutes I'll have spared myself of playing around on the software.

Now, this is a pretty complicated pose! It's in a weird angle and the bodies are making contact in ways I'm not used to depicting, so I did choose to whip out VaM for this one. I went into the program and after some messing around, I flopped my little dolls together like this:

Now something really cool about VaM is that you can completely customize your models, and if you have the patience, I would definitely encourage you to do so! Obviously, you don't have to make picture perfect replicas of every single character you have, but as you can see here I have made a DU drow "decoy" to help me better understand some of his features when I draw him: he has a strong brow, a short nose, a square jawline - these are all going to look a very specific way from certain angles, and I might not always be sure of how to draw it right! So it's useful to have models that bear SOME semblance to the character so you can better understand how different viewpoints will affect their bone structure and mass.

Also thank fucking god for the elf-ear slider. Figuring out how to draw those shits from certain angles was a huge pain in the ass when I started drawing DnD races.

So, with the reference in hand, I go over the sketch again:

Now you may notice that I don't stick to the reference 100%. There's three reasons for this:

posing on VaM is tedious as hell. You can get something incredibly natural looking and picture-perfect to reference from if you wish, but it's going to take you hours to do. So, for the most part I just slap guys together until the results are "close enough" and use that.

In my opinion, you should always aim to ENHANCE your reference material, not replicate it exactly!

While VaM is a PRETTY DANG GOOD source of anatomical reference, it isn't perfect, I often supplement it with further reference from real life resources or make tweaks based on my own knowledge where I catch it falling short (and, antithetical to what I just said, I sometimes fuck the anatomy up further on purpose if I think it looks better that way LOL it's all jazz baby).

Then lines, color, yada yada. I don't have a tutorial on that and I don't think I could make one, because my process is chaotic as hell, but I do at times use Virt-a-mate as loose reference for lighting too when coloring - waaaaayyyy less so however, because that process is even more tedious and I feel like I often get better results by just winging it. It is a feature of the program though, and I'm sure it would be helpful for someone who has a difficult time visualizing lights and shadows. I only started using this program a few months ago, so I happened to already have a pretty good understanding of that kind of thing and just don't personally feel like I get much out of that particular mechanic.

Here's a few other examples of pieces that I made reference for (WARNING: Suggestive)

Now, for the question many of you may want to ask:

"Can I trace this junk?"

And to that, I say: Buddy, you can do whatever the hell you want with the reference material you created.

However,

If your goal is to learn and improve your art, and to recreate realistic proportions and anatomy from memory, tracing won't help you.

Developing your own style, your muscle memory, and personal technique will all be hindered by choosing to trace instead of drawing from observation, so I would encourage against it. Hell - even when tracing is employed as a technique, it's usually by high-skill realism & concept artists who are looking to either cut some corners, save time, or just double-check their own proportions in order to improve further - if you try tracing as a beginner, you will most definitely find the result to still look stiff and "off".

So trust me, there is so much more to be gained from drawing from observation. Make note of tangents, compare proportions, use all the elements of the picture to dictate where and how things should go - it will be a far more rewarding experience.

Hopefully this has been helpful! VaM is a really cheap program (you get it on the guys' patreon for I think 8 dollars, just google it!) and it's definitely been worth my money as an artist since I found it. Learning to use it can be a little intimidating at first glance, but as I said above you only really need a day plus one or two tutorials to get a hang of the interface.

A fair warning though, IT IS A SOFTWARE MADE FOR VIRTUAL SEX/ADULT ANIMATION So when looking it up expect to see a some spicy content.

#Funfact THIS is the post that got me flagged last time so i'm really tempting fate right now LOL #ask #art #tutorial #resource

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galaxysugarr · 4 months

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Hi All! I thought it was time i gave a lil update from this game and how its been going.

I'm one that tends to keep to myself till a project is fully complete or close to complete, but I've gained a lot of asks about this over time and more as of late lol. So thought I'd cut the radio silence a tad and answer a few repeat questions id gotten!

Are you working on the game?

Surprisingly, yeah.

Will this be a completed game to buy?

Definitely not, least not now. My plan is to make a basic demo of the game as building a complete game with the script and everything would take a very long time and a lot to learn!

It would also be a free to play game, as Its a fan game.

When can we see it, are you almost done, videos and updates!!!

Well... 2023 was a busy year for me personally. And as a person who is still learning to animate along with barely any knowledge of game coding. Led to me needing to learn a lot and do trial and error.

A lot of things are temporary placeholders and incomplete textures with testing. So I didn't feel they where good to share progress of.

a lot of it was me learning, trying different styles to work with the game, and sketches throughout.

Can i help with the project????

I do appreciate you all asking for help,But I don't know much about game development and working with a team on this. So it's more of a passion project for me, and so far what I have learned has been nice :>.

I didn't wanna rely and give up on the project or delay it so much due to factors so I'm workin on it alone right now till the project is farther along and more stable.

Will it look exactly like the trailer, what kind of game is it, what all do you have planned for the demo?

Admittedly I had originally made sprites and everything to match the video, but i ended up going for a more chibi type style as its easier to work with.

Its a side scrolling game with rpg like elements.

The current plan is to have two fully completed stages, a mini game, 4 playable characters (2 being Sun and Moon), and some extra features.

Will the demo be out this year?

I can't say, it all depends on how much time i work on it and learn ;o! I don't like to get hopes up, but I work it on it when I can.

Crumbs, please

Some of the daycare and model updates. It's not much, but I find it fun to run around and interact with things lol

So all and all for those really wondering about the project, its still a heavy work in progress. A fun and frustrating one for sure, but Its been nice actually learning to code and design it so far.

Hope this answered a few questions and of course you can ask other stuff about it, I don't mind.

Thank you!

#I feel like I rambled on accident #long post #tsams #tsams game

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cereovo · 8 months

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A set of very conceptual notes I drafted a while back for someone asking for advice on learning to draw humans. I'm entirely self-taught so this is less of a tutorial and more of a very rambling set of general principles I follow and ideas that helped while I was learning. I figured I'd post it in case anyone else could get use out of it!

I also recommend checking out:

Drawing East Asian Faces by Chuwenjie

How to Think When you Draw (lots of good tutorials in this series)

Pose reference sites such as Adorkastock

Transcript and some elaboration under the cut:

Img 1 - Drawing a face

The two most important elements (at least for me) when drawing a face are the outline of the cheek/jaw and the nose*. I often start with a circle to indicate the round part of the skull, then add a straight like and a 'V' to one side [to create the side of the face and the jaw]. The nose creates an easy template for the rest of the face's features to follow (eyebrows at the top of the nose bridge, eyes towards the center of the bridge, ear lines up to eye) and the placement/direction and overlap with other features is a very simple way to indicate dimension. [A sketch of a face that has been adjusted by moving its parts to create 3 different angles. The following text is underneath:] -Different 3/4th views can be created just by adjusting the position of and amount of overlap between the facial features. - The top of the ear usually lines up with the corner of the eye. Think of how glasses are designed [specifically, how the arms run from the eyeline to the ear] [I go on a tangent in these next few paragraphs] *One thing I see many artists do - not just beginners - is learn how to draw A Person. As in, one singular person with one set of bodily proportions and one set of facial features. It's an issue that runs a bit deeper than 'same face syndrome' because sometimes these artists can draw more than one face, they're just not very representative of [the diversity present across] real people. Part of the reason I'm talking more about how to think about approaches to drawing - rather than showing specific how-to's - is because there is no one correct or right way to draw a person. The sooner you allow yourself to explore variety - fat people, old people, people of color, people with [conventionally] 'unattractive' features - the easier it'll be! Artists often draw their own features honestly and without [harmful] caricature, so it's always a good idea to look at art made by the kinds of people you're trying to draw if you're ever unsure about how to handle something. In general, it's far more important to learn how to interpret a variety of forms than to learn how to replicate the Platonic Ideal of the Human Body.

Img 2 - Stuff that helped me

Jumping into drawing humans (faces or otherwise) straight from photo reference can be overwhelming. The trick is to simplify forms into shapes - but even this concept is sort of abstract and it may be hard to know where to begin. Good news - Thousands of other artists have already figured it out. [When starting out] I needed to learn from photo reference AND artists I admired in order to improve. [When looking at stylization you are inspired by] ask yourself: WHY does this simplification work? How can I translate it into a different pose? Instead of copying what you see in a photo reference exactly, try to focus on the general forms first. My two biggest style inspirations for humans while learning to draw them were Steven Universe and Sabrina Cotugno's art. SU gets a lot of hate [in this instance I was specifically referring to a time on tumblr when the art was knocked for 'losing quality'] but its style does a great job of simplifying anatomy in a way that still portrays a diversity of bodies + features. [Extremely simplified drawings of Lapis, Steven, and Amethyst] SU characters are still identifiable- and still read as 'human' - even when reduced to just a few lines!

Img 3 - Things I keep in mind while drawing side profiles

- Eyebrows + eyes close to the 'edge' of the face - Forehead needs enough room for a brain - Eye is > shaped from the sides - Mouth kinda halfway [between the nose and the chin] but closer to the nose - Skin/fat exists under the jaw [and connects to the neck] - neck is about one half the width of the whole head - the back of the skull always sticks out a bit further than you might expect - Sometimes less is more - contours exist on every face, but drawing them in may make your character seem much older than they're supposed to be. However, it's a good idea to use them when you *want* your character to look old! These are very general notes- every face is different and has different proportions [and playing around with them creates unique and interesting character designs]

#2023 #may 2023 #i realized this is pretty nonsensical while transcribing it LOL #feel free to send asks if anything is unclear #but again im not any sort of professional

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aajxs · 8 months

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always and forever , SATORU GOJO !

the one where you're gone and satoru is reminiscing.

pairings - satoru gojo x fem!reader

contents - angstttt!!! , hurt/little comfort , mentions of death , mentions of blood , satoru gojo is bad at feelings , maybe ooc gojo (??) , arguing , idk what else to add so lmk if I missed anything

w/c - ???

a/n - the highly requested part two to 'meant to be'. I didn't really know how to end this but I hope it turned out okay 😭

masterlist , part one .

SATORU WAS ASKED the same question a lot. 'Is there anything you don't have?' He'd laugh this question off, give the person a cocky smirk and continue with his day. If he could, he'd give an entire list of things he doesn't have. Your name would be at the top of the list every time.

Satoru couldn't stand the atmosphere around jujutsu high now that you were gone. He used to sleep well knowing you were only a few rooms down peacefully sleeping, bundled in blankets and hugging whatever stuffed animal you had chosen out of your large collection that night.

Satoru always teased you about it, but that never stopped you from buying new ones. You had given him one of your favorite stuffed animals awhile back, and even though Satoru let out a laugh when you handed him the bear, he treated it with the utmost care simply because it was yours.

Before your room was emptied, Yaga allowed Satoru, Suguru, and Shoko to go through your belongings and take something to remember you by. Even if it was probably against the rules, he knew the four of you were close. The distant look in Satorus eyes said everything, and Satoru Gojo was never distant.

"Try to make it quick," Yaga said, patting Satoru on the shoulder as he walked out of the room. Your walls were littered with posters and polaroids, your nightstand had a book on it, your bed wasn't made, and everything felt so natural. Satoru knew that Suguru and Shoko would probably want some of your polaroids, so he only took the ones that had the two of you in them.

Your closet was still full of clothes. Extra uniforms because you always somehow ruined yours on missions, comfy clothes for when you weren't in your uniform, and the occasional t-shirt or pair of sweatpants that you had stolen from Satoru (He let you have them, but he always swore you took it simply because he liked being petty).

A part of him didn't want to take any of his stuff back, but he knew that if he didn't it'd probably be thrown away. Satoru went through your closet and grabbed anything that belonged to him, throwing it over his shoulder. When he was done, he turned around and strode towards your nightstand.

Satoru squatted down and opened the drawer to your nightstand and rummaged through it for a moment. There were notebooks that were mostly empty, and then sketchbooks filled to the brim with drawings. Satoru always saw you doodling whenever you got ahold of paper, and couldn't help but get curious. He would peer over your shoulder when you weren't paying attention and look at your little drawings.

He always thought it was cute how you'd keep a small notepad and a pen on you at all times just so you could draw. Whenever you and him would walk together to meet up with the others, you would occasionally stop to sketch the scenery.

"Why do you keep doing that?" Satoru questioned as he loomed next you, peeking curiously at what you were drawing. "Doing what?" You ask, glancing up at him for a moment before returning to your sketch. "You keep stopping to draw or whatever, why?" He asks again, this time a bit closer to you. "Well," You started, "It's easier than waiting until later when I don't remember all the details." You quickly explain, not caring to go into depth.

Satoru hummed and continued to watch you sketch. "I try to sketch out the base when I first see it, then make a better drawing later." You add as you glimpse at Satoru again. "Well hurry it up, we're gonna be late again." Satoru commented with a small smile, making you grin at him.

Satoru put down the notebook he was once skimming through, and grabbed one of your sketchbooks. He skimmed through it, most were of scenery, but there were a select few that caught his eye. There were a few drawings of Shoko and Suguru, and enough drawings of him that he couldn't count it on two hands.

Satoru blinked and a few tears he didn't know were welling up in his eyes fell onto the page. It was a drawing of him, it wasn't clear what he was doing in the drawing, but his face wasn't fully visible but from what he could see he looked focused. It was as if somebody snapped a photo of him and slapped it onto the page.

He cursed under his breath before picking up the notebook that he had put down earlier and placed it back inside your nightstand. After wiping his eyes, he closed the sketchbook in his hand and stared at it for a moment.

It wouldn't hurt to keep it.

Satoru took a deep breath as he stood up, taking in your scent one last time before exiting the room. Yaga was leaned against the wall, patiently waiting for Satoru to finish up. "What's with the clothes?" The teacher asked without thinking, slightly raising a brow in the process. "What do you think is with the clothes?" Satoru snapped, giving Yaga a look before trudging off to his quarters.

"Are you alright Satoru? You've been avoiding me and Shoko all day," Suguru voiced as he sauntered over to Satoru, who was sat under a large tree that was somewhat close to the school. "I'm fine, jus' been thinking, that's all." Satoru chirped back, sliding something into his pocket.

Satorus jacket was laying next to him, leaving him in his white button up. Suguru soundlessly made his way over to Satoru and sat down next to him, "Seriously, Satoru, what's up with you?" He asked gently, giving his friend a concerned look.

"I'm fine, Suguru–" Satoru began before getting cut off by a scoff from his best friend. "No you're not, tell me what's been going on." Suguru said, his voice stern. "Don't push it!" Satoru snapped his head towards the man next to him, an evident scowl on his face. Suguru visibly flinched away from Satoru.

"Ever since Y/N, you've been an asshole to everyone." Suguru said as he stood up, "She wouldn't want this." Before Satoru knew it, he was on his feet and Sugurus collar was bunched in his hands.

"Don't you dare try to tell me what she would want! You don't know her like I do!" Satoru yelled, his grip on Sugurus collar tightening by the second. "You're right, I didn't know her like you did," Suguru says, somehow keeping his composure, "And maybe I don't know you like she knew you, but I do know that this isn't you." He says while gesturing to Satoru with his hands, making his grip loosen slightly.

"I know it must hurt, but you need to understand that the rest of us are grieving too. Don't be selfish." Suguru says, and Satoru hesitantly removes his grip on his collar. "Me? Selfish? It's like I'm the only one here who actually cares!" Satoru curses, throwing his arms into the air in frustration.

"Y/N died in my arms! I came back here covered in her blood! It's almost like I'm the only one who actually gives a shit around here! Ever since the news broke, you assholes have acted like everything's normal! Like everythings not fucking ruined now that she's gone!" Satoru yells, shoving Suguru away from him, "Don't you dare try to call me selfish, you weren't there, Suguru." Satoru breathes shakily before snatching his jacket off the ground and walking off, leaving his best friend stunned.

That was the first time since your death that Satoru openly admitted that you were gone. Out of touch, in a place where not even Satoru Gojo can reach you.

After the incident with Suguru, Satoru tries hard to make it seem like he's okay. Like he's slowly getting over you. Over your death. In truth? It felt like it was getting worse. Satoru didn't eat or sleep, and he didn't have the energy or stimulation that his cursed technique required to be at its full power.

To a stranger, you and Satoru were simply best friends. Two people that understood each other through and through, even if there were a lot of ups and downs. To people close to the two of you, you were the only people who didn't realize the feelings the other had, and it caused a lot of problems in your friendship.

To Satoru, you were like his emotional support person. Better yet, his person. You were there for him when Suguru or Shoko couldn't be, you witnessed (one too many) of his breakdowns, you knew Satoru like the back of your hand. You were his and he was yours, even if neither of you realized it. Losing you meant he had one less person to lean on when things went bad.

Maybe Satoru was a little selfish after all.

The more Satoru thought about it, the more he realized your death could have been prevented. They should've given you a partner, they should've sent him or Suguru with you. If he got there a little earlier, maybe he would have been able to save you.

Satoru knew he would have to learn death sometime in his life, but if he knew you would be the first lesson, he would've let himself die a long time ago if it meant he wouldn't have to suffer the loss of you.

Satoru stared blankly up at his ceiling, recalling moments that reminded him of you.

Him and Suguru were walking in town earlier that day, and he caught a whiff of the perfume you used to wear. He froze in place and turned to look at the woman who was wearing the familiar scent, images of you flashing quickly through his mind. After that small moment, it felt as if Satorus mood had deflated like a balloon for the rest of the day.

Then, Satoru had taken off his glasses for a few minutes while in a large crowd, and a splitting migraine quickly formed. He recalled that there were many times when you two would be on the subway together, and maybe he had forgotten his glasses that day. You would drape an arm over his shoulder and cover his eyes with your hand.

You knew that his six eyes became overwhelming at times, and when he forgot his glasses it was hard for him to not look like he was in pain. You would always remind him that he needed to keep them on him at all times, and even convinced him to buy an extra pair to keep inside the pockets of his uniform just in case.

"Satoru, you can't keep forgetting them," You'd say as you held your hand over his eyes. At first he'd flinch away, and you would apologize before taking your hand away from his face. Then it'd be Satoru apologizing and grabbing your hand to place it over his eyes again, his lips curving upwards slightly at your sweet gesture.

It would always be you, that was something Satoru embedded into his mind. Even when he's older and has students of his own. Even when he's the strongest jujustu sorcerer in the world and has many people after him. Even when he's beginning to forget your face and what it felt like to hold you.

It would always be you, whether he wanted it to be or not.

#( 📝 aajxs — written works . )#jjk gojo #satoru gojo #satoru gojo x reader #jjk satoru gojo #jjk #jjk x reader #jjk gojo x reader #gojo satoru x reader #Spotify

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camberdraws · 8 months

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I really like your art! Do you have any tips for drawing environments?

Ahhhh thank you so much!

I did some thinking before answering this ask... a lot of general drawing advice absolutely applies to creating backgrounds (such as using references, keeping perspective in mind, etc). But the #1 tool that especially helps me with environments is creating thumbnails!

I depend massively on the thumbnail process, especially for environments. I use them to resolve almost every major detail before painting the real thing! It makes it so much easier to experiment with colors, values, etc. and figure out the important stuff in your image. You want to keep them very blobby and sketchy so you aren't afraid to make big changes!

The thumbnail shown above for my shaymin drawing leaves very few questions about what the final should look like. It only took around an hour to create, and the time it saved me from making any mistakes is massive! This is especially helpful as someone who has immense trouble visualizing color schemes and has struggled numerous times trying to make color work after finishing lineart without a good thumbnail.

The more complex an environment, the more I suggest a thumbnail. Some of my recent zine pieces would have been impossible for me to complete without a detailed sketch to guide me.

Another big piece of advice, mentioned above, is USING REFERENCES! I think this is especially helpful for creating interesting and detailed backgrounds. Doing research on objects/props/scenes will enrich your drawing and make it more engaging to the viewer!

Here is an example of the reference I gathered for my lurantis+gloom drawing. I brainstormed different plants/items I thought would be fun to include with grass-type pokemon, and threw them together in a PureRef file! (I highly recommend using PureRef, it's an excellent software for making reference boards). Generally speaking, it's difficult for humans to conjure up exactly how a watering can/gardening tool/fence/flower might look like down to super specific details, so obtaining reference to fill in those gaps is essential.

Finally, advice that applies very broadly to all types of drawings: do lots of studies! Starting last year I have done 50 environment/scene studies, and they have been extremely helpful for improving my general skill and ability to compose backrounds! I can't recommend this enough to all artists!

And that's about it! I think it's easy for artists to be intimidated by drawing backgrounds, but it can be so much fun! Take it slow, do research, and create thumbnails for your drawing. And don't forget to do studies, they are good for you!

#asks #tutorial #art tutorial #drawing tutorial #environment art

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ohcorny · 21 days

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hey corny. so i always see people recommending to outline their story before starting it, but could you talk a little bit more about what that means? what is an outline and how do you structure one? how long are the ones you write, depending on the project? do you focus on plot beats or feelings? how specific do you get? can u recommend any readings for learning more?

up front i don't have any resources for this, only experience. and outlines feel like one of those things where it's like... there are a million ways to do it and the way that works for me might not work for you. i have a friend who writes out all his ideas on index cards and that, for me, is insane. but he's also a better writer than me so who can say what is right or wrong.

anyway an outline is essentially a sketch but for a story. you go through the whole thing, start to finish, and figure out what goes where and what happens when. the idea is that this is the stage where you work out all the big picture stuff and make sure it all fits together, now, and not after you've drawn twenty pages and suddenly go "wait shit that doesn't work" and have to do it over. it is much easier to delete and rewrite a paragraph than to redraw several pages.

doing anything more, ie including dialogue or feelings, depends entirely on how useful that information is to you at that point in the process and whether the purpose of the outline is for your own guidance, or so somebody else can tell what you're trying to achieve.

this got really long with multiple examples

here is an excerpt from the original outline i used to pitch Hunger's Bite to publishers. this one had to be polished to a professional standard, because somebody else was going to read it and decide whether they wanted to give me thousands of dollars to tell this story. (also several of the details are no longer accurate. for instance it now takes place 9 years earlier lmao)

this paragraph represents the first eight pages of the book. the final book is 264 pages long, and the outline was 12 pages of paragraphs as dense as this one.

it establishes where we are, who's there, and what they're doing. i describe their conversation, but i don't commit to the dialogue. i will occasionally include snippets of literal dialogue, but usually only if it's Important Dialogue, or i just don't want to forget a good idea i had while outlining. it's not expected at this step.

an outline written as part of a pitch to a publisher should tell the whole story, with all the important details, and leave nothing ambiguous. they need to know the tone, shape, and the arcs. no secrets! all the spoilers. outlines for yourself should do this too, but outlines for others need to be as clear about your vision as possible. again, an outline like this exists for the purpose of getting you paid thousands of dollars. you should write it like that.

in comparison, here's an excerpt from the outline i wrote for revisions to my WIP prose novel, so i could show it to my agent (who already read the draft) to be like "do these changes sound good?" i'm not selling it to anyone yet, just making a guide so i can have a conversation about it. so it doesn't need to be neat, it just needs to be functional and clear. the first chapter was entirely new stuff. the second bit was just writing down what was already in the chapter that existed.

i have historically been very bad at outlining things when i don't think i "need" to, and only wrote this one after having written like 60k words of the book without any overall plan. i gave what i had to my agent for feedback and then sat down and figured out how i could apply it. it's made the whole revisions process significantly less daunting. now i have a checklist for things i need to do! this one was a paragraph or two for each chapter, with the ones that needed a lot of rewriting given a bit more detail.

lastly, here's a bit of the outline for the first roger crenshaw book. i was the only person who had to see this, and since the story was planned to be very short i didn't have to worry about a whole lot. as long as i knew what was supposed to go where, it would work. honestly it's not a whole lot different from the previous example.

this one was like five paragraphs and it did the job, and this story was like 15k words. you only need as much or as little as will actually help you on the page.

basically if you take nothing else from this, it's that there are multiple ways to write an outline, that it does not need to be perfect if you're doing it for yourself, and that it only needs what you think is important (unless it is for other people. then it should have everything). and also it's a good idea to do it earlier in the project than after you've written 60k words or drawn--jesus christ i got up to 12 chapters in never satisfied? it's amazing i didn't quit sooner

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jet-teeth · 3 months

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Specifically relating to my latest post, but in general also: I feel like my attention span has gotten so bad these days in terms of actually finishing anything, to the point that the deflection/procrastination-projects get as silly as "builds a whole-ass 3D model instead of finishing the goddamn drawing because that's somehow easier than dealing with the perfectionism demon hovering over my shoulder when I draw these days"

(I think this why I'm trying to chase looser styles/play around with traditional media here and there again, since anything too precise starts to activate the Overthink Demon. I guess what I post is "oops! All sketches" anyway, but a lot of things still get overworked. Probably should start using timers again or something idk) Rarely do I actually "finish" models as well, which is generally why I don't post any (they are almost always studies/character reference models) but let's see if I can get around to making some Printable Little Guys this year, since frankly I find 3D a more comfortable medium to work in than outright painting/doing rendered-out stuff

Ramble post, but I'm always interested in the topic of "process" when it comes to art, and how struggles & limitations might actually help an individual find what their strengths really are too (or, just reveal areas that need more work. I DO want to finish a couple of the paintings in my WIP folder, but I also have accepted that it's not gonna be the natural medium for me ever) (I always try to include art in long text posts like this so they aren't as boring. Have a Banana Cat drawing I never uploaded. Also yes the printer HAS been added to my enclosure and it's great fun :> )

#jet squawkings #Jet art #IDK what the heck it is these days but Art Is Hard #might have something to do with the medium involved + always figuring/remembering more things out about how my brain likes to work #(being a strongly spatial thinker paired with aphantasia is a really funny combination)#(but I think it might partially explain why the “Pain” in PAINting is real whereas Making Shapes in Blender is super zen for me)#Head Full Many Thoughts about the whole “aphantasia” topic as well but I might save that for another post #long post

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cherryfennec · 5 months

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Okay I love your most recent art work of Mario and Mr. L!!! I’m just curious how on earth did you draw their hats so well?? Especially the brim of their hats?! Hats are the one thing I struggle with when drawing them! I can’t make it look believable!

Hi! First of all thank you for the kind words, I'm glad you like the art! Now as for hats (more specifically Mario and Luigis type) there can be different ways you might go about drawing them.

(I should probably mention at the beginning that I am not an expert and sometimes struggle myself as well. Despite this I'll try my best to explain how I usually approach it.)

Let's start with brims because they seem the most problematic (as I see it.)

What I'm going to talk about might already be intuitive for a lot of people, including myself, however I thought it'd be a good idea to break down the mindset so everyone is on the same page and those who have trouble seeing it can hopefully understand stuff better.

First it's obviously the idea. No real details, just the general idea. With it we'll be able to establish the basic rules for what you're drawing, most importantly the angle and perspective.

Now this is going to be pretty self explanatory but: if I'm drawing a character looking up I know that the bottom of the brim will be visible, if the characters looking down it won't and etc. An easy way to check which parts of the brim will be visible from a specific view point is to imagine it as a slab.

Now this isn't anything mind blowing, I know, but saying this out loud can be handy and save you some overthinking.

Alright, let's talk about the hat itself now!

In most of the pictures I could find of the bros hats they're divided into two parts: the front, which is taller and slightly spiked up, and the back, which is noticeably shorter. Now this kinda goes back to the idea of simplifying shapes:

At some point it unfortunately becomes rather difficult to explain why some stuff is drawn the way it is because it's kinda justified by: "that's how the real life counterparts act". Above everything I highly recommend references, both irl and ingame ones. It's not embarrassing to use them, trust me, no one will criticise you and they'll help!

Now that we got the brim and the hat, let's put the two together!

There isn't really a strict order of how you should draw things, everyone has different preferences and processes which should be taken into consideration. For example, I personally like to draw the entire head before I touch on the cap:

(I added the hair and colours for the sole purpose of this post, this process is usually done during rough sketching.)

This way I have a point of reference where the brim ends (right before the ear for me) and where I should place the middle line on the cap (it's a bit of a stylistic choice than anything but it also lets me know where the fold will be). You can find your own way and make your own rules and with time the process will get much easier! I hope this somewhat helps.

Just practice, have patience, experiment and most importantly: have fun!

#super mario #mario #luigi #mario bros #wario #waluigi #mario tennis #myart

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angstywaifu · 21 days

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The Lost Sister - Part 20

Synopsis: Xaden is known as an only child due to his sister who 'died' during the Rebellion. Little do they know she didn't die and has been so close this entire time.

Garrick Tavis x OC

The Lost Sister Masterlist | Masterlist

A/N: In this part I have used some Gaelic phrases to represent Tyrrish, as both Garrick and Ophelia can speak it. Mo grádh will translate to My Love. And on that note. Enjoy. Also poor Xaden. Warnings: 18+, Smut

Xaden had remained true to his word. For me at least. Liam was still assigned to Violet wherever she went. Which for the most part also meant me, but if I walked off elsewhere he stuck to her. I was glad Xaden had let me have the freedom I requested. Not that I wouldn’t have had freedom. But it would have meant Liam following me around.

But in his absence Garrick had fallen into place. Not as over bearing as Liam was with Violet. But outside of classes Garrick was always there with me. Which I couldn’t deny I liked. I liked it a lot. The night of me finding out about Aretia we had spent in Garrick’s room. And it had reminded me so much of our down time in Aretia. Us lying in his bed or mine. His head in my lap as I read a book or played with his hair as he slept. It had taken me back to a time where we didn’t have any cares or worries. It was something we both needed. And was something we had planned to do tonight, till Garrick had decided to move some of my stuff to his room. His argument was I would be spending most of my nights here unless he was away on a supply run. It just made things easier in his mind. So now I sat on his bed, sketch book in hand as I watched him try to rearrange his armoire and desk to accommodate some of my things. The man was too excited of the prospect of me essentially sharing a room with him from here on out. But it kept Xaden happy that someone was watching over me at night, and meant Liam could have more focus on protecting Violet who was still yet to manifest a signet. And has also received another threat from Barlowe today in sparring that had caused Liam to shove him out of the room entirely. Garrick’s mumbling pulls me from my drawing of my dragon Mealladh. I look up to see him looking in the armoire, scratching the back of his head. I place my sketch book on the bedside table and walk up behind him, my arms wrapping around him as I rest my head against his bare back. My fingers tracing lightly over the defined muscles of his stomach. His hands coming to rest over mine as he looks over his shoulder at me.

”You seem stressed.” I tell him.

He sighs. “It’s because I am.”

I can’t help but laugh at him. “It’s just some space in the armoire, space you don’t even need to find. I can keep my stuff in my room.” I tell him.

I feel Garrick stiffen in my arms, turning to face me as his hands find their place on my waist. “I do need to find it. I want to find the space. I’ll make it work.” He tells me sternly.

This man was way too intent on making this a space for both of us. But it wasn’t something new for us. Back before the rebellion, we had started to leave things at each others places. It had been frequent that we would stay at each others places, Xaden included. But this was on a more serious level than that. We hadn’t defined what we were yet. But we were more than friends now. We had taken that leap. But we hadn’t put a label on it. We didn’t need to. I was his, and he was mine.

”Well I’m sure it can wait till tomorrow I tell him.” With a smirk on my lips as my hands travel from his back to rest on his chest, one of them travelling down to toy with the band of the grey linen pants he had on. The only thing he had on.

I watch as his eyes darken, clearly picking up on the intent in my actions and words. Besides that night of threshing, we hadn’t had another chance. Mainly due to Garrick being away with supply runs. Which at the time I didn’t know about. And I knew Garrick was wanting this as much as I did. His lingering touches had hinted otherwise. I was surprised he hadn’t jumped on it earlier when I had stripped down to my underwear, and slipped on one of his black cotton shirts that was huge on me. His hands now find their way under that very shirt, gripping and massaging my sides as he kissed his way down my neck, lightly biting as he went. Leaving marks I definitely wouldn’t be able to hide. Bastard. Garrick’s hands slowly move down my sides as he kneels in front of me, his fingers hooking into the band of my underwear, quickly sliding them down my legs. I step out of them and he throws them to the other side of the room. His hands wander up my legs, so slow its almost torture. Especially as he moves them to my inner thighs, lightly ghosting over the sensitive flesh. I go to tell him to hurry up and stop teasing, but one of his strong hands grips my left knee, throwing the leg over his shoulder. I don’t have time to ask what he’s doing before his fingers slide up and down, coating them in my arousal. One of my hands reaching down and tugging on his curls as my head rolls back as a moan rolls off my lips. The bastard was taking his time, but I couldn’t deny I enjoyed it. And I knew what eventually would follow would be worth the wait. Each stroke sending a shiver through my body, that I knew would have him smirking. Finally his fingers slide lower, slowly pushing two of them in, followed my his mouth latching on to the bundle of nerves. My eyes fly open at the sensation, getting the full view of a very blissed out Garrick kneeling before me, taking pride in the pleasure he was giving me. Slowly he adds a third finger, stretching me out more. I nearly come undone then as he curls all three fingers inside me, hitting the perfect spot. My leg gives out, but Garrick’s arms keep me upright as he continues his assault. Just as I’m about to tip over the edge, the bastard stops. And I have no shame in not stopping the growl that leaves my mouth. Garrick smirks, bloody smirks up at me as he kisses the inside of the leg still hooked over his shoulder.

”Don’t worry mo ghrádh, I’m just getting started.” He tells me in a low tone as he stands, pulling the shirt over my head as he does so.

His fingers make quick work of my bra as it soon follows the rest of what I had been wearing to somewhere else in his room. His lips are quickly and roughly on mine as he walks me backwards to the bed. He goes to push me down but I quickly manoeuvre us, pushing him down onto the bed as I crawl up him and straddle his hips. Garrick’s eyes darken and widen as I slowly grind back and forth on him, a growl rumbling through him. I can tell it is taking everything in him not to completely take over and flip me onto the bed and take me. I can tell he is curious as to what I will do. I watch some of that control slip as he goes to grab my hips, but I move faster and line us up and slowly sink down to him. Garrick’s head falls back onto the bed. A loud moan echoing around the room.

“F-fucking hell.” Garrick stutters out as I start to move up and down.

His hands grip onto my hips, helping me up and down, his hips meeting my movement, hitting the almost perfect spot every time. Garrick must notice my legs shaking from the effort and flips my back onto the bed as he hooks one of my legs over his shoulder again as he leans forward. It was now my turn for profanities to fall from my lips at the new angle and pace. My pace had been fast, but Garrick’s was harder and faster. My nails dragging down his back, leaving marks yet again. Marks I knew last time had gotten him a few comments. Garrick reaches down with his fingers, and as soon as they meet that sensitive spot I’m done. My back arching off the bed, my eyes shutting as I moan his name. I swear I heard thunder or something similar in the back ground as I finish. As I come down from the high, Garrick picks up his pace again. Not faltering once. The bastard not even close to finishing or being done. He pushes my leg from his shoulder as he scoops me up into his arms and stands, walking over to the desk. He lifts me off him and places me on the ground before spinning me around to face the desk.

”Hands on the desk mo ghrádh.” He tells me as I feel him press against my hips.

I do as he says and lean forward, my hands bracing on the desk as I lean forward. As soon as he’s satisfied I’m comfortable Garrick pushes in slowly. And I know he’s doing it on purpose when I go to lean into it and his firm hands on my hips stop me. As he fully sheaths himself in me, he slowly moves back and forth at a pace that has soft moans escaping my lips. But clearly slowly is not what Garrick has planned, quickly picking up the pace again, forcing me to grip onto the side of the desk to stop me from falling forward. Garrick leans over me, his arms resting on the desk next to me. The new angle having me arching into him as we both moan at the sensation. The desk slams into the wall, and I pray Xaden isn’t in his room or Garrick put up the silencing wards. Seconds later Garrick and I finish almost at the same time, our names falling from each others lips. Garrick lowers himself to rest his elbows on the desk as he catches his breath. He places a soft kiss on my shoulder, before we both freeze at the voice yelling at us from the other side of the wall.

”What did I say about the silencing wards!” Part 21

Taglist: @riorgail @going-through-shit @fw-gt @bbkissme99 @xceafh @leptitlu @came-to-laugh-but-cried @onthewaytotimbuktu @daardyrnitta @lovemesomevesey @mxtokko

#fourth wing fanfic #fourth wing #garrick tavis #garrick tavis x reader #garrick tavis imagine #garrick tavis x oc #garrick tavis smut #fourth wing x oc #fourth wing x reader

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allthenamesithinkofaretaken · 1 year

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Wally, Darling ♥

Censored

Wally Darling x F! Architect! Reader

In which MC tries to curse but unfortunately Wally has a hold of the things that can be said in Home

Just a silly chapter. Also I'm more experimenting on what Wally's abilities could be and stuff. TW/ Cursing/ poor attempts at censoring curses, also unedited

It was a beautiful day out in Home, with the sun shining brightly down on them. It was a calming day, which is why she and Wally were out in the first place, sitting on the base of his favorite apple tree as he sketched and she simply tugged and scribbled endlessly on her own notebook, thinking of different color schemes that would be best suited for the new office she was going to be designing in her home.

“Hey Wally?”

The puppet beside her let out a small hum, briefly taking his eyes off the page he was currently sketching on to look up at her.

He looks adorable, she thought, not being able to help the smile on her lips as she eyed the soft smile on his lips, and the usual half-lidded look he had in his eyes that were currently adorned with a blue eyeshadow, courtesy of her and the makeup she found earlier this morning that Wally was more than glad to let her use on him.

And if he was being honest, he just liked having her lean close to him. It was nice.

“Do you have your own art room in Home?”

“Of course I do, silly!” He replies, taking a moment off sketching to boop at her nose. “How else would I be able to paint inside?”

She snickered. “I suppose,” she turned back to the small sketch of what she wanted the small office to look like, complete with a drafting table, a desk and some drawers to store the rest of the floorplans she has on her person. “I’m just hitting a roadblock on what I want with my own office. I have the furniture arranged but I don’t know what color scheme I should go with.”

“Well,” Wally hums, eyes looking upward in the sky in thought, “What about your favorite color? I find doing a lot of things easier when I’m around the things I love!”

The insinuation made the warmth immediately spread through her cheeks, a light laugh escaping her as she brushes the back of her neck. Silly (Y/n). She reprimanded herself. He’s not talking about you.

About to give a small ‘thanks’ in reply, only to be cut off as a hard object falls on top of her head, a cry leaving her lips and even startling the poor puppet beside her.

“Oh, fork!”

Her hands were clutching her head, the pain still evident as she even dared to try and hover a finger over the spot, only to freeze as she realized the words that escaped her mouth.

Did she hear that right?

“Fork!” She tried to scream again, confusion etching on her face as she looked down at the grass. “Fork! Fork! Fork!”

“Neighbor…” Wally’s voice catches her attention, and she looks at him with the most confused look he’s ever seen her in, his worried smile slowly tugging back upwards in that amused tilt. “I’m afraid we don’t use that kind of language in Home.”

“Wha—” she paused, processing his words and then squinting her eyes in realization. “— are you censoring me?”

She didn’t even know he could do that! I mean, she knows most of the things that he was capable of already, but apparently, there were still some things that were left to be told.

“Of course, we don’t want the kids out there to mimic bad behavior now, do we?”

“The show’s not on!” She groaned, running her hands down her face. “Come on, just one.”

“No,” Wally looks back down on his sketchpad, stubbornly ignoring her as she continued to plead. “You might get used to it, and I don’t want something bad to happen if you were to slip up.”

“I don’t ‘slip up’,” She scoffed, crossing her arms and albeit the slightest bit offended at his insinuation.

Wally looked at her with the most sarcastic look he’s ever given, and she wondered if he’s been studying Frank’s facial expressions more, because she was sure that the way he lidded his eyes was the exact same way Frank looked at her when she had blurted out a stupid joke about butterflies.

“I don’t know Frank, it still feels like I got butterflies in my stomach… I guess that would be the last time I eat a cocoon!”

Yeah, looking back on it now, it’s not as funny as she thought it was.

“Fine,” she sighed, “Does that mean you’ve censored everything?”

He waves a hand for her to try, and she sighs.

“Carp!” Right. She can’t say crap, either.

“Beach!” No?

“Shirt!” Ugh.

“Motherforker!”

“Mustard!"

Before she could continue, a hand places itself atop her lips, and Wally lets out a sigh. She didn’t miss the small pink dusting his cheeks, though, a light laugh escaping her.

“If you didn’t like cursing you could’ve just said so,” She grinned, taking his wrist in her hand and gently prying it off her. “I would’ve stopped.’

Instead of replying, he sighs, leaning his head against her shoulder and making her tense as he simply continues sketching there.

“Hey neighbor?” Wally spoke after a minute of silence.

“Ye—”

Another apple falls on her head.

“Ow! Fuck!”

She gasps, a hand coming up to cover her mouth as a light blush dusts her cheeks.

It took another moment of silence before Wally burst out laughing, and she couldn’t help but follow shortly after that, their laughs echoing over the unnoticeable silence that Wally had sent the entire neighborhood in.

#fanfic #fanfiction #welcome home wally darling #welcome home wally darling x reader #wally darling brainrot #wally darling #wally darling x reader #welcome home fanfic #welcome home x reader #welcome home arg #welcome home #welcome home wally #wally x reader

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