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lullaebies · 2 months

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If you are still taking requests, my darling, how about a blurb of Daeron coming to KL in the days before Jaehaerys' funeral and reuniting with his siblings or momma? xoxo johannawesterling. 😘

“Daeron,” his mother's voice was the first one that welcomed him in that lonely hall. The warm brown of her eyes sad, as always sad— he hated seeing it as a child, and hated seeing it now. Alicent rushed over to him to envelop him in an embrace. “My sweet boy.”

Grandsire was the one who wrote Daeron of the news. He said his Alicent’s temperament was fickle with grief, caring for Helaena’s babes. Daeron always knew his mother would hug him upon his return, but he felt a babe himself cradled in her arms.

“Mother, I missed you,” he held her back, feeling his own throat dry. Her hunched frame, her head on on his shoulder in defeat; his brother’s coronation should’ve given her the opportunity to find joy in a respectable posture, not a reason to wither. He hears some shout from within the hall in front of him, followed by another by a different voice, both filled with fire. “Are those…?”

“Aegon and Aemond,” Alicent answers, lifting her head. “It’s been a difficult time, and yelling is all they could do.”

Daeron doubted it. He saw the hanged people by the Tower of the Hand. No, his brothers are all flames searching to consume all, as they always were. “And Helaena?” he asked. His sister has always been calm in the midst of fury, but as things are…

“They are by her door. She has not come out of her room since…” Alicent said painfully.

Since sweet Jaehaerys had died. The funeral was due in a few days. He came for it; he has not been here for the birth of his nephew, he missed his years in this world, but he would not miss the boy’s departure from it too. But if his mother couldn’t bear to come… No. Helaena would never forgive herself if she did not come. He knew his sister, and he knew it to be true. If his brothers’ shouts were anything to go by, they were in a similar place.

Seven hells, he was too. After all this time, returning when it was all too late to help… How could he forgive himself?

Daeron always wanted to come back home in triumph.

It was a dream of his, ever since his mother sent him to squire with Lord Ormund. To come back a knight of the order, robust and reliable for his sister and mother to be proud of and his brothers to trust in. He wanted his nephews and niece to imagine him in their heads as an uncle they could count on, to become a figure his family whole could believe in.

He was lost, away from his family for too long, but Daeron knew he can’t leave his siblings alone now. He kissed his mother’s cheek, and went ahead towards his brothers.

“After all these years, you think you can preach to me about restraint?” Aemond’s eye flashed like a dagger. He grew much taller, taller than their older brother. Aegon, on the other hand, had not grown much since their teens, and he had been hunched as it is. With a pale face, bloodshot eyes and clenched fists he had not seemed any less fiery.

“When it is all your fault, you cunt? Yes I can.” Aegon replies venomously.

When they were young, Daeron was always lost when they fought. He could rise up together with them against Rhaenyra’s boys, but when they trifled with one another, he always found himself a bystander, staying by Helaena until the storm calmed. Alas, Helaena was in the room in front of them, and from within he heard soft sobs. His mother steps forward to intervene between them, but Daeron stops her, and walks to them instead.

Aemond noticed him first, halting at his sight. Aegon stepped toward Aemond, as if to yell at him some more, but Daeron brought a hand to hold his shoulder. Aegon nearly snapped his shoulder towards him to hit him, but Daeron stopped his hand too.

“Brothers,” he called them, his hold on Aegon’s wrist growing looser. “Stop it.”

Something in him snapped when he saw their faces closely. Aemond looked as if he had not slept a week, Aegon looked as if his blood had been running cold for a moon turn, hair a mess even if he wore a crown. They both try to pick themselves up, upon his arrival, Aemond fixing his gloves, and Aegon clearing his throat.

“You’ve grown tall, you twerp,” Aegon said, looking up to him. “It is good to see you. But don’t get involved.”

Daeron frowned. “Don’t tell me that. I’m your brother. I can talk to my brothers,” Daeron then looked at the door. “And my sister.”

Aemond shook his head. Some shame came upon his face. “She doesn’t want to see us, Daeron.”

What she didn’t want to see never mattered, though. Helaena often told him she saw strange things in her mind. When they were children, when she sent letters, it was often all the same. Sometimes, those were things she did not want to see at all. She managed through it all; she was the bravest, even when she cried waking up from a dream. She needed to see them, instead of further falling into loneliness.

“So we leave her to the darkness of her room instead of showing her she is not alone?”

“I don’t know how to convince her out, Daeron. I tried,” Aegon said. “Aemond tried. Mother tried. Grandsire tried. Jaehaera and Maelor..” he trailed off.

Daeron looked at the door again. His sister was never stupid, she knew they were outside. He knew she was listening, too. If she heard them, she only heard strife and more frustration, things she had likely enough of within her. Whenever Daeron played with Lord Ormund’s children, it was always similar with his one daughter, Bethany; if her brothers quarrelled and brawled while she was upset, she would lock herself in her rooms until she felt safe to get out. She wouldn’t go out to thundering knocks and threatening yells, but to safety.

Daeron didn’t know if Helaena would ever feel safe again. Not after all that happened. But if anyone was to give her hope it was them. He remained steadfast in his stare against his brothers.

“When ships are lost at night, we light the Hightower’s beacon until they find their way back.”

Turning around, Daeron knocked on the door, in an odd rhythm. A rhythm Helaena taught him when he was around eight, and plagued with nightmares of plucked eyes and stormy seas. When mother could only take care of Aemond, Helaena told him she would never turn him away should he come by her door.

“It is like the summer songs of cicadas, stuck to their trees. They sing when they know when they feel safe.”

The sobs from within the room suddenly quietened. No rustling came from within, but it was a change. He knocked on the door again. Sniffles came in response. His brothers stared at him, and for once, he met them in an equal gaze.

Biting his lip, Aegon brought his clenched first forward to the door too. He looked at Daeron, and they knocked together. More sniffles came, but they sounded closer. Aemond seemed to be most skeptical, but with both results and a glare from Aegon, they knocked again together, all three.

It felt like forever, until they heard something being moved from behind the door. The heavy door opens only slightly, but the sniffles are suddenly all clear. The light finally shone on her; Helaena’s face was red, her eyes were glassy, her hair unkempt and her dress crumpled upon her figure, but she was there.

She saw them all, and tears fell down her cheek again. “I…”

It was not clear, amongst the three of them, who came to hug her first. All Daeron knew is that they ended in sibling embrace. She fell into sobs again in their arms, this time holding them dearly for life.

We will not let go.

#i tried to return to past tense for this sorry for mistakes im so used to present tense lately lol #it only took me two million years to finish this but YAY I DID IT #while crying ofc lmao #daeron the daring #daeron targaryen #helaena targaryen #aegon ii targaryen #aemond targaryen #alicent hightower #my fics #reqs #answered #hotd #house of the dragon #team green #hotd imagine #hotd fic #sahtinekryze

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xenocorner · 2 months

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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.

youtube

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.

youtube

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.

youtube

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

youtube

#art resources #I'm sorry this took so long life just gets in the way some times #also sorry for the radio silence over here #it'll probably stay like that for a while lol #hope this can somewhat make up for it tho :']#please also tell me if the redaction is clear or if I should change something about format for these things #Maybe I'm doing way too much explanation and y'all just want the links lol

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dynjir · 10 months

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"Well, at least it's not my fault this time..."

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Consider this: SDL!Arma being able to speak via sign language :]

#dynart #unknownpsn #karu #karl #arma #sdl #rachel #did you know sign languages can come in different language variants?#american and japanese sign language and they can be different #...which based on the name should be obvious #but the people around me always referred to as just “sign language” growing up #so it took me a while to realize it's not just 1 language lol #anyway #I think Arma just being a quiet kid and speaking through mostly body language works just as well #but I thought this would be a fun idea haha #sorry if I got the word on karu's hat wrong #I'm not sure if I got it down exactly

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zzoupz · 1 year

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HEY! Now, you've drawn [Tumblr] in the default palette... I have a prompt and that is [Tumblr] looking in the closet and the other palettes are outfits in there OR just Tumblr wearing the other palettes :D

THIS IS GENUINELY A GOOD PROMPT

#sorry it took a while I had no idea how to present it correctly lol #also in case you wonder YES I made tumblr a tumblr sexyman on purpose bc funny #twitblr chronicles

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backslashdelta · 6 months

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How To Gif: Glass Shatter Effect

By popular demand (ie, 7 people who voted in this poll), here is a tutorial on how to do the glass shatter effect I used to create the first gif in this set.

I use Photoshop CC 2015 (yes I know it's old) for my gifmaking, but you should be able to apply everything to newer versions of Photoshop. For this tutorial I'll be assuming you know the gifmaking basics, but if not, I would recommend this tutorial, which is the process I use to make gifs. Note that this particular process involves saving all of the frames, importing those frames into Photoshop, and then using an action to convert to a smart object.

Keep reading below the cut to learn how to do this effect!

Before I could start making this gif, I needed three things; the two scenes that I wanted to use, and a video of the glass shattering effect. I already knew the scenes I wanted, so then I took to YouTube to find a video which I can't for the life of me find again, but it looked like this:

Something like this is what you want. Ideally the green part would be entirely white, but as long as there are two clearly different colours you can usually work with it.

This looks a lot slower than the gif that I made, but that's not because of the frame rate - which is exactly the same above as in the final gif - it's just because there are extra frames in this slower one that I cut out. In the video I used, the glass shattering happened very slowly. I didn't want that, so I ended up skipping several frames when I loaded the frames into Photoshop before using my gifmaking action. I just did this by manually selecting one frame, skipping the next several before selecting another frame, and repeating this until I had selected 60 frames.

After using my gif action, I had a smart object of the glass shatter effect that looked like this:

That's a much better speed! It still wasn't quite where I needed it to be though. I needed this in black and white, so I slapped a hue/saturation adjustment on the smart object and set the saturation all the way down to -100.

Okay great, I could start putting the gif together now.

First, I made a copy of the glass shatter smart object, because I'll need that later. Then, I pulled in frames from the scene that I wanted to appear in the hole after the glass shatters, and I used those to create a new smart object with my gif action (we'll call it Scene-bg). I pulled Scene-bg into the same window as the glass shatter objects. Then I created a new smart object by combining one of the glass shatter objects with Scene-bg, which I did by selecting both layers right clicking, and selecting "Convert to Smart Object".

I renamed this smart object to Shatter-fg. I opened it by clicking on the little icon next to the layer name in the layers window here:

The most important thing here is that the shatter effect object should be the top layer, and I set the mode to "lighten". This will make sure that the lightest colour of either this layer and the layer behind it is displayed; that means that anywhere that's white in our shatter animation will still show up, but anywhere that's black we'll see what's in the layer(s) behind it.

Then I threw some adjustment layers between them to get the colouring I wanted. I used a curves layer, a hue/saturation layer, and I also added text with an outer glow layer effect. Here's what the layer order looked like and the settings I used for each layer:

After this process, Shatter-fg looked like this:

Okay nice, this is starting to look like something! I saved this and went back to the main file with the other glass shatter object.

I needed to invert that other glass shatter object. There's a weird quirk with the version of Photoshop that I use where it doesn't like it when I apply specifically an invert adjustment to a smart object (it appears correctly when editing, but not on export) so I did this by creating a new smart object which included a separate invert layer, but if you have a newer version of Photoshop you can probably just apply the invert adjustment directly. Just note that you'll need to do one of these options; it won't work if you add a separate adjustment layer in the main file, it needs to be applied specifically to the smart object (which we'll now be calling Shatter-bg). It looked like this after I inverted it:

Once that's done, I made sure Shatter-fg was the layer directly above Shatter-bg, and set the mode of Shatter-fg to "darken" and Shatter-bg to "lighten". Since Shatter-fg is set to darken, it will be visible only when it is darker than the layer behind it. By setting Shatter-bg to lighten, I've guaranteed that the layer behind it will always be lighter (ie, white) in the places we want Shatter-fg to be visible, and will be black otherwise. Once I update those settings, this is what the gif looked like:

This is all there is to the glass shatter effect itself. Next I pulled in frames from the second scene to fill in the black areas. This layer needed to go below both glass shatter layers, so that it only shows through where the black. Then I added adjustment layers and some text. I used curves, hue/saturation, and vibrance adjustment layers, and I also added the "archer" text below the glass shatter layers so that it would be hidden to reveal the "prey" text. The other text I added above all of the layers, since I wanted this to be visible all the time. Here is the layer order and all of the settings I used for each of the layers:

I also grouped Shatter-bg and Shatter-fg and shifted them on the timeline so there would be some time to see the background gif before the shatter effect starts.

And that's all! Then it''s just a matter of exporting the finished product:

This is the first gifmaking tutorial I've ever made, so I hope I was able to be reasonably coherent and helpful! I'd love to hear if you make anything by following these steps, or even if you just feel like you've learned something reading through this. And if you have any outstanding questions, feel free to reply or send me an ask and I'd be happy to answer!

#gifmaking #tutorials #gifmaking tutorial #gif tutorial #photoshop #photoshop tutorial #usergif #gleesource #my tutorials #mine #how to gif #tw mark salling #mark salling tw #not tagging as glee because it's not actually about that but wanted the tw tags just in case #this was so much more effort to put together than I thought it would be lmao #I was like oh yeah I've already made the whole gif I just need to go back and explain how I did that...#it took A WHILE #anywayyyy it was fun though so I'm glad I did it #would love to know if anyone finds this helpful or interesting or tries out the effect or something similar!#you can also just grab the black/white gif I included above if you want to do the effect since I can't find the video... sorry lol #but yeah you have my permission to steal the black/white gifs for gifmaking purposes if you would like #just don't like. post your own tutorial claiming you made it or something?? but like you don't need to credit me or anything obviously.#ANYWAYYYY #I feel like... a LITTLE pretentious thinking I'm good enough at making gifs to be qualified to make a tutorial #but like it's fineeee everything is fine #gonna finally post this now enjoy byeeee

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