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sabertoothwalrus · 2 years

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eep sorry if youve been asked this, but when u go abt drawing bgs for ur comics, do u look up references or use imagination, and how do u practice drawing bgs for storyboards rather than illustrations? im rlly not sure where to start, and i feel like a lot of advice focuses on rendering bgs rather than it feeling ~lived in~ or actively being used or augh not sure how to say!!

hhhh ok this is something I am also still in the process of trying to figure out, and I am not a professional storyboard artist so I will attempt to answer to the best of my ability.

when it comes to storyboards, the amount of detail bgs will have during the boards phase will depend largely on both the studio AND the specific production. some 3D shows will have a render of a commonly used room the board artists can angle around for their shots. Adventure Time boards tended to be pretty loose, while the Owl House boards are EXCEPTIONALLY clean. DTVA seems to have bgs created in a several step process, and I'm not exactly sure of the timeline, but I know they have vis dev artists that do more illustrative, conceptual drawings to get the vibe, then the board artists draw out what general angles will actually be used, then layout artists/bg designers who actually go in and DRAW those bgs and add in all the little details, and THEN the colorist comes in and...colors it. I don't think every studio distributes the work in this same way. Not every studio is going to want board artists to draw clean backgrounds, but MOST will get pissed if you refuse to draw them at all djfhgdjf

If you want some tips about adding small details, this has some really useful advice.

I don't add lighting or grayscale values to my comics unless it's important to the tone/clarity, and I think that's generally the case with boards too (at least for TV, I don't know as much about boarding for feature). Here's some advice about adding lighting.

^ here's a bg I put a little more effort into than usual. I referenced some images of thrift shops I pulled up on duck duck go, some of my own memories of thrift shops I've been to, and even went on the shiftythrifting tumblr. This was just a silly comic I knew I'd be posting on tumblr rather than a serious board, so it didn't matter to me if it was perfectly clean or not. some of the shapes are... vague. and loose. but who cares sdjhfjd I think (?) it conveys the concept that this is a thrift shop.

^ for THIS comic I wanted imply hunter crowded them in the bathroom to "talk in private" which felt like a very 16 year old thing to do + there were already some nifty references of the Noceda's bathroom. and listen I know it's not perfect. I didn't draw ANY perspective guides, did more trial and error than I probably needed to, the cabinet is WAY too high. (even in the original, why is this bathroom so spacious???? why is the toilet so far from the wall where the toilet paper is???) but even with all the mistakes, it doesn't matter! no one probably noticed while watching. you see it so briefly, and your attention is still focused on the characters.

I'd say the main thing when drawing bgs for storyboarding & comics is to focus on Perspective and Composition above all else. It's ok to be loose, but make sure you still have Clarity. Be mindful of proportion ("how big is this character in comparison to the objects around them?") and angles ("if this is a low angle, shouldn't I be seeing the ceiling/sky?") etc etc because even if you know you won't be drawing it perfectly, it helps to still have it in mind.

#art help #perspective #backgrounds #comics #storyboarding #photos

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nanistar · 1 year

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Any advice on how to draw backgrounds? Gotten to the point in my art where im semi confident in drawing poses and expressions but backgrounds?? girl help i can only somewhat draw a tree

oh hell yeah i love backgrounds, ive been working on more interiors lately (when not overburdened by sbc work lol) but im assuming you're asking about nature so that's how im going to answer it as okay so: -first of all find yourself a good TEXTURED blending/smudging brush because it will save your life. i use these rock texture brushes from This Studio Ghibli pack, it's $6 and i HIGHLY recommend the whole pack because it's the main one i use for most of my bg foliage/grass ect and i love it dearly

-find references either in irl photos or other artist's work. if using another artist's work watch their speedpaints or look at what you like about their art style and techniques and steal it. im serious. obviously don't trace it and pass it off as something of your own but look at how they do the aspects you struggle with, and try to incorporate that

for me, that struggle is forest foliage because i have a hard time filling out the spaces without everything looking like same colored blobs, so i looked at how my buddy hannah mudshadow does bgs because she's really good at filling out a scene and making it look natural, and i noticed she uses a lot of abstract shapes instead of trying to render every leaf, so rather than doing my base work for bushes/trees with a leaf brush, i use a chunky scatter brush now and it looks really good, and then i can go and add some leaf brushes on top of that for more definition in areas that might catch light ect so that will give it the thick, bushy .. bush look without looking crowded or too shaped

-nature is messy as hell and things are never going to be perfectly shaped and toned unless you're drawing perfectly managed hedges or something. got some dirt brown on your green bush? those are dead leaves now. accidental weird texture on your tree? the bark is gone there, something ate it. bushes and trees have dead branches that just hang out there in them, grass grows long and sometimes a deer or whatever doesn't eat the whole patch so there's long uneven sprigs sticking up. petals fall off flowers. trees have huge webs of branches

-don't try to detail everything. make things further away more abstract and messy to give the illusion of detail. throw a gradient over it for some slight tone variation or something so it;s not completely flat but ppl are going to look at your subject and see the rest of it with the corner of their eyes, so you don;t need to fully render every flower in the field. here's some examples of that

the cactuses in the far BG are just V and Y shapes, the joshua tree in the middle distance is dark with some light blobs right on the edge where the needles would catch light.

this is from 2021 so be nice to me but as the flowers go back in the distance, i stop rendering their petals and start doing blue dots with white dots, and then even further away i just sorta blend blue and green together to give the illusion of a field of flowers.

-i dont know what your style is, but i personally hate using a ton of layers and tend to merge them as i go, but for the most part i draw every panel of SBC bg on the same 1 layer, going back to front (start with sky, mountain, bg grass, foreground grass and cactus, then go back and scatter foliage as necessary) and it keeps my stuff loser and i tend to get less precious about making things look perfect. i also work very fast because i am unironically really lazy at art and am desperate for shortcuts.

-oh yeah one more thing. assuming you draw cats, cats are SOOOOOO small in comparison to literally everything. as warrior artists i think our perspective gets a but confused sometimes (i am certainly guilty of this too!) and there is absolutely nothing wrong with this because sometimes that's just how you have to build your scenes, but it really makes me laugh when i see scenes of like, rusty jumping off his fence to go into the woods, but the fence is only a bit taller than him. so try to remember things are huge and cats are small as hell

na'ni's a huge cat, all things considered but look at her compared to my small aloe plant

or the cedar tree in my front yard.

absolutely microscopic. don't look at my slippers.

so yeah. i hope this helps, it's not so much a tutorial because i don't think i'm the best person for tutorials because honestly i dont know much and this is all stuff i've picked up on, like i dont know shit about composition or values or color theory but this is important stuff to keep in mind about the environments themselves. don't worry too hard about colors at first because you can always change it by adjusting your curves n stuff. or slap a filter on that bad boy. or dont. also pay attention to your horizon line because it helps angle the rest of your piece. but look up tutorials for that because i only started learning about it like a week ago

#mine #art advice #idk man #ppl feel free to add on to this #nani irl

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goomyloid · 16 days

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HELLO!! I absolutely love the colors in your art! That's why i am here- i wanna know if you don't mind telling us how you do this little effect (the one behind)-

Again love your art style and the colors!

Have a wonderful day/night! And take care!

hii!! first of all tysm!! 🥺

on this piece i used a gradient map to get the colors to look this specific way! here's how it looked without:

you can see that the colors in both the actual drawing and faded bg version are technically the same, but because the bg version paler, the gradient map mapped its colors onto it differently (hence why it's bluer/yellower/etc than the foreground img)

if you've never worked with gradient maps before i highly recommend playing around with them! if you use clip studio there are lots of free gradient packs in the csp store, and gradient maps are also supported on procreate and photoshop as far as i know ^^

#mailbox

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samwise1548 · 8 months

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:o i am Looking (pun absolutely intentional)

THERES SO MANY COOL DETAILS IN THE BACKGROUND

YESS!!! Thank you Tumblr people for letting me rant about my own art for a bit.

I have to go to the city today which is about an hours away. Let's hope I can get through everything I wanna say before then :)) Already gonna say, this'll be a long post so I'll put it all under a cut.

For context, this is the piece I'll be talking about. It's a redraw of an older piece I did for The Magnus Archives podcast.

Ok so, where to start... I suppose just with setting up all the details in the background? That took ages!! Imagine having to cram 14 fears into one small box, where only 2/3rds of it are visible? I excluded the Extinction for my own benefit, and the Eye and Web were covered by the giant eye at the top and the webbing at the bottom of the piece. So only 12 fears, but still that was a real struggle haha. I'm glad I was able to do it tho. Here's some of the drafts I did:

[ID: Six similar rough drawings of Jonathan Sims and Martin Blackwood embracing as the cry while a giant eye looms above them. The artwork is rough as they are simply to lay out the design of the piece. A blue watermark of the artists signature is slightly visible above the pieces. \End ID]

I knew I wanted the Vast to be on top, because, well obviously. It's the Vast! And likewise, for the Buried to be on the bottom. But everything else was kinda mixed in wherever I had space. My favorite mini domain is the Strangers carousel!! I'm also particularly proud of the Slaughters war trenches below it.

Moving on, I wanna talk about the coloring now!! BOY HOWDY, DID THAT GIVE ME STRESS!!! For reference, here's some of the variations I made while trying to find the perfect colors:

[ID: sixteen variations of the same drawing, now with finished lineart. Each variation is colored differently than the next. The artists signature is watermarked over the drawings . \End ID]

GOING IN ORDER!!! first one is obviously not colored. That's just the lineart with a random color as the bg. Second and third ones I discredited cuz it didn't fit tma vibes. The fifth one is one I kinda still do like. The only problem with that one was that Jon and Martin were a bit too dark for my liking. The gold frames one next to that is one of my favorite ones. I color picked from the Mona Lisa for that one. I do like the gold frame but again, jmart didn't fit the vibe. The next few are random variations with slightly different color palettes and values.

What I ended up settling for in my final piece is honestly so beautiful in a symbolic way to me. The fear domains inside the frame were done in colors from the original piece from 2021. Kind of like an homage to my past self. Like I'm giving my past self credit for making a good drawing by including actual elements from that directly into this revamped version. I was so happy when I figured that out. It's especially lovely considering that I was struggling so much with coloring this whole thing. But looking back at the old piece made me realize that I just had to go back to my roots. I'm learning from a me that I no longer am and I feel so happy for that!

With that, thank you for letting me ramble about this drawing. It may not have came out perfect like I'd hoped, but I did make something I can be proud of while still honoring the original. And I'm happy with it :)

#no bodys gonna see this but i just needed to talk about it #i am really happy with how it turned out #and i feel like ive improved a lot since i first started drawing #thank you to the tma fandom for that haha #my thoughts #ask box #my art #long post

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oswlld · 2 years

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AN ODE TO REAL RED (or, i didn’t wake up planning to write an analysis on storytelling through red but here we are)

look, im really out of my depth here. i really am not one to make these lengthy, wordy analysis posts that articulate what color means to me. (if it’s your kind of thing, pls go read everything @dribs-and-drabbles posts! i love it there and look forward to the episodic breakdown each week). and yet, after my first rewatch, it hit me how much the color red spoke volumes. it hits different because it really explored the color in the way traditional storytelling and filmmaking treats color: as a visual dialog; to draw out depth in a scene.

ive told @talays-portkey that i needed to turn off everything i learned in color theory (and production/post-production for that matter) when i go into each episode. why? this show pokes fun (and i LOVE them for it, to an extent) at using the concept of color to saturate the show: tess’ wardrobe, spotlights, set locations, the collective group at the assoc, and script all create this gorgeous, playful style that works into believing it’s a different universe. there’s specifics in the worldbuilding (ex: counting, flowers, the beer) and then there’s the production that makes it fun to guess how each episode will build on the last.

but i think Real Red really shines in bringing us back to their world. to me, it’s the show’s way of telling me, “hey, time to turn that brain on because it’s now a dialog. look at what it’s telling you now.”

it gets reallllly lengthy (literally an a-z on everything on red i found), see ya under the cut

let me preface this by saying that this has no merit beyond my own interpretation of the visual dialog and it consistently fell into two categories: 1) of course, Dang translates to Red (so, Puen) and 2) Red symbolizing STOP.

a. the first real hint at red in the ambulance scene (not pictured, the vehicle itself probably also red); but i find this show a nice set up when the reflection lines up with the red, where the reflection would line up with his chest, like yes bb you are Dang b. and then we know how this scene continues, with the medical gear in the bg; fits the scene, him thrashing about and begging to leave, but everyone is telling him to STOP and pins him down

c. since we flip back to the au, this red is serving the two worlds imo - it’s being playful as a set for the Red episode, while at the same time, it’s a dialog; here, it represents the vehicle that will bring talay to puen (the secret island) but also the tides are preventing talay from crossing; d. he’s wearing the lighter end of the red palette; the boat is turned over, a visual representation of a STOP

e. he’s playing with the red controller… i love a show

f. the overflow of fan support (which, aww! deserved) has a specified cubby in his apartment, in plain sight; it’s not organized in any particular way but still there for him to see (there’s something to be said about his character but this post isn’t about that) g. then we get the bucket hat callback (SOBS) and we have the camera lined up like so - not only showing how much his heart misses talay, but the oncoming divide that the fans will create between them

h. back to the au, where puen’s wish is written in red i. when i say this show has layerssss

j. (SOBS AGAIN) no but really, when i heard his mom’s voice and he just STOPS; i thought to myself, “is2g if she’s wearing red, i will never speak ill of this show ever again" (pending transaction); there’s plenty of other posts about the art in the bg that you can find in the tag

k./l. now we get into the push and pull of getting them reunited; this is when the push and pull comes in the form of green vs red; the universe is both trying to bring them together and keep them apart; nature/set is organically telling them where they will eventually end up (glass house), but the artificial inserts of red also is STOPPING them from letting it happen

m. STOP interviewing!

n. STOP and take a break (au version) o. STOP and take a break (ou version)

p. the green vs red continues (outside edition)

q. red vs green (inside edition), but this is where the visual dialog really stands out; here, the tim horton’s Red is evenly halved with the green wall, representing the turmoil talay is in r. we switch to where puen’s voice is coming from, where the green starts to outweigh the red

s. the close up now positions talay to have the plants in the bg as he hears puen’s speech confirm his true feelings for him t. without saying a word, talay rushes back to the theater and we see him physically abandon red

u. i love a good wardrobe choice; something something when a person embodies a house v. the lamp speaks for itself *shoves mic at it*

w. just wanted to point out that the last time we were in this glass house in the au, puen was sitting in that corner with his apology; intentional or not, i think it’s lovely that the hint of Red is in the same place x. he STOPS (and i CRY)

y. when doubt creeps in and he thinks it’s still tess, i love that red is still peeking through; literally STOPPING him from believing who is in front of him and almost leaves z. “ai DANG” (and then my soul left my body and the shell of user talaypuens writes this post)

bonus: this can be interpreted in two ways - either they are recreating a piece of the au in their own personal space or we treat it as the visual dialog (that it’s both Puen and it’s a warning… to STOP??)

… i’ve expended all my brain power for the weekend, welp

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rainbowolfe · 9 months

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Canon Ending of Security Breach

In the Ruin DLC we get two panels from each ending from the main game, re-drawn by Gregory, except for the Princess Quest ending. This could mean that Princess Quest ending is the "true ending", but in Ruin all of the PQ arcade cabinets are destroyed. The golden sword stabbed into the third one would imply they were destroyed by whatever entity was being held inside of it--aka the Princess.

Regardless of who or what did it, that means Vanny/Vanessa can't be saved. Thus, the comics are most likely the events that unfolded as the Mimic saw them. We know it's the Mimic. It doesn't. As far as it is concerned, it is Gregory. If Gregory draws comics, then the MImic's going to draw comics like Gregory. Because when would Gregory find the time to draw these while he was inside the Pizzaplex?

It starts with Gregory escaping the Pizzaplex at 6am, the default 1-star ending. Vanny then finds him before sunrise, and seems to bring him back to the Pizzaplex alive. Meanwhile, in comic page 3...

The first panel's BG being the same color as the final comic page would seem to imply that Freddy is remembering what is in the Basement and having his "I Am Not Me" moment. For the second panel, in the original cutscene, his eyes are blue, but in this re-creation they're yellow. Which means he has Roxy's eyes, which means he can now see Vanny.

This most likely allows him to save Gregory, and they escape via the stolen truck. Freddy is then revived/re-charged with the truck battery. Back at the Pizzaplex, Vanny is disassembled (brutally killed) by the STAFF bots and The Blob kills (consumes?) Burntrap. THIS Blob only has one purple eye.

Side Notes:

Vanny may have been disassembled by the Mimic. It has her voice when Cassie frees it, and ripping off people's arms, legs, and head is kind of its thing. The Mimic can't be accessed through the Pizzaplex, but it can be accessed through the Sister-Location-esque facility next to it.

In the ending where Vanny is dismembered, the Pizzaplex is shut down temporarily for "health concerns". It is most likely during this time period where rowdy teens came through and left behind all their graffiti and trashed the place. It's also when someone would have been able to come in to repair (and likely reboot) Roxy, explaining her new face plate. Then the place started to cave in because of the Blob burrowing towards the surface.

#fnaf theory #five nights at freddy's #fnaf security breach

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thevaisnava · 1 year

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By developing genuine devotional qualities, one’s understand of God becomes clear and perfect arjuna uvacasenayor ubhayor madhyeratham sthapaya me ‘cyutayavad etan nirikse ‘hamyoddhu-kaman avasthitankair maya saha yoddhavyamasmin rana-samudyame “Arjuna said: O infallible one, please draw my chariot between the two armies so that I may see who is present here, who is desirous of fighting, and with whom I must contend in this great battle attempt.” The next point is that Arjuna wanted to see with whom he had to fight. He had no desire to fight. That will be explained. He was fighting unwillingly. Unwillingly. Because he is a Vaiṣṇava, unnecessarily he does not want to kill, although he is kṣatriya. It is his duty. Whenever there is discrepancy, killing, as representative of Kṛṣṇa… Kṛṣṇa has got two business. Paritrāṇāya sādhūnāṁ vināśāya ca duṣkṛtam [Bg. 4.8]. He has got two businesses. One business is to give protection to the devotees, sādhu, sādhu. Sādhu means devotee. Sādhu does not mean simply by changing dress, saffron color, and smoking beedies. That is not sādhu. Sādhu means devotee. One who is devotee… That is explained in many śāstras. Sadhavaḥ sādhu-bhūṣaṇām. Sādhu-bhūṣaṇām. titikṣavaḥ kāruṇikāḥ suhṛdaḥ sarva-bhūtānām ajāta-śatravaḥ śāntāḥ sādhavaḥ sādhu-bhūṣaṇāḥ [SB 3.25.21] This is the qualification of sādhu. Sādhu is titikṣava, tolerates all kinds of miserable conditions. He is sādhu. Because this is a place of miserable condition. A sādhu learns how to tolerate. Sādhu is never disturbed. Yasmin sthito guruṇāpi duḥkhena na vicālyate [Bg. 6.20-23]. A sādhu, who has got the shelter of Kṛṣṇa, if he is placed in the severest type of dangerous condition, he is never disturbed. Just like Prahlāda Mahārāja, his father was putting him in so many dangerous conditions, even he was supplying with poison. He knew that "My father has given me poison to drink. All right, let me drink. If Kṛṣṇa likes, He will save me. I am now put into such dangerous position. I have to drink. Father is giving poison. Who can check?" And such a big powerful Hiraṇyakaśipu. The mother cried, requested… He forced the mother, Prahlāda's mother, "Give your son this poison." So she begged so much, but he was a rascal demon. "No, you must give." So the mother knew, the son knew that the rascal father is giving this poison. What can he do, a small child? "All right, let me drink." Guruṇāpi duḥkhena na vicālyate. He is not agitating. "All right, if Kṛṣṇa likes, I will live." This is the position of sādhu. He is not disturbed. Titikṣavaḥ. In all circumstances, he is tolerant. That is sādhu. Sādhu does not become disturbed. Titikṣavaḥ. At the same time, kāruṇikāḥ. He is himself disturbed, but he is merciful to others. Just like Jesus Christ. He is being crucified, and still he is merciful: "God, these people do not know what they are doing. Please excuse them." This is sādhu. He is personally being disturbed by the demons, but still, he is merciful to the general people. They are suffering for want of Kṛṣṇa consciousness. So even up to the point of death, he is trying to preach Kṛṣṇa consciousness. "Let the people be benefited. Eh, what is this material body? Even if I am killed, I am not killed. This body is killed, that's all." This is sādhu. Titikṣavaḥ kāruṇikāḥ. In one side he is tolerant, and other side, merciful. In the material world, when one man is disturbed, he cannot do any beneficial work to any others. He is disturbed. "No, I am very much disturbed. Don't talk with me." No. But sādhu still goes on benefiting the people in general. Titikṣavaḥ kāruṇikāḥ [SB 3.25.21]. And what kind of benefit? The so-called rascals humanitarian work? No. Suhṛdaṁ sarva-bhūtānām [Bg. 5.29]. He is beneficial to all kinds of living entities. Not this rascaldom, daridra-nārāyaṇa. Just like one rascal has manufactured this daridra-nārāyaṇa. The poor man has become Nārāyaṇa, and the goat Nārāyaṇa is killed for their feeding. Not this kind of sādhu.

Suhṛdaṁ sarva-bhūtānām. A sādhu will not allow any kind of killing. See in the Christian religion, it is first injunction is "Thou shalt not kill." If you want to become religious… They are simply killing, and still, they are claiming "Christian." What kind of Christian? Simply their business is killing. So it is very difficult to find out a Christian, although they are claiming, I am "Christian." It is very difficult. Because their business is killing. And Lord Jesus Christ ordered, first order is, "Thou shalt not kill. Thou shalt not covet." Who is following? So sādhu is suhṛdaṁ sarva-bhūtānām. Why he should allow animal killing? They are also living entities, but for their benefit, the so-called sādhu says, "The animal has no soul." What is this nonsense? Animal has no soul? Why? What is the difference between animal and man? What are the symptoms of possessing the soul? They are all equal. The man also eats, the animal also eats. The man also sleeps, the animal also sleeps, the man also have sex life, the animals also have sex life. The man also defends, the animals also defends. So where is the deficiency that you say that the animal has no soul? Imperfect knowledge. Or making adjustment for their own benefit. Now they are making correction: "Thou shalt not kill," "Thou shalt not murder." That means it will come to human being. But the actual commandment is "Thou shalt not kill." But these Christian people, they are making some amendment, "Thou shalt not murder." Because murder will apply to the killing of human beings. But Lord Jesus Christ never said like that. "Thou shalt not kill." It is applicable both for human being and for animal or even for trees. Unnecessarily you cannot kill. That is sādhu. Suhṛdaṁ sarva-bhūtānām [Bg. 5.29]. "Don't kill my brother, but you can kill my neighbors." Not like that. He is not sādhu. Sādhu is kind to all living entities. Kṛṣṇa consciousness means to become kind to everyone. Therefore we say, "No meat-eating." Meat-eating means killing the animals. Killing the animals. Why you shall kill animals? You have to take Kṛṣṇa prasādam. Patraṁ puṣpaṁ phalaṁ toyaṁ yo me bhaktyā prayacchati, tad aham aṣnāmi [Bg. 9.26]. Kṛṣṇa says… Kṛṣṇa is God. He can eat everything, everything. Kṛṣṇa ate fire, you know. There was forest fire in Vṛndāvana. All the cowherds boys they became very much frightened, "Kṛṣṇa." "Yes, I'm ready." He ate up all the fire. So for Kṛṣṇa He could eat anything He likes. He is God. But still, He recommends, patraṁ puṣpaṁ phalaṁ toyaṁ yo me bhaktyā prayacchati. Why? Because we have to take Kṛṣṇa's prasādam, so therefore He is recommending, "These things you can give Me." Patraṁ puṣpaṁ phalaṁ toyaṁ. So that is our food. We are devotees of Kṛṣṇa. We are meant for eating the remnants of foodstuff offered to Kṛṣṇa. That is our… Jihvā, tāra madhye… If you want to conquer the tongue, then you fix up your mind that you shall not take anything which is not offered to Kṛṣṇa. Then your tongue will be controlled. Tāra madhye jihvā ati lobhamaya sudurmati. Tongue is the bitterest enemy of the living being. The tongue is dragging. Jihvā. "Kindly give me this immediately. Kindly give me this wine immediately. Kindly give me this tea immediately. Kindly give me this cigarette immediately. Kindly give me this meat." Why? Control. Kṛṣṇa says, patraṁ puṣpaṁ phalaṁ toyaṁ [Bg. 9.26]. So we have to take prasādam, eat Kṛṣṇa prasādam. Then naturally the other things will be negativated. This is the position. Suhṛdaṁ sarva-bhūtānām [Bg. 5.29]. So if all human beings become vegetarian, not vegetarian, but eater of the Kṛṣṇa's prasādam, all these liquor house and slaughterhouse and brothels will be closed. This is Kṛṣṇa consciousness movement. We want to close these nonsense places of sinful life: brothels, illegitimate sense gratification, sex relationship, prostitution. If we are embarrassed with this sinful life, there is no possibility of becoming again acyuta. We remain cyuta, fallen. We remain fallen.

It is not so easy thing that "I do everything, whatever I like." Some rascals preach that "Oh, religion has nothing to do with your eating. You can eat anything you like, and still you become a religious man." This is all nonsense. Nobody can become religious man if he is attracted by sinful activities. It is not possible. You must stop sinful activities. That is first condition. Otherwise you cannot understand what there… People… Perhaps, in this Kṛṣṇa conscious, except this Kṛṣṇa conscious movement, all rascals, they do not know what is God. They have no clear conception of God. Because they are sinful. We can give the name, address and everything of God, clear conception, not vague idea, "God may be like this, God may be like that." Why maybe? He is God. veṇuṁ kvaṇantam aravinda-dalāyatākṣaṁ barhāvataṁsam asitāmbuda-sundarāṅgam kandarpa-koṭi-kamanīya-viśeṣa-śobhaṁ govindam ādi-puruṣaṁ tam ahaṁ bhajāmi [Bs. 5.30] Clear conception. The śāstra, Brahma-saṁhitā, clear description of God, veṇuṁ kvaṇantam. He is playing on flute. It is not that the Muralīdhara, Śyāmasundara, Kṛṣṇa, has been imagined by some poet. No, it is described in the śāstra, the form of the Lord. He is busy in playing flute, veṇuṁ kvaṇantam. Aravinda dalāyatākṣaṁ [Bs. 5.30], His eyes are just like petals of the lotus flower. Veṇuṁ kvaṇantam aravinda, barhāvataṁsa, there is a peacock feather on His head. Kandarpa-koṭi-kamanīya-viśeṣa-śobhaṁ, and He is so beautiful that His beauty can cut down thousands of Cupids. Cupid is supposed to be the most beautiful in this material world. Kandarpa-koti-kamanīya-viśeṣa-śobhaṁ govindam ādi-puruṣaṁ tam ahaṁ bhajāmi [Bs. 5.30]. Clear conception. This is the description of God in the śāstra. And when God came, Kṛṣṇa came on this planet, the same description. He is playing on flute, He has got the feather, peacock feather. So this painting of Kṛṣṇa is not an artist's imagination. It is exactly the form. So here is the form of the Lord. Here is the name of the Lord. Here is the activities of the Lord. This is clear conception. A sādhu knows what is God. Or sādhu cannot know. They are thinking, "God must be like this, God may be like this, He must be a very old man," because adi-puruṣa. He is the first living… In this way… So you cannot create God by imagination. That is not possible. God is God, always. You have to know simply what is God. He is never cyuta. God never becomes fallen down from His original position. The original position is, God describes Himself, mattaḥ parataraṁ nānyat: [Bg. 7.7] "There is no more superior authority than Me." That is God. One, if he is controlled, how he can be God? The supreme controller is God, the supreme controller is Kṛṣṇa. Īśvaraḥ paramaḥ kṛṣṇaḥ [Bs. 5.1]. Īśvaraḥ means controller, and paramaḥ means supreme. And who is that? Kṛṣṇa. Kṛṣṇa says also, mattaḥ parataraṁ nānyat kiñcid asti dhanañjaya [Bg. 7.7]. So He is acyuta. He keeps His position. He never falls down. We are all fallen souls. Because our position, our Acyuta position is to serve Kṛṣṇa. Because we are part and parcel of Kṛṣṇa. The same example: Just like this finger is part and parcel of my body. Its business is to serve the body. That is the business. There is no other business. A finger can pick up a rasagullā and keep it here. The finger cannot eat. Similarly, we cannot eat directly. That is our diseased condition. We have to offer Kṛṣṇa. When Kṛṣṇa eats, if we eat that, then we become energized. Just like you rasagullā put into the mouth. When it goes to the stomach, the finger immediately becomes reddish. The finger enjoys. Not only the finger, the eyes enjoy, the legs enjoy, because the energy is distributed. Directly we cannot be energized by eating. We must eat Kṛṣṇa's prasādam. This is principle. Jīvera svarūpa haya nitya kṛṣṇa dāsa [Cc. Madhya 20.108-109]. So if we serve Kṛṣṇa, that is our Acyuta position. If we deny to serve Kṛṣṇa, that is vicyuta, fallen condition. Acyuta and vicyuta. So to become Kṛṣṇa conscious means acyuta-gotra.

Acyuta-gotra. Gotra, perhaps you do not know. Gotra is the family tradition. According to Vedic civilization, everybody has got gotra. Gotra means of the same family, of ṛṣis, gotra, from the ṛṣis. So we have to become acyuta-gotra, again belonging to the family of Kṛṣṇa. Now we are fallen. Therefore we have forgotten that we belong to the family of Kṛṣṇa. When we revive our consciousness, Kṛṣṇa consciousness, that "I belong to the Kṛṣṇa's family…" Kṛṣṇa is not alone, eko bahu śyāma. He wants to enjoy. So we are family members of Kṛṣṇa, not void. That is another rascaldom. Why Kṛṣṇa should be alone? He is so powerful, He is so opulent, have you got any experience that a powerful person, opulent person is alone? Where is that example? Any rich man, any powerful man, any king, any lord, oh, he has got so many associates. So how Kṛṣṇa can be alone? Kṛṣṇa is never alone. Therefore you will find always Kṛṣṇa with the gopīs, Kṛṣṇa with the cowherds boys, Kṛṣṇa with Arjuna. Kṛṣṇa is never alone. So these are the conditions of becoming acyuta. So Arjuna knows all these things because he is a devotee. Therefore particularly he is addressing Kṛṣṇa, senayor ubhayor madhye rathaṁ sthāpaya me acyuta [Bg. 1.21]. That's all right. Thank you very much. Source: Srila Prabhupada Lecture, Bhagavad-gītā 1.21-22, London, July 18, 1973

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cozylittleartblog · 2 years

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‘NONNIE you are very sweet i dedicate these dorks To You

#1930s #dancing #vintage #doodles #art #golden age of hollywood #clara clemont #james hall #ask #highlight reel #i made up these poses but i rly like them #hollywoods finest #anonymous #jaaaaaaaaames. james. james james james james james james james james j #surprise i have two posts today cuz i have like not posted at all this month #these all have the same color bg because i am drawing them on the same file

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meruz · 3 years

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once again i am answering asks in a big compilation post. included is... gotham, patrick stump, tips about drawing backgrounds, tips about drawing in general, links to my faq, and infinity train

like.... the tv series? No... I’ve drawn dc comics fanart before, though. But it’s been years since I’ve been really into it. I like jumped ship like 10 years ago when the New 52 happened LOL.

AFJHDSLKGH I’m sorry I (probably) won’t do it again??

Actually full disclosure I have a truly cringe amount of p stump drawings/photo studies in my sketchbook right now LOL. He’s just fun to draw... hats, glasses, guitar, a good shape... but I don’t think I’ll rly post those until I can hide them in another big sketchbook pdf.. probably Jan 2022. Stay tuned........ (ominous)

(ominous preview)

These are all sort of related to backgrounds/painting so I grouped them together even though they’re pretty much entirely separate questions.... ANYWAYS

a) How is it working as a BG artist? Is it hard? What show are you drawing for?

I think you’re the first person to ever ask me about my job! Being a background artist is great. It’s definitely labor intensive but I think that could describe pretty much any art job (If something were rote or easy to automate, you wouldn’t hire an artist to do it) and I hesitate to say whether its harder or easier than any other role in the animation pipeline. Plus, so much of what truly makes a job difficult varies from one production to the next, schedule, working environment, co-workers etc. But I will say that I think while BGs are generally a lot of work on the upfront, I think they’re subject to less scrutiny/revisions than something like character/props/effects design and you don’t have to pitch them to a room like boards. So I guess it’s good if you don’t like to talk to people? LOL

A lot of my previous projects + the show I’ve worked on the longest aren’t public yet so I can’t talk about em (but I assure you if/when the news does break I won’t shut up about it). But I’m currently working on Archer Season 12 LOL. I’m like 90% sure I’m allowed to say that.

b) ~~~THANK YOU!! ~~~

c) What exactly do you like to draw most [in a background]?

@kaitomiury Lots of stuff! I really like to draw clutter! Because it’s a great opportunity for environmental storytelling and also you can be kind of messy with it because the sheer mass will supersede any details LOL.

I like to draw clouds... I like to draw grass but not trees lol,,, I like to draw anything that sells perspective really easily like tiled floors and ceilings, shelves, lamp posts on a street etc.

d) Do you have any tips on how to paint (observational)?

god there’s so much to say. painting is really a whole ass discipline like someone can paint their whole life and still discover new things about it. I guess if you’re really just starting out my best advice is that habit is more important than product. especially with traditional plein air painting, I find that the procedure of going outside and setting up your paints is almost harder than the actual painting. There’s a lot of artists who say “I want to do plein air sometime!!” and then never actually get around to doing it. A lot of people just end up working from google streetview or photos on their computer.

But going outside to paint is a really good challenge because it forces you to make and commit to lighting and composition decisions really quickly. And to work through your mistakes instead of against them via undo button.

My last tip is to check out James Gurney’s youtube channel because hes probably the best and most consistent resource on observational painting out there rn. There’s lots other artists doing the same thing (off the top of my head I know a lot of the Warrior Painters group has people regularly posting plein air stuff and lightbox expo had a Jesse Schmidt lecture abt it last year) but Gurney’s probably the most prolific poster and one of the best at explaining the more technical stuff - his books are great too.

e) Do you have tips for drawing cleanly on heavypaint?

@marigoldfool UMM LOL I LIKE ONLY USE THE FILL TOOL so maybe use the fill tool? Fill and rectangle are good for edge control as opposed to the rest of the heavy paint tools which can get sort of muddles. And also I use a stylus so maybe if you’re using your finger, find a stylus that works with your device instead. That’s all I’ve got, frankly I don’t think my drawings are particularly clean lol.

f) Tips on improving backgrounds/scenes making them more dynamic practicing etc?

Ive given some tips about backgrounds/scenes before so I’m not gonna re-tread those but here’s another thing that might be helpful...

I think a good way to approach backgrounds is to think of the specific story or even mood you want to convey with the background first. Thinking “I just need to put something behind this character” is going to lead you to drawing like... a green screen tourist photo backdrop. But if you think “I need this bg to make the characters feel small” or “I need this bg to make the world feel colorful” then it gives you requirements and cues to work off of.

If I know a character needs to feel overwhelmed and small, then I know I need to create environment elements that will cage them in and corner them. If a character needs to feel triumphant/on top of the world then I know I need to let the environment open up around them. etc. If I know my focal point/ where I want to draw attention, I can build the background around that.

Also, backgrounds like figure compositions will have focal points of their own and you can draw attention to it/ the relationship the characters have with the bg element via scale or directionality or color, any number of cues. I think of it almost as a second/third character in a scene.

Not every composition is gonna have something so obvious like this but it helps me to think about these because then the characters feel connected and integrated with the environment.

Some more general art questions

a) Do you have any process/tips to start drawing character/bodies/heads?

I tried to kind of draw something to answer this but honestly this is difficult for me to answer because I don’t think I’m that great at drawing characters LOL. Ok, I think I have two tips.

1) flip your canvas often. A lot about what makes human bodies look correct and believable is symmetry and balance. Even if someone has asymmetrical features, the body will often pull and push in a way to counterbalance it. we often have inherent biases to one side or another like dominant hands dominant eyes etc. you know how right-handed artists will often favor drawing characters facing 45 degrees facing (the artist’s) left? that’s part of it. so viewing your drawing flipped even just to evaluate it helps compensate for that bias and makes you more aware of balance.

2) draw the whole figure often. I feel like a lot of beginner artists (myself included for a long time) defer to just drawing headshots or busts because it’s easier, you dont have to think about posing limbs etc. But drawing a full body allows you to better gauge proportion, perspective, body language, everything that makes a character look believable and grounded.

Like if you (me) have that issue where you draw the head too big and then have to resize it to fit the proportions of the rest of the body, it’s probably because you (I) drew the head first and are treating the body as an afterthought/attachment. Sketching out the whole figure first or even just quick drawing guides for it will help you think of it more holistically. I learned this figure drawing in charcoal at art school LOL.

oh. third mini tip - try to draw people from life often! its the best study. if you can get into a figure drawing/nude drawing class EVEN BETTER and if you have a local college/art space/museum that hosts those for free TREASURE IT AND TAKE ADVANTAGE OF IT, that’s a huge boon that a lot of artists (me again) wish they had. though if youre not so lucky and youre sitting in a park trying to creeper draw people and they keep moving.. don’t let that stop you! that’s good practice because it’s forcing you to work fast to get the important stuff down LOL. its a challenge!

b) I’ve been pretty out of energy and have had no inspiration to draw but I have the desire to. Any advice?

Dude, take a walk or something.... Or a nap? Low energy is going to effect everything else so you gotta hit that problem at its source.

If you’re looking for inspiration though, I’d recommend stuff like watching a movie, reading a book, playing video games etc. Fill up your idea bank with content and then give yourself time/space to gestate it into new concepts. Sometimes looking at other art works but sometimes it can work against you because it’s too close.

Also something that helps me is remembering that art doesn’t always have to be groundbreaking... like it’s okay to make something shitty and stupid that you don’t post online and only show to your friend. That’s all part of the process imo. If you want to hit a home run you gotta warm up first, right? Sports.

I should probably compile everytime i give tips on stuff like this but that’s getting dangerously close to being a social media artist who makes stupid boiled down art tutorials for clout which is the last thing i want to be... the thing I want to stress is that art is a whole visual language and there are widely agreed upon rules and customs but they exist in large part to be broken. Like there's an infinite number of ways to reach an infinite number of solutions and that’s actually what makes it really cool and personal for both the artist and the viewer. So when you make work you like or you find someone else’s work you like, take a step back and ask yourself what about it speaks for you, what about it works for you, what makes it effective, how to recreate that effect and how to break that effect completely, etc. And have a good time with it or else what’s the point.

for the first 2, I direct you to my FAQ

For the last one, I don’t actually believe I’ve ever addressed artwork as insp for stories/rp but I’ll say here and now yeah go ahead! As long as you’re not making profit or taking credit for my work then I’m normally ok with it. Especially anything thats private and purely recreational, that’s generally 100% green light go. I only ask that if you post it anywhere public that you please credit me.

(and I reserve the right to ask you to take it down if I see it and don’t approve of it’s use but I think that case is pretty rare.)

a) @lemuelzero101 Thank you!!! I haven’t played Life is Strange but actually that series’ vis dev artist Edouard Caplain is one of my bigger art inspirations lately so that’s a really high compliment lol. And yeah I hope we get 5-8 too...!

b) Thank you for sticking around! I’ve been thinking about Digimon and Infinity Train in tandem lately, actually. They’re a little similar? Enter a dangerous alternate world and have wacky adventures with monsters/inanimate objects that have weird powers... there’s like weird engineers and mechanisms behind the scenes... also frontier literally starts with them getting on a train. Anyways if anyone else followed me for digimon... maybe you’d like Infinity Train? LOL

c) @king-wens-king I’M GLAD MY ART JUST HAS PINOY VIBES LOL I hope you are having a good day too :^)

a, b, c, d) yessss my Watch Infinity Train agenda is working....

e) aw thank you!! i think you should watch infinity train :)

#ask #trying this new thing where i tag people in the body of the post instead

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sabertoothwalrus · 3 years

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'Scusie, I have a question about digital art. How do you do your coloring? If you have a previous post or resource you talked about already then that'd be appreciated. But if not; I've just started getting back into digital art and can't remember how people did their fancy selection methods to color in their lineart. I managed somewhat myself but what would be a simple sketch irl took like an hour or two of trying to work the tablet/program. I want to enjoy it again and use it to start commissions in the future, and I don't want to be easily burned out because of the complexity. For reference, I'm using Krita.

ok I wasn't really sure how to explain it so I made a timelapse? let's see if this helps

so first of all, I'm predominantly using CSP nowadays (which I love and highly recommend), which has this nifty little feature in the bucket tool:

it can close gaps!! Now, I tend to draw pretty loose and my lines have a lot of gaps between them that are too big to close automatically, so I'll manually close them on my color layer with whichever color I'm using. I find this method works best when my pen and bucket tool have anti-aliasing turned off. I think other programs like Medibang and even Aggie.io have some sort of "smart" bucket tool, so I wouldn't be surprised if krita has something similar too.

the second method is simply Not Giving A Fuck and coloring sloppily without caring if the colors stay in the lines. I do this more for stupider comics where looking pretty doesn't matter so much

the third method is the same as the first but using a nice, textured brush so it looks Intentional and Pretty

I also tend to throw gradient maps on everything because they're so fun :)

the fourth method (which I did not demonstrate) is the good ol' polygonal lasso tool. I mostly used it when I used Photoshop. It's a really good and fast way to get all your colors blocked in without requiring so much precision, but it can still be a little tedious.

Bear in mind, I am not the kind of person that has each color on its own layer. A basic drawing like this one is lines, colors, and bg, with maybe a gradient map or adjustment layer. There are tons more ways than this to color (look into CSP's reference layers! pretty neat stuff), but these are just the ways that I like to use because I am very very lazy and am only willing to put in the absolute bare minimum effort

#my art #guide #csp #videos

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gluteus-canis-familiaris · 2 years

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art post . 10

IT'S YA BOIS !!!! MOONCAKE, MERMTAIL, BATSHIT, AND THONG

once again, I had more than full intentions of filling in a rough bg for this (Hogwarts courtyard to be precise huhu), but got drained after shading 4 sets of identical pants and shoes and I really don't know how the rest of all you amazing artists out there do it but you are Champs the lot of you!!!

to make up for the lack of bg I'm back with the awkward frames again lololol

also tweaked the contrast/saturation/etc. of the one in the frame! because my really old colored pencils, my scanner, and my own eyes have all conspired against me and my stuff always ends up a lot grayer than how I see it on the page :---/

just a lot of extra below the cut, but I've been wanting to screech into the void at how happy I am to be doing HP fanart again!!!

the last time and only times I did HP art were about 9-12 years ago now, and on both occasions they were dedicated to my friends who had a Marauders Era AU going on with their OCs (hence the other girls who are not Marlene and Mary, sorry!)

quite a bit of cringing on my end, but decided to post them cause what are art spam blogs for????

BIG LOL only occurred to me now that I'm probably using the same set of colored pencils from more than a decade ago

VERY PROUD TO SAY THAT I HAVE SINCE LEARNED HOW TO GIVE SIRIUS BETTER LUSCIOUS LOCKS INSTEAD OF THAT TROLL DOLL ACTION GOING ON THERE

AND EVEN PROUDER TO SAY THAT I'VE BEEN DRAWING MOONCAKE AS THE HOTTEST ONE ALL THIS TIME !!! I WAS ALWAYS TRU TO YOU REMU !!! and doubly shocked plus points at the wolfstar height difference??? I don't remember discussing that detail with my friends before but it's there ?????????

lol sorry not sorry Thongs, it's been so long that Rupert Grint has sprouted a child, and I still draw you exactly the same akdjfkasdh

P.S. yes, that is Snape in the Potions classroom window, and yes, he and the frog are the consensual favorites

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cqtlatte · 3 years

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hi !! i love how u draw bgs SO much its so pretty n pleasing to the eyes i literally cant look away !!! its like watching a sunset/rise w/ur friends n the fireflies r surrounding u n ur all in a peaceful silence n smiling, u know,, ! got inspired by u to try n draw bgs now lol, so i would appreciate any advice from u ! :D (no pressure tho ofc) thnks ! :]

Hello!!! Wahghh this means a lot to me, you don’t even kno. Makes me feel fuzzy and happy inside ;o;

I remember I first got into painting bgs when I was in a big art block, but I was also nervous to make the plunge myself!! I painted bgs pre 2020 but usually they were like a placeholder/afterthought bc of this fdggbfhdnjf LOL; but I was really inspired by twitter artists like Diesel2b and koichame (and many others) who put so much care into their compositions, and I wanted to start doing that too!

Hmm! For starters, I guess it would be good to start with something you would like to focus on, what types of bg you would enjoy drawing + a goal of where you want to take your paintings! (Not necessarily art style per se, but a direction to head in)

‘I want my art to be delicate like a flower (so cheesy)

Soft pastel colors but also vibrant in spots’

A quote I wrote in my planner in February LOL. If you look at my older works, I guess the vibrancy was there, but at the same time it was dull. I didn’t understand how colors worked without the help of premade swatches and such, altho I wanted to know badly, so I made this my goal!

This direction could be as specific as mine, but it could also be broad, like "I'd like my paintings to be realistic" or "I wanna learn how to paint mountains, trees and foliage" etc etc.

With this goal in mind, I started to take screenshots of different zones from Genshin Impact, and used those for reference in my bgs. Pretty much anything that caught my eye; a nice sunset, the view of Celestia from the pillar in Dragonspine, the patterns on The Golden House, etc etc.

Around the same time, I bought a brush pack called the Sumi brush pack by TheOneWithBear https://graphixly.com/products/theonewithbear-sumi-brush-pack-for-clip-studio-paint

And altho I definitely am not using them as intended since they were created for ink styled drawings lol, I found I had a lot of fun playing around with them in my bgs!

I said this in an earlier ask, but honestly embrace inconsistency + try new things in each of your paintings! If we stick to one way of doing a certain thing all the time, our brain will get good at doing that one thing, but I think our growth slows if we get too much in our comfort zone. Style will come naturally! It’s hard to force. So go with the flow, and you will surprise yourself!

After a while of using references, I started to veer away from that and was able to make my own compositions, and am having a lot more fun with colors now too!

Even if the outcome for some of your paintings are bad as you’re starting out, don’t beat yourself up about it. I have a zillion unfinished wips myself; I spent 2 months trying to draw a Kokomi piece I was proud of bc I couldn’t get her likeness right. Of the 6-7 sketches I made, I was only happy with 2!

(tldr:

1. Come up with a goal/direction to take your art in

2. Do self-study/life study! Usually drawing/painting things from real life helps us get a grasp of how stuff works, so its easier to paint. I also like to do studies from Genshin Impact for fun too tho.

3. Embrace inconsistency! Your style will come naturally. Don’t be disheartened if some compositions don’t work out!)

I hope my rambles will help in one way or another. I'm not a spectacular teacher, because even I still have much to learn, but these are some things I wish I heard when I was starting out! ^^

#asks #you got this!#painting bgs is a lot of fun once you get the hang of it ^^ so I'm rooting for you!

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everyday-is-brighter-with-you · 2 years

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oh take me anywhere, i don’t care, i don’t care, i don’t care

Trigger warning for suicidal ideation.

[ unedited text: Trigger warning for suicidal ideation ]

[ ID: Traditional fanart of Kamal Bora and Dr. Habit from Smile For Me. The style is close to the game’s but with the artists own touches.

The two characters plus the scooty they’re on is pencilled in grayscale. They’re filled in with patterns or smooth lines.

Habit is younger(yet still an adult) here, wearing broken glasses and with curling gelled up hair at the front that has a big strand coming out on his face. In the artists interpretation, Habit has a muppet-like appearance with fur, much bigger hair filled in with patterns of swirls, cheek patches with a white freckles, stitches and scars on hands up to arms plus an X shaped one near his mouth. A snaggletooth pokes out. He wears a shirt with simple flowers on it and pants. His mane fans out behind him as he closely holds onto Kamal who is driving. Habit smiles, looking at peace, one eye half-open with leaking tears.

Kamal is younger(yet still an adult) here as well. Here his hair is longer, acne is visible on cheeks, much of his face is obscured by the helmet. He wears a leather jacket with small spikes on its broad shoulders, a shirt underneath, with pants and a belt. His face is screwed in concentration as he looks ahead for driving his scooty. The scooty has some flames design painted on front.

To the left of them, lyrics in blue pen from There Is a Light That Never Goes Out by The Smiths sum up some of Habit’s thoughts:

Take me out tonight Where there's music and there's people And they're young and alive Driving in your car I never, never want to go home Because I haven't got one Anymore

Take me out tonight Because I want to see people And I want to see life Driving in your car Oh, please don't drop me home Because it's not my home, it's their home And I'm welcome no more

And if a double-decker bus Crashes into us To die by your side Is such a heavenly way to die And if a ten ton truck Kills the both of us To die by your side Well, the pleasure, the privilege is mine Oh, there is a light and it never goes out There is a light and it never goes out There is a light and it never goes out There is a light and it never goes out There is a light and it never goes out

BG is wavy mixture of rainbow colors in color pencil. end ID]

Version 2!

[ ID: The same drawing but edited. Now its got a bright sepia kind of tone over it, is dimmed, and has slight white vignette around. end ID]

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I drew this when I was sure I was going to take my own life. I wanted to make something meaningful, at the end.

I am alive (unedited text: alive) and now with a appreciation for what I think is the great lyricism and tune of this song. It is so incredibly sad to me, as I sat there marvelling at it, becoming numb, thinking the light is(unedited text: is) finally going to go out--

‘’To me, this song is about someone that's felt isolated and depressed for so long, and finally they've broken out of their misery and into the world. They 'want to see people and want to see life'. Finally they're out there, living it up, but they're scared that the moment's going to end and so they want to die there and then, at their happiest. Such a bittersweet song.’‘

~~From SongMeanings top comment. For the record I think they described it very well. I also think of the view of the driver in the song too, this ‘light’ who knows somethings wrong with their dear friend, thinking what happened to them, somewhat aware that a lot of hope rides on their shoulders.

I think I have many more happy moments for me hopefully, so I’m going on. Like I always do. Like I always did, from when I was a little girl. Maybe I focused too much on the supposed pathetic-ness of my frequent spirals, but I am strong to have come through all that and still try to be better.

Can’t get rid of me that easily, ha ha!!!

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Some backstory about this picture ig:

so UMM👉🏼👈🏼 in my FIVE THOUSAND page fanfic of dreams \j, OK but like, a pretty extensive canon seriously-

This is some years before the Habitat, they’re both in their 30s or late 20s I think? Habit just came back from his house for the last time, in his mind, he has left forever. He’s feeling a lot of things so he calls up Kamal for a drive on his scooty(I CANT DRAW BIKES, so Kamal named it Harley because he wanted a bike but couldn’t get one kjdkjgkjgdkj). And then they go and Habit has really bad thoughts with intrusive elements along the whole way which he dwells on because hes given up fighting for the moment, and Kamal can sense that hes being held really tight and not being told the whole truth...to Habit, hes the light that will never go out right now.

Would like to say there are some unhealthy shades to Habit’s attachment here, that’s kind of why the picture is dissonant with rainbow and grays and the song. Both of them need their time apart.

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I was really apprehensive about posting this because I know a lot of you- me included- come to S4M for comfort and as an escape. But its become so tangled up in my inner world due to my deep appreciation for it and the tough times I went through and am going through with it, I think that’s what led me to draw out this ugly side of me with something I love so much. And like, share it even. But I want the world to know after having to hide away...and I also like how it turned out, ha. Art is art. Some will like, some will not- just gotta deal with that.

To anyone seeing this and feeling some kind of way similar to me...i tell you yet again, you are not alone.

To anyone this is not for: I hope you can respect my choices in making this and please acknowledge that it is very personal to me.

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IMPORTANT: I recommend instead of looking up this song on Youtube, because M\orrissey is a bonafide shithead, you download the song if u wanna listen.

#tw:#suicidal ideation #(no one dies dw but tagging jic)#suicide #personal #s4m #dr habit #kamal bora #fanart #the smiths

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