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#trying to learn proper rendering :’)
raiiny-bay · 1 month
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updated my simself specifically to make this
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maeo-png · 10 months
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the coffee machine still doesn’t work
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vampthropologist · 5 months
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dissociation, discord, college, and art have kept me from tumblr
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the-sound-of-progress · 8 months
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Fun fact: I've been working on this comic off and on since June 8th! I really kept you guys waiting on that 'final render' that I mentioned in that other post, but I finally delivered it, hahah.
*takes a deep breath, straightens up and enters Infodump Stance*
There are a lot of things about the comic that made it a little too ambitious of a project when I was still a fresh beginner to Blender.
For one thing, I had no idea what my ultimate comic workflow was actually going to be when I started working on this. Blender wasn't really meant to make comics, I think. It was meant to make animations OR standalone still renders, so there's not really much framework in place to support an in-between project that is 'a sequence of similar images that are not an animation.'
Keeping things like lights and props consistent between each panel was an absolute nightmare when I first started out. But over time, I started learning how to use the Link and Append features, and that makes it a lot easier. The Linking feature is particularly awesome because it allows you propogate changes to several files at once.
Take my customized Badwater map here for example. I have a template file of it. If I make a change in the template, and then reload one of the comic panels, the change will also happen in the comic panel! So that's an incredibly useful feature.
Still, making comics in Blender is kinda rough. The way I'm doing it right now, I need to make a separate .blend file for every panel. I also have to make a separate .blend file for the speech bubbles, and then combine the scenes with the speech bubbles later!
When I'm jumping back and forth between files making fixes and putting on finishing touches, that adds up to a lot of loading time while it compiles shaders and shit.
Maybe one of these days, I'll figure out how to smoothly have every panel co-existing in the same file, but today is not that day. The workflow I'm using now might not be ideal, but it is adequate!
The original .blend file for this comic is an absolute MESS that is HORRIFIC to try to work in. It's HALF A GIGABYTE! It's so laggy and stuffed full of all kinds of wonky shit because at the time, it was only like... the third comic I had ever tried to make in Blender, so I was flailing around a lot.
For the past couple of months, I've been trying to re-construct that original file, bit by bit, in a workflow that isn't awful. And today, I finally finished that task. I even wrote a python script to make it much faster to lay the speech bubbles on top of the scenes, too! (Previously, I was doing it by hand in GIMP, and that was so damn annoying. That script is going to save me a lot of tedium in the future.)
I also needed to figure out how to create a medigun beam, and that was something that took quite a lot of time. I had finally nailed it in this comic on July 3rd. Until that point, I had been trying to kinda cheese it by using smoke particles, but that just never looked right. Plus, it's really hard to make the smoke behave quite like a medigun beam, so it just wasn't the right tool for the job.
Ultimately, the right tool for the job was an inflated Bezier curve with a Volume shader that emits red light. It doesn't look exactly like it does in the game, but, at least it's still recognizeable as a medigun beam.
A sense of motion was also necessary to do this comic, and it took me a while to really figure out how to properly do motion blur without things getting all fucky. Apparently, the mercs require pure Smooth Shading (not Auto Shading) to be turned on in order to receive proper motion blur. You have to Smooth Shade all of their parts, too - body, head, backpack, whatever other 'bodygroups' they might have.
In retrospect, it seems so simple now, but these were some of those things that you only grok once you fail at it a whole bunch of times. Then you start noticing a pattern while you flail around trying different things.
The final piece of the puzzle was to figure out a style of speech bubbles that didn't totally suck. I needed to be able to put a curved 'tail' on Misha's speech bubble in panel 3, but before today, I couldn't actually figure out how to do that in a way that didn't look terrible.
But I discovered the wonders of the grease pencil tool, and after watching a couple of tutorials, I was able to FINALLY make speech bubbles that are mostly consistent, more compact, and a lot easier to manipulate than the flat boxes I was using before!
I don't know how many total hours of work I've put into making this comic, but it easily surpasses all of the other comics I've made. It's a pretty exhilarating victory - when I first started out on it, the things I needed to do seemed impossible, but I finally 'got gud' enough to finish it two months later.
And that's what this blog is all about! PROGRESS!
... well, that and the extremely slutty medic who keeps suffering various types of head trauma as a direct result of his sluttiness.
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coeurify · 1 year
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ok so like hear me out here… sub!ellie with a mommy kink🫣
𝐰𝐚𝐫𝐧𝐢𝐧𝐠𝐬: 18+ uh idk doggy style strap fuckin.. brat-ish?!ellie .. short.
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“What was that?” you hum, fingers pressing softly into the reddening skin of ellie’s hips, the pretty marks left by your tightening grip, only deepening the ache caused by every snap of your hips into her, strap filling her to the hilt.
Ellie’s head falls down into the pillow, mumbling even lower as her fingers grip the sheets, fighting against whatever words she was muffling into the pillow case. Her knees shift against the mattress, pressing back into you.
You tsk at the movement, nails digging into the bony part of her hip, hearing a muffled cry follow it as the pain is licked over with a soft rub of your thumb. Your hips movements pause completely, letting her clench around the silicone, warming it for you.
“Wanna hear you say it, baby, I’ll keep going if you do.”
Ellie’s head lifts, your eyes following the movement in the dimly lit bedroom. Her hair is pressed against her cheeks, sticky from the sweat and tears that mixed there. Ellie had come twice already, but you knew she could take this, she was practically begging for it with those pretty green eyes staring down at you after you had ruined her with your tongue alone. You also knew you could get what you wanted her to say out, with the proper motivation.
That motivation being your current postion, her ass up in the air and knees down against the bed, the perfect angle to hit every spot you knew made Ellie babble like she had yet to learn how to speak. The sort of fucking that had Ellie completely mindless, rendering her wordless for once in her whole damn life.
A gasp of air is sucked into the auburn haired girl’s lungs, lips shaking with the effort. Her thighs shook from trying to keep from grinding back against you, from trying to be a good girl, keeping still. But she needed you so much, and you both knew that. She couldn’t last this silent game much longer. One of your hands released its grip on her hipbone, tracing shapes over her spine, feeling the stiff and tension filled muscles. You tell yourself to treat her to a massage after this, take a warm shower with her and rid the aches in her body. Your more pure thoughts are ended with your girlfriend’s whine, shoving you back down into the filthy present.
“Please,” Ellie finally murmured, a flush on her freckled cheeks as the next words came, “Please, mommy. I need more.”
A sick little smile pulled at your lips as the words spread into the muggy air, cutting through the pockets of cold brought in from the open window, burning them into the heat of the rest of the space that came from every gasped breath an. Your hips slowly pulling back, feeling her weeping cunt squeeze around it, like it was made only for your cock. Such a perfect girl, only for you.
“Good girl,” you coo, finally slamming your hips back in.
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lil-tachyon · 11 months
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Got any good resources for clothing drawing tips?
Okay so quick little introduction before I try to answer this question. First of all, sorry for letting this languish in the inbox for so long. I have a lot I want to say about this and I'd really like to make a proper "tutorial" but this week took a lot out of me so what you're going to get are some visual notes on graph paper and some rambling thoughts. Maybe down the line I'll try to flesh this out more into a proper guide, but for now it is what it is.
Second- for many different art concepts I can give you some really great recommended reading for self-teaching. There's a whole section of my website with links to things that helped me learn. Clothing is one of those things where I never found a book or tutorial that really "clicked" with me. It's one of the few areas of art where I feel like it's fair to say I'm genuinely self-taught. So what you're going to get here is very much my opinion, not undisputed common wisdom or whatever. Take it with a grain of salt. This is how I draw, not the "right way" to draw.
Third- drawing clothes is not something fundamental like perspective or rendering where there are actual hard-and-fast "rules" you can learn to guide you. It's not even like anatomy where there are approaches that have been worked out and passed down by artists over generations. I think about drawing clothing as a synthesis of several different skills- a little bit of anatomy, a little bit of perspective, a little bit of rendering. Honestly a smidge of graphic design. You're employing a "cloud" of your artistic skills towards a specific end. What this means is that the TLDR of this post is going to be "do what you would normally do to improve at drawing but apply it to clothing." So don't expect something life-changing, instead just open your mind to maybe trying some new things you hadn't thought of before. Also this is going to be more about drawing than painting, that is more about "lines" than "shapes" but the two skills overlap and the same concepts should be broadly applicable. But my examples are going to be drawings.
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Okay intro out of the way. Clothes are mostly just tubes of fabric, fabric wants to fall down. The human body and sometimes wind and water and other fluids will stop this fabric from falling down all at once and instead give it a shape. Keep this in mind. It's helpful to know how clothes are actually constructed if you want to know how they will deform when falling across the figure. Where a garment is simply a length of fabric, it's very flexible. It can bunch together or be stretched taught. This is most noticeable at the parts of the body that open and shut like hinges- knees, elbows, and armpits. The behavior of garments at these areas of the body is highly dynamic.
At seams where different sections of fabric are stitched together, movement can be come more limited. Seams are usually imperfect- pieces of fabric of slightly different lengths might be stitched together or fabric may shrink over time around a thread causing it to pucker and wrinkle. For these reasons, seams often act as the originating areas for folds and wrinkles, even when a garment is not in a particularly flexed/active state.
In a two-dimensional image, it can be helpful to describe a garment in terms of silhouette and wrinkles/folds. The silhouette is the actual boundary of the garment, where the fabric comes to an end. The wrinkles/folds are where different parts of the garment pass in front of each other or where the fabric becomes bunched up to the point that light can't reach inside and occlusion shadows form. You should always keep the overall silhouette of the garment in mind to inform the bigger shapes you draw, but you will use wrinkles and folds to demonstrate how the garment twists and deforms. These are the basic tools in your arsenal. Keep it simple.
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There are lots of different ways to approach wrinkles. My advice and my personal preference is to draw wrinkles as shapes and not just lines. Specifically, tapered shapes (like triangles) and be really good both for implying motion and the varying depth of a fold/wrinkle. Experiment with different shapes of varying angularity, fill texture, etc. Your hands and eyes will guide you towards what looks and feels good. There's no right way but I would advise you to exaggerate! Ask yourself- what's the biggest shape I can draw here? How can I twist it to make it bigger, crazier but still describe the form in a way that makes sense? It can be exhausting to just try to perfectly copy a reference and also using your imagination like this when doing studies will help build up your visual library for when you're drawing/designing clothing from imagination. In general I would advise you to focus more on drawing something that looks good (ie is composed of shapes that you find aesthetically pleasant) than is "correct."
Quick recap: Garments fall down, you can simplify an article of clothing into a silhouette described by folds and wrinkles. What next? Observe! Take notes! It is worth your time to think about how common articles of clothing are constructed. Jeans, t-shirts, dresses, etc. I used to do some hobbyist sewing and clothing alteration and I think that hands-on work with clothes has really affected the way I think about drawing them. You don't have to go that far but like- look at the world around you. Stuck on the bus, in school, in a meeting, etc? Even if you can't draw, look at how your pants bunch up around your legs, look at the sleeves of someone sitting next to you. I mean, don't be weird about it, but these are valuable observations. Think about how you would draw those things! Really getting good at drawing clothes involves studying them in the wild, understanding how they work, building up your visual library. Look at a faded denim jacket- at the puckered places where the indigo has rubbed away or the permanent creases that hardly see the light of day and remain a deeper blue. Look at petrochemical techwear outfits that break into jagged, high-sheen triangular wrinkles. Soak it all in!
Save pictures of and take notes on outfits you like, designers you like, garments you like. Keep track of these things. Come back and study them over time. Have fun with it! I have folders and folders and folders of images of clothes that I come back to constantly. Over time and with lots of study you'll learn what you want to draw when you draw clothes and that's half the battle. You'll have images of buttons, pockets, belts, laces, fabrics, seams, dancing around in your head that you can deploy at will. It's delightful.
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Hope this helps! If anyone has more advice to add, please do! If this tutorial helped anyone, please show me your drawings! If you'd like more stuff like this from me, just send me an ask or an email and I'll answer it when I can.
Peace,
Logan
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professoruber · 3 months
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Incorrect Quotes: Bruce giving money to the Bat-Family | Part 3
Previous Part: Link | Next Part: Link
Damian: Father. I require monetary resources.
Bruce: Do you mean pocket change or something... more?
Damian: More.
Bruce: What for?
Damian: ...
Bruce: Damian...
Damian: It is... unnecessary to go into detail, father. You can trust though that it is merely a modest amount and strictly required.
Bruce: Son. Just tell me what this is for first.
Damian ...
Bruce: ...
Damian: Tt. Fine. A boy on the tennis team at Gotham Academy has once again insulted your honour. I know you told me to ignore such jests... but it seems my silence has only emboldened
Bruce: <Sighs> As much as I appreciate the thought, what exactly are you intending?
Damian: I wish to learn from the greatest tennis masters of the world, so I may utterly obliterate this fool and render him an example. Do not worry, this will be a wholly non-lethal defeat; in fact the reason I wish to learn from tennis masters despite my vast array of applicable skill is so that a single of my moves could be deemed an attack. I must adopt the stance, heart and finesse of tennis.
Bruce: <Blinks> I... see.
Damian: So... will you grant me your blessing and monetary support for this endeavour to defend the honour of both yourself and our family?
Bruce: Have you tried talking to anyone that this boy makes you feel uncomfortable?
Damian: I am not uncomfortable, I am peeved. And for your information, I have. The elder brother of a compatriot of mine, Mia Mizoguchi as you might recall her name being, is the captain of this tennis team. However this rival who questions our family's honour is a cunning sort, I will grant him that. He has done well to keep his slander amongst friendly ears, and action anything which could justify punitive action from his superiors.
Bruce: Hm. Seems like you're in a bit of a tough one from the sounds of it.
Damian: Indeed. Defeating him in his sport of passion will not only publicly humiliate him, but also remind him of the strength of our family.
Bruce: While I... suppose I can see your logic there. But I think you're forgetting a key detail.
Damian: Which is?
Bruce: This fellow student of yours is not a enemy to vanquish. He's a child, speaking his mind.
Damian: But he voices horrible accusations against your honour! Claims you are a "mindless playboy", and that my adoptive siblings and I are your illegitimate children of various women whom you were forced by the courts to care for, and that you are a drunkard, and are a bad role model.
Bruce: I understand why hearing all that upsets you, and that is perfectly fine. As I said, I appreciate how much you care about my... honour. But devoting yourself defeating him in tennis isn't the answer.
Damian: <Huffs and crosses arms with incredulous expression> Then what is, father? Shall I just continue to hold my tongue?
Bruce: I want you to enjoy school, not treat it like another battlefield. If this boy is really being this bad, then there's other ways to deal with him. You're smart, and you got good friends such as the Mizoguchi girl you mentioned. Bring attention that he's crossing a line... and if that does not work, tell me; and I can handle it through the proper channels.
Damian: Tt. Fine. I will... try once more to expose him and his lies.
Bruce: Good. On a related note... I understand that Mia Mizoguchi has been causing you to grow interested in Serpents & Spells? <Takes out S&S Guidebook> I got this for you, so you don't have to keep borrowing hers. This seems like something you'd much rather be spending your time on compared to avenging my honour in tennis.
Damian: <Blinks> I... uh... thank you, father. Uh... I must go now and... contact Mizoguchi that I will reconsider her invitation for a lunchtime tabletop one-shot.
Bruce: Good. Have fun, son.
Damian: I… will. Thank you once again, father.
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tuxebo · 20 days
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What do you think of John marston?
he's hot, that's about it (pretending i didn't just write this whole thing abt him.) while i've read that he gets better over time, i'm yet to see it so i have mixed feelings on him. he's not a good father, not a good friend, not a good husband. let's be real here, he wouldn't make a good partner unless he fell in love before joining the gang.
john marston who wasn't completely alone before dutch saved his tail from getting hung. there was this poor baker and his wife, they had a kid, you. you weren't wealthy folk, no, but you always brought john dinner or shared yours. it wasn't large portions, but enough to keep him from dying of hunger.
you first met him when you caught him trying to steal from the bakery, rather than telling your parents you just handed him to bread. you had a mini picnic on the bakery's front porch, you talking his ears off was more than enough payment for the food.
you brought him food a couple more times, talking about yourself while he ate in silence, eventually he opened up and started engaging in the conversations you started. he never told you much about himself, other than the orphanage you could find him at. he showed you which window was his and that you only need to toss a pebble at it to get his attention.
as time passed, john became more and more of a no b.s. little boys. the kind of little boy that got himself killed or in a gang, as your daddy said. he didn't put up with anyone messing with you, in that respect he got more aggressive with your bullies, but never with you. you taught him things you learned from your mother as she was your teacher, some of it didn't stick but you tried.
inevitably, john disappeared. he was either dead in a ditch or in a gang, your dad didn't mention a third possibility but you liked to believe he'd been adopted by a nice family and that you'd see him again. you were only about 11 years old and he was 12, it wasn't shocking for you to have such enthusiasm.
life continued as usual for about three decades. you never married, business was going well after your parents died and suddenly you had one too many responsibilities on your plate for any of that. the world was becoming more and more industrialized by the day, you wouldn't even recognize it to what it once was when you were a kid. the only place that felt like home was your bakery, which is part of the reason it was doing so well, the nostalgia.
having had been in the business for so long, you were no stranger to thieves ─ you even caught one before you were double digits. one a particularly slow morning, the grey clouds settling in as you prepared for rain, a quiet hum caught your attention.
stepping out from the back, you caught a young man staring down your trays of different breads. he wasn't quiet at all, practically begging to be caught. you smiled, planning on just giving some to him anyway, but the look he gave you rendered you speechless from deja vu. same type of bread, same guilty smile, same brown eyes, same thinking hum.
"aw c'mon, son ─ jus' had to be this one of all the damn shops on the block," a man swore, the same way your dad did when he read about some young-ins doing stupid stuff in the paper. the voice was familiar, deeper as it had been many years now, but before you was john marston and another younger john marston.
since leaving the gang and his son's mother, john marston was a changed man. finally able to pay you back for all the bread and the bread his boy tried to steal. this time he gave you a proper picnic, in the large yard on his property. he set up under on of his sycamore trees, just like you had described three decades ago.
john marston may not have been adopted by some nice family nor was he always a nice man, but he was ready to become one for his son and you.
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wasyago · 8 months
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how did u get so good at composition:3 did u like to draw background all the time or it came to be after practice how long does one piece usually take:333
hehe well, thank you first of all. second of all... um both? practice yes, no one gets it on the first time. and just. i dont know? doing it over and over again and trying new things and experimenting, seeing what works, what doesn't, where the background is needed and not.
i remember i heard a lot of artists around me saying that they didn't like or couldn't draw backgrounds, and for some reason i decided that im not gonna be like other girls and learn to do it. and i uhhh.... just started? drawing backgrounds? i was trying, and watching tutorials on youtube, and seeing how other people did it and eventually it got easier? i can say that i definitely enjoyed figuring out how to do it, struggling to get the perspective and composition right. like, it was hard but i had a lot of fun doing it, so it felt natural and just like, normal art progression? it didn't feel like i was going out of my way to draw backgrounds, i just did it when i felt like it?
at some point i joined a character ask, you know, when people ask questions and you draw the character answering. and i decided that im gonna draw a background for each answer instead of it being a character on a blank background. and doing this, like, specifically trying to draw backgrounds and tell a story with them, and doing it regularly and coherently, it helped me progress a lot. like, i started with a character sitting on a couch in a room, and then it got better and better, multiple rooms, multiple angles of the same room, different locations and images. it helped me a ton. just, figuring out when you need a background, when its rather i did something simple for one frame and focused on the other instead, where the character needs to be positioned, etc.
i can say i didn't do a lot of proper studies, and if i did maybe it would've been helpful... i only drew things that were in my head, with characters that i liked, with imaginary locations and stuff. never really drew from photos... we did go on plein-airs, or whatever they're called, when i was in art school, so drawing backgrounds from real life probably also helped a little, but i can't remember anything about it so it didn't do as much.
i looked at a lot of art from cool artists and expanded my visual library, i analyzed their art trying to figure out why i like it and how to make my art have the same kind of feeling. and i still do! sometimes something just takes over me and i scroll pinterest for 3 hours looking at pretty art and going to artists' profiles and saving art and using it as inspiration later. and it helps! a lot!
i dont know where this post is going ummm. i guess if you want to learn to draw something, just like, start. scrap it if you don't like it and try again, have fun, don't get attached. and uhh, i felt a little nostalgic so here are some of my pieces that i did throughout the years. definitely feels like i got better at it recently, but there's still a lot of room for improvement
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oh and for your second question. one piece takes about ummmm... more than a thousand episodes, thats 20 minutes times 1000 devided by 60 devided by 24... we're looking at about 14+ days of non stop watching?
no but for real. i dont really keep track of time when im drawing, uhh. plus depending on the complexity... my recent jrwi drawings are sketches, so they took maybe one or two hours max. something rendered uhhh, maybe 5 hours? if i don't finish it in one day the chances of this drawing ever getting done are super low, soo yeah
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mdhwrites · 1 month
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Andrias vs. Collector: Who Was Redeemed Better?
Andrias hands down. Not only is it helped IMMENSELY by character consistency with him but it actually functions with what we know of him. Despite literally only ever getting half an episode dedicated to him (he doesn't actually get a lot more screentime than The Collector, especially while as a villain) we understand his motivations, the reasons for his cruelty, why Marcy made him cold and annoyed every time she was even mentioned post True Colors (he did not enjoy torturing Marcy. The literal only claim there is one line from True Colors where he blames her but otherwise, Marcy is fridged SPECIFICALLY to give someone for Andrias to show regret about) and then when shown how far he had fallen from the good man he was, he goes ahead and tries to fix that. First a final act of heroism but then not asking for forgiveness or the like. He is too guilty to need, or perhaps even want, such things and he instead can try to put things right on his own. In the end, we are left with the impression that Andrias WILL continue to tend to Amphibia now until the day he finally dies. It's actually done pretty well for the fact that it's given such little direct attention, especially by the time he's supposed to start being redeemed.
Meanwhile, the Collector's arc only works if you ignore large swaths of the show. His redemption mostly comes down to the idea that he needs to learn morality and that other people can be hurt by his actions but... He already did. In Watching and Dreaming, he yells at Belos controlled Raine specifically about how King will hate him for the nightmares, showing that he understands that his actions can upset people. In S2B, he talked about wanting to play with bones and criticized Belos for potentially murdering the Grimmwalkers, kind of opening up a moral conversation about the nature of Belos' treatment of them while showing his knowledge of death.
Even if we believe he didn't know these things and try to say he was manipulated, we can't. Belos' goal was extremely explicit and back when he was Philip, he had no reason to lie to the Collector. A spell to kill all witches in return for your freedom was the deal. That's pretty damn evil and the Collector could have always said no but instead he's EXCITED for them to be dead in Hollow Mind. All that matters to him then is his freedom, screw anyone else. Then when he is freed, he has neither the archivists or Belos to push him around and tell him what to do. As such: Why the fuck did he make the hunting stars? You know, the roaming stars that turn people automatically into puppets, rendering them to a fate worse than death as they are conscious and aware of what's going on, even as they are entirely incapable of doing anything about it. They are still around MONTHS later. Hexside literally keeps watch for them. If he is just a little guy, why the fuck did he make those in the first place and why are they still around?
None of this is ever addressed though. Instead, the show spends a quarter of its finale, and a decent chunk of the special before it, focusing on trying to redeem him and show him off as a good guy while not having him actually acknowledge the awful, terrible things he did. There's no taking of responsibility like with Andrias. There is no proper refusal of his morality or change in his thinking. Even his attempt to make peace with Belos is flawed because it's still the same all or nothing thinking that we've seen up until now for the Collector. "I do X, I get friend." It's not actually an acknowledgement that other people are complex and have their own free will, it's just a new form of trying to easily get what he wants. Then after her turns people back, which is good, he just leaves. He doesn't do anything to actually make up for what he did or allow him to face a world that he has irrevocably damaged. Instead, he abandons it all. All that responsibility and guilt can just be left behind instead of actually worked on. How is that a show of what he learned? Of him rejecting how he was before? Of him being REDEEMED?
It makes it much less an arc and more something we're told. At least when Andrias powers down to make Anne's final punch on him more effective, we have seen his regret. We have seen his motivations. We have seen as one is pushed into his face and the other torn down. Then we get to see him act on it, allow his conquest to fail, as a willful decision to back down from that evil rather than double down. Then we see follow through with him in the timeskip where he is still simply trying to make up for his sins, even if no one will ever tell him his work is done.
We don't get anything like that with the Collector and that's why he will always be easily worse to me.
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Someone shared a Reddit post on this topic in my Discord and I almost posted 95% of this as a comment there. I... I know better than to do that on Reddit though so I decided to just let it be a blog over here.
I have a public Discord for any and all who want to join!
I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.
A Twitter you can follow too
And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.
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marciaillust · 7 months
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Hey! I just wanted to say I’ve been following you forEVER now, and that your art has been inspiring me since i was a teenager. I was wondering if you could share a little about your rendering process? How did you improve it over the years, what did you learn you wish u knew sooner, stuff like that?
(Thanks anyway, and definitely getting myself ur new comic)
Hi! oh wow thank you so much for the kind words!
My rendering process hmmmm.... I will try to sum up the thoughts that come to my mind as I'm writing this, though I might be missing some proper vocabulary
The first thing that surfaced in my brain is exposition within a picture. This is what the picture focuses on - things in the light, or things in the shadow, and how much details each of these two receive rendering wise.
It's basically like taking a photo with a phone - if you click on a bright thing (say, a window), the phone will automatically adjust the exposition and all the other bright things will be visible(lotta detail), but the shadows will become turbo dark (no details). Alternatively, if you click on a dark shadow, all the dark things will become visible (details) but the hypothetical window will become blown out and turbo white (no details). You can basically have one or the other but never both. (or I guess you can who am I to tell anyone how to make art yanno no rules up in this house)
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anyway, so for example, this pic^ focuses on the things in the dark, meaning everything in direct light receives no details.
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and this pic^ focuses on the light and so all the cast shadows are pitch black.
One other thing that I learned a longass time ago was that edges(and shapes) are arguably the most important part of an object within a picture. Clean edges immediately call for focus, while softer or vague edges allow things to fade in the background and communicate the idea of a thing rather than showing you the thing itself. On a related note note, clean edges also make work in progress appear about 25% more finished.
I guess this all has to do with contrast and contrast can be created in many ways - edges (soft/sharp), colours (eg. red fish in a blue sea), spacing (objects being grouped vs. a single object), the amount of detail per object etc etc etc. and all of these can be controlled to solve specific issues within a picture.
In short, if a thing is important aka the focal point, make it stand out - sharp edges, details, specific colours and a lighting situation that make it pop. And if a thing isn't too important leave it vague, communicate the idea of it rather than focusing on drawing it.
On the note of things being sharp, a thing that I always swore by is, if there are eyes in the picture those eyes better be d-o-n-e. Pristine. People will look at the eyes, eyes communicate 90% of emotion, the eyes are the it girl of the picture forever and always, nobody will look at the wonky foot, they will look at the eyes and judge the quality of the picture. If the eyes are shit the picture is shit. (I'm exaggerating but fr. eyes are a big deal.). They don't have to be turbo rendered or physically mad sharp but they need to be done. Whatever that means, take what you will from my word soup.
One thing that I've become a big fan of over the years is the concept of wear and tear. This has to do with texturing things in pictures and I looooooooooooooooove thinking about ways items are used in order to create bumps and scratches that can be featured.
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It always makes things look like they belong to someone?? It makes them real? Like the tip of that bone. that bone has been places. That belt has seen use. That bag carried things. Like yanno?? I looove things that chip and have nicks. Give me wood and I'll put a dent in it I swear.
And I thing the latest thing that I'm trying to incorporate within my art, though I haven't had much time or opportunity to do it in personal art because of work, is colour variation within each element.
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Like his face. His skin is obviously "beige" but you will see red, and blue and yellow and green in there too. Stuff like that yanno? I'm quite interested in taking this further in my future paintings. I'm still learning how to push what, where and how but ayyy issa journey I'll happily embark on.
And of course apart from all that it's the usual jazz, working on anatomy composition perspective doing it a lot over and over again babababababa and so on and so forth.
I haven't had much opportunity to paint since I started working on the comic last year but it had it own set of challenges for me. Linework is a completely different kind of rodeo and I've improved in different departments a lot and I'd be happy to bring those things into my paintings when I have the chance. I feel like I'm at a point where I know a lot more than what I've had the opportunity to put on paper, it feels exciting!
I hope at least some of my ramblings were of interest to you!! Again, that you for the nice message and have a nice day :)
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rottenpumpkin13 · 23 days
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I know you usually write about the firsts and their experiences, but what do you think about Rufus? Do you think he could have a relationship with any of the main characters or any of the SOLDIERs? I’ve always thought him and Sephiroth were quite similar and would’ve had a very interesting dynamic. They’re almost the same person but in a different font (with Sephiroth having turned out nicer before going cuckoo)
I can't believe you sent me this like a day before Rebirth??? Anon?? What DID YOU KNOW?? I wrote two Sephiroth and Rufus posts here and here if you want some angst. Let's try a different route:
. ݁₊ ⊹ . ݁ ⟡ ݁ . ⊹ ₊ ݁.
• Sephiroth and Rufus share core similarities, notably their experiences with their fathers and the early loss of their mothers, leading to isolated upbringings that had them focused on meeting some impossible expectation placed upon them by their fathers. Sephiroth maintained a good heart until Nibelheim, while Rufus filled his loneliness and resentment with a desire for power and control.
• They are approximately the same age and would have been aware of each other growing up. Rufus witnessed Sephiroth's rise to heroism, possibly seeing his own father pride over Sephiroth, which could have fueled resentment. Sephiroth on the other hand harbored no such sentiment.
• He saw glimpses of Rufus here and there at events they were forced to attend, but their interactions never extended beyond a mere handshake and introduction. Yet in those fleeting moments Rufus couldn't help but notice the subtle cues of Sephiroth's discomfort—the weight of Hojo's hand pressing down just a bit too heavily on Sephiroth's shoulder, the briefly widened eyes, laser-focused as he carefully avoided angering Hojo. These observations didn't escape Rufus's notice, he recognized them as the same traces of his own struggles with his father.
• In turn, Sephiroth observed Rufus with keen interest. He couldn't help but notice how meticulously proper Rufus appeared in the presence of the president—his posture unwavering, his manners impeccable. Yet, beneath that facade of perfection, Sephiroth detected a glimmer of fear and discomfort in Rufus's eyes, akin to his own with Hojo. The lack of attention from the president towards his son piqued Sephiroth's curiosity. Did others experience it too? Perhaps he wasn't as alone as he had initially thought.
• Despite the absence of any grounds for friendship, their shared experiences fostered moments of understanding. Often during meetings, Rufus clenched his jaw to stifle impulsive retorts aimed at the president. Sephiroth had sharp eyes. He caught it each time, and never failed to level his look of sympathy whenever Rufus looked up, as if to say "I know. I understand."
• It comforted Rufus, and he never failed to return the favor when Professor Hojo spoke on Sephiroth's behalf, oftentimes speaking over the SOLDIER as if he were a petulant child, or a negotiable object. Rufus would make it a point to roll his eyes when the knew Sephiroth was watching, and never shied away from twisting his lips into a repulsed scowl. Sephiroth almost laughed one time. He stifled a grin with his fist. Rufus remembered that.
• Through silent glances, they conveyed a mutual understanding of the crippling weight of expectations, the pressure to conform to Shinra, and the lack they had. Something hollow and void in their chests that only one who had it noticed in a other person.
• Rufus envied Sephiroth for the friendship he had with the two other SOLDIERs his age, a bond Rufus had never experienced with anyone his age, rendering him unable to comprehend how deep a friendship could run, and ultimately, unable to understand Sephiroth's stunned silence upon learning that Glenn Lodbrok met his demise at the hands of the VP himself.
• Following that revelation, a noticeable shift occurred, perceptible only to Rufus and Sephiroth. Gone were the passing smiles and brief exchanges of words, replaced by an unsettling silence as Sephiroth ignored Rufus's presence in every room they were in.
• Now, instead of shared glances, the only time Sephiroth ever looked at him was to send a glare ripping through the fabric of Rufus's coat. It hurt a great deal at first, but Rufus Shinra wasn't one to lament over what could not be fixed, and certainly wasn't one to fix things.
• They were never friends, and that's the way it would remain.
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goron-king-darunia · 6 months
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Eggtober 14th 2023
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"Sticky": Tiger Skin Egg with Sauce.
(Clip Studio Paint, Gouache Brush, Gouache Blender, Airbrush tool. 10 colors, 45 minutes.)
Cripes, I almost forgot to post this one. Been a busy bee the last few days.
The first time I made this dish it was all going perfectly until it came time to caramelize the sauce. It goes from runny and thin to thick in what feels like 30 minutes and then from thick to CHARRED AND AWFUL in 0.5 seconds. I'm not a stranger to syrups and sugary sauces! Maybe it's the soy sauce that's dangerous because the color can't indicate early signs of caramelization that I can see? But I make brown sugar glazes for fruit all the time. And my standard stir fry sauce has soy, brown sugar, and gochujang in it, which are all dark, and I've never burnt those things. Anyway, first time I made these was a disaster. The eggs were overcooked because the sauce took too long to thicken and then I burnt it so it tasted terribly perfumey. But I remade the sauce by itself much more carefully later and it really is tasty! I just had an awful first attempt. Speaking of which, I need to do a proper study of craggly, crackly fried things. I can get away with a lot here because the rendering is a bit stylized and it's a shiny sauced egg, but trying to replicate that almost-breaded looking fried exterior from my reference was hard. I think we've established I'm fairly effective at drawing smooth things with all my shiny eggies of late but I need to learn how to draw coarser, rougher textures. Maybe more pencil tool next time.
Anyway, here's the speedpaint and the shoutouts. @lady-quen, Another gravity defying eggy for you to draw your precious brebbugs on. Take your time of course. The breadbugs need time to eat all the eggs they stole already!
Thanks as always to @quezify for all the inspiring fried eggy art.
Despite the unfamiliar textures being a challenge, it was fun. And of course I got to make it deliciously shiny. The speedpaint makes it all look so competent and deliberate and my ass is sitting here like "Past me has the competence of a god, or at least seems like it, but I know that bitch personally and I know for a fact there was internal screaming for part of it. "It's bumpy in the reference! There's texture there! But how do I do that? AUGH!" And then it turned out fine anyway, despite faffing around. Gotta get better at trusting my process and actually treating these as LEARNING experiences like last year. Self mantra of "It doesn't need to be perfect. It needs to be an egg. If it's hard, that mean's you're learning." Actively squash that little voice in my brain that doubts. Making art is about the making. The art is just a coincidence. It can be a product later if I decide so, but that's not the objective. The objective is to turn 1s and 0s and funny little lights on a funny little screen into things that look like eggs and manifest something that didn't exist anywhere before except my brain. No doubts, no stress. Only eggy. Plus at the end I can stare at past me making egg very fast like magic. I do like that part. Bless CSP for having a native timelapse capture feature. I just get to click a button and share with you all my magical process.
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bosskie · 1 month
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Pixel Molluck Thing
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Man, it's been like... 5 years since I did some 'proper' bigger pixel art. I didn't wanna use the rendering style I have often used since it takes like ages and I felt so clueless when I started colouring this... But after some time, I could figure out good enough colours. Though, this is kinda lazily done still.
I'm more used to do smaller pixel stuff, also because it takes less time... But maybe after I learn to use colours better I could try to use my old pixel art style or more like improve it. Right now, I just feel like practicing and not doing any bigger projects since I just feel still so unsure of how to draw... Man, it can just still feel like I cannot draw, like when I struggled with the colours with this, but I still just keep drawing and am able to figure out how to do better. Drawing can feel like solving a puzzle sometimes... In this case it was like how to colour 1000 pixels.
But yeah, I kinda wanted to try making a pixel avatar for myself, like I used to do years ago but those little pixel things. I haven't really done any avatar for myself here before because well, I have felt like I just cannot stand my own art... But I see how it goes now. I should draw a better banner for myself too...
And yes, for some odd reason I seem to love Molluck in pink... It just suits him so well and I don't know why!
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rusty-gloinks · 5 months
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i've always been so in awe of your rendering style, and i just have to ask... how did you learn how to do it so beautifully? your textures and lighting are breathtaking!!!
ps: thank you for getting me into the amazing digital circus :)
aagh thank you so much!!! I got inspired by people who would draw over the lineart and I wanted to try it for myself. It did take a bit to get used to since most of the art didn’t come out like how I would’ve liked it to, but I’m pretty proud of my art style now!! So I’ve stuck with it for a while now, while again the rendering does take a while (and I end up procrastinating sometimes), the finished product always looks good!! I think the only thing I changed was adding the lighting and coloring the lineart and then merging it together, which makes it easier for me a WHOLE bunch!! Here’s a time-lapse to show the whole process:
** the longest part about this to me was coming up with a proper background and the sketching (mainly the face cause I got frustrated with it!!)
As far as textures, I like using brushes that just kinda finish the art itself (I made the first one myself since I didn’t like the pre-made one this app had)!
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and this pixel/dithering brush I use often now too:
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There will also be times where I draw the hatching by hand, like how I drew it on pomni’s hat a bit! (There are other spots where this is visible like her chin, pompoms, outfit, etc)
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vyxated · 9 months
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did u follow any tutorial on how to make cas bg? i think your cas bg are wonderful!
hi anon, thank you so much!! glad you've enjoyed them ^7^
let's see.. my first ever cas bg was made last year and it was legit my first time making my own stuff for the game 💀 there wasn't any proper tutorial specific to 3d CAS bg then and so I had to learn everything from scratch (incl learning how to navigate blender 2.79 lol).
because this is a long post 👀 deets are under the cut ✂️
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Here's me figuring out how things work 😆:
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learned how to import meshes, add texture, move mirrors, and add fun stuff like the bloom texture for added atmosphere (for anyone trying to make their own cas bg, setting up a scene in game helps a lot)
some more cas bgs I've made last year but never/haven't shared:
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this one I had to figure out how to position objects to be in 1 point perspective in CAS, setting up the camera in blender for rendering, and figure out how to bake reflections to the floor since you can't do that easily XD (decided mirrors ain't worth it)
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thanks to that I now have a setup in blender to mimic the look in CAS 😎 which saves me a lot of time since I don't have to enter the game as much. Since sim position in CAS is slightly in front of the world's origin in Blender, I had to make a guide for that too.
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figured out that rug/sim position and how to create more than 2 mirrors. Never really did anything with this bg until this, so it was more of a learning experience for me. But I later applied that knowledge to the 2 cas bgs I've released :3
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this might be my 4th? cas bg and I had figured out what I needed to do, so there isn't much experimentation going on except to make it look good & presentable.
everything I released so far are made after I've learned all the things above, which allows me to create my own meshes instead of relying on EA's, and is a different skillset altogether since you gotta learn 3d modeling, uv mapping, texturing, all that stuff, which is best learned from general blender/3d tutorials.
and ofc whilst I was doing all these I also made a doc detailing the process just so that I could remember things and fall back to it in case I forget anything and it's like.. 39 pages now and counting 🫠 (mostly big images and bullet points.)
here's what I was working on:
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so to answer your question.. I guess so! but for very specific topics instead of a how-to-make-cas-bg tutorial.
this tutorial for 2+ mirrors
I also looked at littledica's file to see how it's set up so I can correctly export mine. (look up: mesh groups & ea object components)
several blender tutorials unrelated to sims
otherwise, I had to figure out everything myself w/ trial and error :') S4S will throw out error messages that tells you what's causing the error when importing, so I also learned from that.
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