#used refs for some posing and hand gestures | Explore Tumblr Posts and Blogs

nim-lock · 2 years

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Hey nim quick possibly loaded question:

What did you study to get better at anatomy? I know a lot of different artists out there say to study bodies and poses as well as art that you enjoy…but I feel like it’s not adequate. I’ve always enjoyed your human pose drawings and the bobadin drawings of yours to a ridiculous extent, so I thought you would be the person to ask.

Thank you for your help! I hope you enjoy the rest of your day/evening, and please say hi to the shrimp for everyone (*´∀｀*)

To preface, you are witnessing the current iteration of a language I’ve been building for years.

The other folks aren't wrong. Perhaps your dissatisfaction is in the perceived enormity of the task. There is no secret shortcut, but perhaps there are different ways to think about the journey.

Now, everyone approaches art in a different way, for different reasons. To keep the language analogy going, some people learn enough to google translate their way through a trip to another country, some think it’s fun to roll their R’s, some just happened to move here & are figuring it out as they go, still others need to be fluent for work purposes—the potential diversity is limitless. What makes each individual voice interesting however, are the little details about themselves & that which they hold dear that naturally appear in the process of translating the world into the words, tone, and sentence structure people have.

Anatomy is one part of it. Like all “rules” around art and language, you learn enough to know what you’re doing, so you can then play and expand and mess things up with intention.

If I were to give general advice on shit to do:

Find a thing to care about. It’s much more enjoyable if you’re able to be interested in something, ANYTHING, that’s tangentially related to the thing you have to learn

Draw real people who happen to be physically in front of you, because all those books and techniques are cool and everything, but real bodies are all different, and generally tend to deviate from the tutorials.

More resources [post re: timed gestures online] [post 2 re: sketchfab]

[Quick note on how I study (esp from tutorials): copy the diagrams in the books, maybe write down 3 things that you noticed from them that you didn’t know before, translate those ideas into application. Most often when I use ref, I have An Idea already in mind of some fictional character situation, and I double-check reference to make sure I’m not far off the mark.]

Morpho book on fat and skin folds The other morpho books are also very good

Andrew Loomis books (Figure drawing for all it’s worth is a good starting point), you can find PDFs online free

Foreshortening with coil technique video

Going on a dive on youtube for various ways people construct bodies; you may find a way that works for you, or a piece of a thing that you’ll integrate into your own working knowledge

Fixate real hard on some characters who happen to be human, because ho boi fun fucking shit to follow it down the rabbithole. Even now, I am finding new details on Boba Fett that I never noticed before.

-- At the end of the day, forcing yourself to learn a thing will only make it less enjoyable, so if the goal is “Get better at [Skill]”, the way to get there is to trick yourself into finding things you like on the way to figuring it out. People are just more complicated plants, sometimes we gotta run circles around our brains to sneak something in there.

Also, to manage expectations, it’s not about “Getting Good™ Immediately”, but “to observe and be able to describe one thing better, one piece at a time.” Every single thing in your life, including all the times you aren’t doing art, will bring added depth to your work. Take a moment, look at the sky, flex your hands, shove your face into a cat....

Thank you for your kind words, the shrimp are doing well.

A one-person circlejerk under the cut

Hrmmmm how I got here myself :V

A) a shit ton of fixating

B) a childhood of “ehehe cartoon drawings”, 2013-2018 of concentrated effort to study and Get Better, and 2018-current day of mulling things over and adding a few pinches of spices

Also I went to art school, that’s a giant factor. BFA in Communications Design from Pratt Institute.

If it helps you quantify anything, know that I am currently on my 23rd sketchbook? Sketchbook 1 was started ~2013

I was the sort of bastard who found diagrams FASCINATING.

Very few of my sketchbook pages were assigned schoolwork; I just did that shit on my own because I had an unhealthy existential dread of being unemployed after school, and I also fucking LOVED learning.

Nothing in here is printed out; I copied things out and studied them, goddamn. I no longer have the patience for this but I’m glad younger!me did.

You can tell I got into Yuri on Ice (above). Those studies are from looking up a youtube video on skating, and pausing the video every few frames to sketch the pose. Also the muscle diagram on the above right is fun because I drew the top black lines part on see-through acetate, which you can flip up. There’s more. There’s so much more. Whatever people see now is the culmination of everything I picked up along the way.

Honestly I definitely forced my own nose to the grindstone wayyyyy too much in college. Think of the person who skips most social events because they’re too busy working, who's perpetually anxious when out on social gatherings because they could be doing work—that was in no way healthy for me, and I never plan on repeating it. I had “motivational” quotes on post-it notes all around my workspace that said toxicly positive things like “think of all the time you spend consuming other peoples’ work, vs. how much time you spend making your own. Only one of those will make you remembered.”

However, I can’t be upset at past-me because I absolutely did the best I could with the coping mechanisms I had, and I’m really proud of him for trying this hard and still being ALIVE at the end of the day.

That’s a page from one of my 2017 sketchbooks; drawing was a stim for me + helped me stay awake in classes, so I’d draw the whole way through.

All sketchbook images above are from my “concentrated learning” phase of 2014-18. Since then I've lowered my own standards and now it’s about the vibes and not the 100% accuracy. Fuck the accuracy, shapes that real humans are can look “fake” or drawn incorrectly if you translate it into 2D. And sometimes it’s some visual prejudice you didn’t realize you had, due to the media you grew up seeing. Maybe some pieces have fucked up anatomy, but I’m not hung up about it (just add a lump when unsure). But yes, this is definitely “keep in mind I have thousands of studies under my belt and thus even if I’m not actively thinking about it, I’ve osmosis-ed enough from the stuff I’ve done previously to make something look like it’s got convincing shapes”. It also doesn’t come out great All The Time! That’s life. You can get here also; just take it in bite-sized chunks, and give yourself plenty of time to rest and go back into your own comfort zone.

I am not trying to make anyone demoralized; this is simply the path I took myself. Sometimes, even if you’ve barely taken three steps, it’s nice to encourage yourself and be proud of making it this far.

If you’'re still here for some fucking reason, here’s a shrimp reward.

The art I am often most drawn to are the ones that tell me something new, often about something familiar. “That’s a line I never thought of using to describe the ears”, “That’s an application of color and texture that I would have never thought of myself but makes SO MUCH SENSE” etc.

I too, have a long ways to go. The rest of my life actually! And what a wild journey that shall be.

Well wishes on your own.

-- Reference Tag | Tip Jar

#reference #art reference #long post #anatomy #nim rambles #asks #my tag is 'reference' if anyone is looking for things #I'd make a strange teacher I think #I shall no longer apologize for my rambling longform because this is how I say things :V #asks about art either get answered by me reblogging things I've answered in the past that are similar enough #or in a whole essay length situation #where my ADHD brain just starts glossing over things I previously wrote and I'm like 'well the point is in there SOMEWHERE' xDD

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bigskycastle · 3 years

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do you just think up your poses yourself , or do you use references? any tips on how to create more dynamic poses?

hmm it depends on what i need for the piece tbh! ive found theres really no "one size fits all" solution. sometimes ill use 3d models, especially if the pose is weird and awkward to “organically” draw. sometimes i'll make the pose up entirely, often if i’m going for a more emotional or graceful feeling (you can see it in a lot of my madoka stuff lol). sometimes i closely look at a ref. sometimes i’ll reference only a tiny part of a model, like their head or leg or hand. sometimes i do a little of everything! i tend to avoid using 3d as much as possible tho, since ive found it tends to make my stuff look stiffer

for example- i used 3d for this zelink pic because ive never drawn the angle zelda's at before and all my organic attempts ended up pretty weird. it's still a little weird! but basing my sketch on the model helped a lot

by contrast, this mipha pic was entirely off the dome, no ref or model (it's literally a colored/painted sketch), meaning her proportions and gestures are much more highly stylised, and i think it shows w how flowy she looks

as for tips.. to get those dynamic poses, u need a good sense of gesture and anatomy, and for that you have to study! slow, careful studies of the muscle groups yes, but also do tons and tons of gesture/life drawing. my favorite subjects to draw are ballerinas, pole dancers, figure skaters, rhythmic gymnasts, etc. i pause vids of them and quickly sketch their gestures, keeping it loose, paying more attention to the motion of the body than the muscular structure (thats what the slow study is for! combine ur sense of gesture with your technical anatomical knowledge!).

doing actual “regular” life drawing with still/posed models is important too. live classes are good if they’re available to u, but there’s a fair few websites that offer it for free, and artstation has a shit ton of model packs you can get for either free or a small fee that are excellent. scott eaton’s “bodies in motion “ project is a subscription based one that gives you hi-res, frame-by-frame shots of some of those subjects i talked about too.

some other cool subjects are: - martial artists of pretty much any kind

- traditional dancers from most places! they also tend to wear very unique and pretty clothes. ballroom dancers too!

- parkour artists/freerunners, for more acrobatic stuff

- ..and like actual acrobats. look for cirque du soleil videos to immediately fall down a very bendy rabbit hole

hope this helps ^_^

#ask #i hsould start a tag for these big ass rambly advice posts #jo's awesome tips and tricks #nah #art thoughts

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alkalinefrog · 3 years

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okay I’ve messaged u a few times but I’m finally daring to not be anon because you’re always so sweet 😌

do u have any advice for balancing anatomy studies with stylizing? something I’ve really been struggling with is like, when I use reference images for poses , I get so caught up in matching the anatomy rather than the gesture drawings I want to make

but also when I am trying to do gesture drawings, I also lose some of the stylized proportions?? idk!

I guess I’m wondering if you have any advice on how to merge the more studio art/figure drawing/art school studies with a more stylized/fun style :)

DAWWW I’m so glad you’re feeling welcome!! Pop by to say hi anytime dude!

I answered an ask about using photo ref for direct posing/gesture over here, This is kind of a big question, so I’ll be skewing this more towards stylization. (I’m also just not great at anatomy in general lol)

Essentially, striking a balance between grounded anatomy vs. stylized gestures comes down to training your eye to edit the details out.

1) For gestures, I tend to fudge the anatomy in favour of communicating the pure movement. The goal here is speed! The more you do these the more you’ll start developing short hands to simplify the figure as you go. When you’re more comfortable generalizing the whole figure, you can afford more brain space to hone in on more specific details in your ref!

2) Try to build the figure on top of them! The initial gesture will help breathe some life into the drawing. Practice doing this from imagination and it’ll help you apply the anatomical knowledge you already have!

3) In terms of photo ref, I’ll draw another singing L, but this time I’m going to go for my own interpretation of the image instead! I’ll label all the details I’m electing to ignore.

Usually at this point, if I’m not gonna render it (like I how I don’t 99% of the time lol), I’m done with the ref. I still keep it in the background just in case, but I clean things up and make the drawing more appealing.

Tadaaaaa! I hella fudged those hands lol.

So in summary, I see “style” as your pre-existing toolkit, and then you use reference/studies to expand and improve it! I could definitely benefit from some more technical practice too! I hope this helps!

-Alka

#everythingfeelslike-themovies #my art #ask #advice #death note #l lawliet #ninja girl #long post #'and I burst into flaAAaaAAAMESSS'#I finally named my ninja girl too!

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elliotoille · 4 years

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Do you have any advice for understanding hands better? I’ve been practicing them for years but feel like compared to other aspects of anatomy it’s the one thing I haven’t seen much improvement in. I draw both from life and images and draw nearly everyday but nothing I’m doing seems to help

I personally get by mostly from remembering poses that I’ve already practiced a ton, like I figure out how to draw it once and am able to file that away in my brain and use it again later, and tweak bits of the pose or the level of simplification to suit what I’m drawing.

I’ve paid special attention to drawing hands for like.... most of my life so I have a LOT of poses I’m easy comfy with now, but when I need to figure out something complicated or new, I can usually work it out by breaking a hand down into shapes, remembering a few key points/”rules” from what I’ve learned about hands in order to help me break it down in a way that makes sense. And if that’s not enough either, then I take photo refs.

^^^ here is a pose I use a ton. I have a quick way of drawing it from various angles. the first time I had to draw a pose like this, I had to think and figure it out, but in drawing it a bunch of times and having to use various angles like this, I’ve eventually come up with a quick, reliable way to draw it from a few of the most common angles that fits the style I like to draw in. I’m blessed with a good memory for observations, so when I see a beautifully posed hand, I can usually really quickly analyze what I like about that pose and why, and that helps me absorb it so I can recreate my saved impression later. But I know not everyone thinks the same way. it might benefit you to quickly scribble down a study in a sketchbook when you see a pose you find beautiful and want to learn from for later.

^^^ here are some poses I had to stop and spend time figuring out, calling up the “rules” for how hands are built to kind of logic-out how they should look from angles I’m less familiar with. results can be mixed, but... if I end up with something expressive that fits the style of the rest of the drawing, I’m usually really forgiving of fudged anatomy or slightly wonky proportions. as long as the thumb is on the right side and there aren’t too many fingers, that’s a great start lol.

^^^ and here are ones I had to take reference-selfies for. I try to use this as a last resort because 1) it’s a lot of trouble 2) interrupts my drawing and 3) if I’m not careful I stick too close to the reference, and the drawing ends up with the hand looking referenced and the rest of the pose not, which is jarring to me. not to mention I have tiny manlet wrists that without fail, look horrific and emaciated in photos, and the lens distortion makes my fingers look scary too... ugh, photo reference has definite flaws. I actually don’t like the look of drawings for which I can Really Tell the artist drew from photo reference, because most often that means they’re taking the ref too much at face value and incorporating ugly lens distortions into their drawing. so I have to think extra hard not only about interpreting the ref, but also might have to make multiple passes just to get the hand to look normal, AND match the style of the rest of the drawing.

Anyway, here are some of the ““rules””” I mentioned earlier that I fall back on to help me figure out more complicated poses:

1. probably seen this before, but basic proportions. the palm is usually half the total height of the hand. obviously you can mess with this purposefully.

2. I think of joints as like, ball joints or hinges. I find that easier than trying to remember bones & muscles. here’s a drawing of the wrist as a hinge. note that when you’re thinking of it this way, it’s a shortcut, but a shortcut is only good if you use it with precision. notice the pin for the wrist hinge is not just halfway, it’s closer to the top of the hand. being precise about that is what allows this shortcut to work. the heel of the palm juts out, while the top of the hand transitions into the wrist quite smoothly.

3. simplified planes. planes are important yo. in super simple terms: top is flat, bottom is round. this works on the fingers too, actually. the tops are bony and tendony, and the bottom is where the fat is, so it’s rounder and soft

thinking of the hand as abstract shapes REALLY helps simplify the task of drawing hands, and is just as helpful even if you are drawing from reference. I can say “the palm is a box” and obviously the palm is not really as simple as a box, but if I think of the palm, wrist, and each finger joint as various shapes of box, then all of a sudden, psychologically, my task is SO much easier. I’m not drawing a Hand, which is hard, I’m drawing boxes, which is easy.

4. that prominent knob some people have on their wrist? that’s on the pinky side.

1. the knuckles aren’t really a flat row on top. the hand is like a cup right, so your palm can hold water and things. so we can think of the hand as a box to make figuring out the pose easier, but when it comes down to it, you’ll want to make it more of a curve. this curve is why you can see multiple fingers in a side view

2. when curled up, the fingers nestle together. the fingernails also turn slightly toward the center. even if I’m simplifying the hands significantly, I usually still draw the fingernails because they are SO useful for communicating the pose of the hand effectively.

3. lots of people suggest to think of the hand as a mitten, grouping the pinky/ring/middle fingers and singling out the index finger. this works great, the index finger is more independent from the other three. on the flip side, those three are really stuck together; if you’re drawing the pinky curled up all the way, then you better not draw the ring finger sticking straight up, cause that would HURT. anyway, singling out the index finger leads to more interesting poses in my experience.

1. this is another illustration of top = flat and bottom = curved. this is a really easy way to organize your line quality. straight lines and sharper angles where there is bone, and soft gentle lines where there is muscle and fat. your drawing as a whole will read very clearly if you find some guidelines like that to stick to, as it means all your lines are intentional and thoughtful.

2. this one’s about overlaps. when forms overlap, it makes a crease, and when you draw that crease you’re communicating which form is in front of the other. in the second drawing I reversed all the creases, and it looks.... messed up. think about how pieces connect.

so when you’re trying to make up a pose without using specific reference, I think it’s good to think about the.... flow of energy through the pose. honestly, I know it’s really abstract, but if I have an ability to make interesting poses that communicate weight and movement, the things that make people say your character feels ALIVE, like they really EXIST in a space... it’s because I started to think of poses this way. imagining streams of energy bouncing through the body, flowing down the limbs and out through the fingers. this is why hands are so important to me, cause they’re where the kinetic energy of the pose ultimately ends up. I talk about it when drawing the torso and arms and legs, but an interesting drawing has a bounce back and forth between opposites: for every curve, an opposing straight line, alternating back and forth down the entire body. if you’re sensitive to the energy of the pose, then even very simple poses will be interesting to look at.

anyway, with regards to hands, I imagine the energy getting sort of cinched in as it passes through the wrist, and then emanating out through the fingertips. I hope my drawing at least SORT of communicates this imagery. it makes sense because that’s BASically how the bones in the hand are anyway. and then the right side of the image above is just demonstrating some highly simplified gestures. see how the fingers fan out and curl in, rarely parallel to eachother. when you’re figuring out the pose, using a line to stand in for the row of knuckles is super valuable.

aaand finally, here’s two hands where I intentionally neglected correct anatomy and proportion because I felt it worked better for the style of the whole drawing. Left side: since this is a really simple and cartoonish style, I was thinking back to kids’ and shoujo manga I have read where the style was very solid and distinctive, but definitely NOT overly concerned with correct anatomy, or even really drawing hands, uh, “well” at all. to me, that sort of approach has a Look that I like to invoke sometimes, since for years I felt like I learned a bunch of anatomy and proportion and drawing from life actually in detriment to the liveliness and appealness of my drawings. this hand is mushy and makes very little sense, but it turned out as intended. Right side: sometimes I like to pretend fingers only have 2 bones in them, cause i am a Queen and i do what i want

and there you go. I hope that helped, like, at all? Look at real hands and photos of hands and hands in motion, but also look at drawn hands as well. find what you like, and work towards expressing that yourself. and remember the hand is part of the whole drawing. not only in the art style like I’d been talking about, but because the angle and placement of the hand is reflected in the angles of the arm, which in turn reflects on the angles of the shoulder, which affects the whole torso, etc etc etc. and the techniques you can use to understand and draw the rest of the body, works on hands too. as you improve everything else, your hands will improve as well.

DISCLAIMER: I whipped up these diagrams quickly, they’re not meant to be good drawings or accurate refs, just diagrams to illustrate my thought process lol

#god im long winded as usual #Anonymous

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thebrownssociety · 3 years

Text

Across The Serververse, Chapter 11

Porky was pacing up and down, arms folded a cloud of worry above his head. A few foot away from him Foghorn and Barnyawd were trying to sound ‘encouraging’.

“Don’t, I say, don’t you worry Porky, mah boy!” Foghorn said, cheerfully. “They’ll be comin’ back any minute now!”

Porky screwed his eyes up and looked up to the sky again. “Y-you’ve b-b-been s-s-saying that for the last - for the last - the las - ages.”

The next scene opened up on Daffy and Porky leaving the hospital.

“You know where we’re going wrong, Porkster?” Daffy asked, musingly.

“T-t-the entire scheme?” Porky said, teasingly.

Ignoring him Daffy carried on. “We’re starting to small. We need to set up something grand, something...awsome...” With that declaration he rubbed his hands together and strode off.

Porky watched him go then looked up to the heavens and said. “S-s-somehow I don’t like the s-s-sound of that. Daffy! Wait up!” And he went running after him.

“Porky!” Petunia trilled as she hurried over to Porky and kissed him softly on the cheek. “Any sign?” She asked, sympathetically.

To which her husband made a sort of ‘hah!’ noise and indicated the empty sky.

Petunia then went about trying to convince Porky to put his guard down and come back to the house, even going so far as to assure him that both Foghorn and Barnyawd would be on watch for them [despite not actually asking them if they would be.]

With one last look at the sky, the older pig sighed. “I-I-i suppose you’re r-ri- correct.” He linked arms with his wife, then looked back anxiously at Barnyward and Foghorn. “Y-y-you’ll tell us if they come b-b-back?”

“Nah, we’ll leave it a few months. Let ya worry a lil’ more” Barnyawd said, sarcastically. “Of coirse we will! Now go!”

Porky and Petunia started to walk off, arm in arm, talking quietly to each other when suddenly Foghorn yelled.

“Incoming, I say, incoming! Watch out! Marvin’s crash-landing again!”

Porky and Petunia immediately turned back and looked up. Contrary to Foggie’s dramatic statement, Marvin wasn’t crashing his spaceship but managing to land the ship gracefully a few feet away.

The doors opened, a lot of smoke curled out of ship and Porky could see the silhouette of his family beyond it. He thought his chest was going to explode as a rush of happiness overtook him and he ran into the ship, trying to say. “Oh my-! I can’t believe you’re all back! Amazing!” and instead just managing to do his normal stuttering act.

Much hugging and exclamations later and Porky looked around the ship once more and asked, in concern. “W-wh-where’s everyone else?”

Porky, Petunia, Foghorn and Barnyawd were duly brought up to speed about everyone else’s locations and, at the end of the explanation, Bugs asked. “Eh...where’s Daf, Porkster?”

Porky sighed and looked at Petunia who made a ‘go on, it’ll be fine’ gesture.

After much stuttering and a few false starts the older toon managed to explain that Daffy was lying down having been given a sleeping tablet by Doctor Scratchensniff. “We-we’ve had s-so-something of an adventure.” Porky added, almost apologetically. “I-i know!” He brightened up. “I’ll explain via fl-flas-oh, just watch.”

And with that the his siblings - and Petunia - pulled up chairs and started to watch the flashbacks.

*5 and a half months ago*

The flashback opened up on an image of Porky and Daffy screaming as they fell through the air towards a map with the words ‘D.C. World’ written on it.

The two toons smashed into the ground in a puff of dust and earth. There was a worrying gap then Daffy leapt out of the crater the two of them had just created with a ‘Hi-yah!’ and a kung-fu pose. “Alright Rhythm!” He yelled, eyes pinpricks and brow furrowed. “I’m giving you one chance to give yourselth up or I’ll be forced to go Duck Dodgers on ya! And I did two years of training for that role!”

There was a silence then, when it became clear Rhythm was nowhere to be found, Daffy dropped the pose and looked around for any of his siblings. He found Porky at the bottom of said crater and pulled him out by his tail while bemoaning that Porky’s life had been ‘Tragically cut short! He wasth young! Stho young!” * Beat* “Okay, so technically he was in his late 80′sth. But STHILL-!”

“D-daffy-”

The duck gasped and clasped a hand to his heart. “I can hear him! Oh, Porky...” His eyes welled with tears. “...You’ll always have a place in my heart-”

“D-d-daffy, I’m not dead.” Porky said, in annoyance from the ducks arms.

Daffy blinked and leaned forward. “You sure about that, Chum? You look peaky-”

“I-i-is it any wonder!?” Porky snapped, pushing Daffy away and standing up. Dusting himself down the pig rattled through the list of things they had to do, namely see if any of the others were there and find out where they were.

xxxxxxxxxxxxxxxxxxxxxxxxxxx

*A short while after that*

The next scene opened on Porky and Daffy walking down the street. The duck was noticeably subdued and was speaking in quite a serious manner. “Stho just me and you then, huh pal?” He said, thoughtfully. “Not even Bugsth hasth made it here? Hhmm. I don’t like it. C’mon! We need to try and get back.” Daffy screwed his face up as he racked his brains. “Can you remember where D.C. Worlds portal is?”

“Eh...” Bugs cut in as the rabbits brain leapt ahead about five steps. “Can I just stop you there, Doc? Oi bet oi can guess what happened next. Ya got ta the portal an’ it wouldn’t work?”

Porky glared and folded his arms. “I-i-if you know so much about it why d-d-don’t YOU tell the story then, Einstein?”

Bugs held his hands up and allowed Porky to continue.

The pig cleared his throat and began. “Yes, y-you’re right. The P-p-por - the thing wouldn’t work. And that was when D-d-daffy got his ‘great’ idea...”

*Daffy’s great idea*

“We’ll be superheros!” Daffy said, grabbing Porky by the shoulders. “And by ‘we’ I mean I’LL be a superhero and YOU’LL be my trusty sidekick! You can be...” Daffy thought for a moment. “...Pig Boy!” He declared after a moments consideration.

“O-o-or I could just be E-e-eager Young Space Cadet?”

Daffy gave his friend a ‘look’. “Eh - copyright, Porkster?”

“W-w-we’re owned by the same company!”

“And? That doesn’t make any difference! Jus’ ask Mickey! ‘Mickey MELON’ my assth...now - with me!”

*One quick scene change later*

[Daffy is in a boutiques. He pulls aside the curtain to reveal he is dressed in his superhero outfit from the movie - which the author has forgotten what it looked like, so can’t give a description] “Behold! Duck Awesome” Leaning up close to the 4th wall, Daffy whispered. “It’s like Duck Dodgers, but not copywrited. Loophole abuse, you might sthay. Anyway - back to the plot...” Daffy cleared his throat and yelled. “An’ here isth my trusthy sidekick - the notorious P.I.G!”

Another set of curtains opened to reveal Porky dressed in a outfit similar to Robin. With a glance at the 4th wall he said, flatly. “I-it was the only way to get the re-ref-reference in.”

“Now my sidekick!” Daffy grinned and rubbed his hands together. “Lesth solve some crimes!” And he bounded off.

“I-i think you’re g-g-getting yourself confused with She-Sherlock Holmes.” Porky said snarkliy, before paying for the costumes and running after his troublesome younger brother.

What followed was a montage of Daffy trying [and failing] to perform heroic tasks. In order these were:

1. Rescuing a kitten from a tree. [The kitten waited till it had been removed from the tree before attacking Daffy in a flurry of fur and nails. Porky then removed the kitten from where it was hanging off of Daffy’s beak and handed it to the grateful owner.]

2. Helping a little old lady cross the road. [Daffy picked her up and carried her while Porky stopped the traffic. She spent the short journey hitting the duck on the head with her handbag.]

3. Trying to stop a car crash. [Daffy stood between the two cars and put his arms out. He ended up squashed between the two of them making him a very interesting shape. Porky then transported Daffy and the two drivers to a nearby hospital.]

The next scene opened up on Daffy and Porky leaving the hospital.

“You know where we’re going wrong, Porkster?” Daffy asked, musingly.

“T-t-the entire scheme?” Porky said, teasingly.

Ignoring him Daffy carried on. “We’re starting to small. We need to set up something grand, something...awesome...” With that declaration he rubbed his hands together and strode off.

Porky watched him go then looked up to the heavens and said. “S-s-somehow I don’t like the s-s-sound of that. Daffy! Wait up!” And he went running after him.

#Space Jam 2 Fanfiction #Across The Serververse #Daffy Duck #Porky Pig #Bugs Bunny #Foghorn Leghorn #barnyawd dawg #petunia pig #Duck Aswesome #Can't remember the actual superhero name Daffy used #Marvin The Martian

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kashuan · 4 years

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All right, there are quite a few things that come to mind with a question as broad as this, so here’s my best attempt to sum up what character design means to me in like 5 minutes :,D. I’m going to start with a few very quick sketches that talk about more my general approach to drawing, but I’m going to build up to how it all connects with character.

Step 1) Find reference! Whenever you can, use reference, it will always make your character’s posing look 100 times more genuine than anything you can pull from your brain, and that’s nothing to feel bad about. It’s not cheating because we’re not stopping at Step 2 either, which is where the misnomer comes in that you’re just ‘copying’ (protip: even step 2 isn’t a straight Copy; as long as you’re not tracing, you’re not copying, and even tracing has its uses for personal studies). I could do a whole answer of it’s own about picking your reference, but I’ll keep it short by saying: not every reference will fit every character. Keep in mind your character’s attitude when choosing your ref. Some poses are so generic they’re one size fits all, but even this very simple pose has unique character to it. The way the legs are posed, to me, gives it a young and girlish feeling, and depending how you played with the expression, you could even make it come off shy. An overbearingly confident character, while also taking an arms crossed pose, will likely position their legs differently, assuming a stance that takes up more space, etc.

Step 2) Draw pretty much exactly what you see first, but keep it simple. Think of the body like individual shapes; anatomy is not the focus right now, and you’ll actually hinder yourself if you hone in on that first. What you want to do at this stage is capture what the pose is generally doing; character isn’t involved yet Step 3) Now, working off 2′s framework, start considering body type. If you skip the previous step, you might have a hard time capturing the gesture correctly, since it’s a lot for your brain to juggle at once. When I sketched these two different body types, I built it straight off the first drawing, erasing lines as needed.

So the first image includes some extremely basic body type variations, this one pushes that idea further. 1 is the basic frame from the last image, while 2 is about playing with proportions. There are a lot of ways you can play with proportions, and as I’ll come to sound like a broken record about: make those decisions thoughtfully. For example, when I made this version shorter than the reference base, I had to consider exactly where I wanted her to lose that height. Here, I made her shorter waisted, took a little length from the legs, and gave her a squatter neck as well. You can do one of these or all of them. Just keep in mind those are all individual options. Letting your train of thought stop at ‘this character is short/tall so I’m just going to generally shrink/stretch their body’ means you’ll run out of variety pretty fast, and sometimes the overall proportions can end up looking wonky (though there’s always exceptions to the rule, remember that the individual body parts should remain correctly scaled in relation to each other). Image 3 is another approach to proportional manipulation, except rather than focusing on height, it focuses on fat distribution and to a lesser extent bone structure. Again, there’s so many individual places you can focus on here, make sure to mix them up. Arm size, shoulder broadness, chest and hip size, leg thickness and musculature, foot and hand size and so forth. Image 4 is a further exaggeration of image 3 and the lines have started to get a little more stylized. While image 3 is still reasonably realistic, 4 is just starting to cross into cartoon territory. Advantage of 4 is that when you are able to push the proportions further due to the leniency of style, you can sell a clearer idea and a clearer character. Downside is, well, it looks more cartoonish now, and depending on the needs of your image that might not be what you want ie: it can look like a mistake rather than a purposeful choice if everyone else around the character is drawn more realistically.

Also… I see variations on this general advice quite a lot for women, but don’t forget about doing the same for men. It’s great to see how eager a lot of artists are to experiment with the female form that is simply absent in a lot of mainstream media, but I find that men really tend to fall by the wayside here even though they often get equally shallow treatment in the mainstream. There’s usually like 2-3 ‘go-to’ body types for men and that’s it. Men’s bodies can have the exact same amount of variety as a woman’s, including the individual ways the fat can be distributed on it, and the assorted ways their proportions can be played with. Whenever I find an artist that does this it’s like striking gold to me tbh.

So there’s some very rough hows. But, perhaps even more importantly than any of that, is WHY you make these choices. This is going to get a little stream of consciousness, but with a question this broad, I tried to hit on as many general points I could think of in regard to my own process.

-When I start to design a character, I really need to have an understanding of them first. This includes things like backstory, personality, habits, so and so forth… Yes, all of this stuff shows up in their design, even if it’s just a drawing of them standing straight up. This isn’t just like ‘this character got this scar at age 7 so I need to know where it goes′, I mean in depth info about them. I touched on this a little bit earlier, bringing up the different ways a character would assume the same general pose, but let me expand on that. -What do I mean by personality? So there’s the most obvious answer, which is that a bubbly character will assume bubbly poses, a sullen character will slouch more, etc… But let’s take it further than that. This is a concept I’ve touched on in past tutorials, but here’s a quick recap. A character’s personality involves their opinions, for one; how do you make that show up in their design? Well, one of the most obvious questions I always ask myself is: what is their opinion on their own appearance (the thing we are drawing)/how do they want to be perceived by others? Consider a strong character. I see a lot of artists who take this thought as far as: okay, this character is strong, so I’m gonna throw a 6 pack on him, maybe a nice pair of guns, and call it a day. Which leads to like, nice art, but also...kind of bland? I think that’s because this is a rather half-baked approach. How can we take it further? Ask yourself more specific questions. Is your strong character concerned with being perceived as an ‘ideal’ sort of fit by others (the type you give that showy 6 pack to) or does that not matter to them? (more likely to look ‘chubby’ if not outright fat, though probably is just as if not more capable of actually doing some real heavy lifting than saran wrapped abs man). If they’re some kind of mystical being that can look like whatever they want (ie: the anime waif that can also lift 1000 lbs-trope), you should still take into account their personal perspective on appearance. Don’t just stop at ‘this guy/girl is strong so they’ll look super shredded’ or ‘they’re magic so I’ll do whatever’. Doing this, you’ve instantly lost a chance to inform the audience more about the individual there beyond ‘they’re strong’ -Break it down further with their habits. What is their daily life like? If they’re running ten miles every day they should probably have some strong looking legs. If their job involves a lot of lifting, maybe focus on the upper body more and leave the legs less defined. Do they eat a lot? Or drink? The way the fat distributes in both these cases will be noticeably different (and this isn’t even taking into account points like an endomorph vs an ectomorphs body, which I always suggest reading up on). I’d definitely recommend drawing as many different body types as you can just as studies, in order to add these variations to your mental library. I’m sure every artist has seen this popular athlete line up by now, but really study images like this. Don’t just mindlessly copy what you see when you create your own characters though; think about why those athletes have the bodies they have, what they specifically did to get them like that, and how that can apply to your character’s own life. -One thing that has always bothered me is how often artists are afraid to use the head (not the features; I’ll get to that in a second) as an extension of the body when it comes to imbuing it with variety and character. While it is absolutely possible to have a thin face and a fat body (as is any combo), it’s another missed opportunity not to experiment with chubby cheeks, a soft jawline, etc. It’s a cliche to mention him at this point as an inspiration, but one of my very favorite things about Mucha’s art was how he was able to make fuller faces look so beautiful despite being a rather nontraditional approach (so many art books try to tell you this is a big NO). example, example. These faces actually look like real individuals to me than a drawing that focuses too hard on being generically aesthetically pleasing. -So, facial features. A face with less traditional features isn’t just going to be more memorable than Stock Beautiful Face #73, but it’s basically a more zoomed in version of informing the audience about the character in the same way the body does. -Know tropes, play with tropes, do not rely on tropes. Sunken bone structure, long features-guy will always pretty much read like a villain (or at least someone off-putting), but find somewhere to make the formula your own. Give him thicker eyebrows or big ears. Give the girl with the standard doll-face a nose that sticks out a little more prominently or a crooked smile. -Speaking of are so many different ways to draw a smile, do not underestimate the mileage you can get out of this one feature alone. Artists tend to have a favorite way to draw smiles, in my experience, but remember your character. Would they have a big toothy grin, a handsome ‘cool’ looking smile, a small shy lopsided one, ones that touch the eyes, ones that don’t… This is probably a repetitive point by now but just do whatever you can not to draw the exact same feature on two different characters, and make sure to think through your reasoning for every choice you make. To me, it’s always immediately evident if an artist really knows their character or if they’re just trying to make something aesthetically pleasing. The former is always more attention grabbing in my opinion. -One of my favorite things to consider when designing a character who’s part of a family: genetics and how you can play with them to inform the audience more about the character’s story. Does this character take after their mother or father? How? Why? Why why, you might ask? This isn’t a photo of a real person, this is an illustration that you should be making deliberate choices about every step along the way. It’s one thing to draw a character that looks like their parent simply because logic dictates they should, another to make meaningful decisions as to where and why they do. Some examples: He has his father’s eyes because they carry the same intensity and other characters are a little put off by him because it (conversely, maybe he’s such a gentle character that this detail stands out twice as strongly). He has the same hair as his father, but he styles it differently to avoid the association. She has her mother’s nose which everyone compliments her on so shes happy to be seen in profile. She has her father’s broad shoulders and she’s a little self conscious about it so she tends to wear baggier clothing. Etc etc! In all these cases, you can communicate these details through even a simple drawing of the character standing alone, and should try to as often as you can. -In the end, the only way you’re going to know how to draw all these different details, whether they be different body types or different facial features, is by studying real people. Draw as many different kinds as you can, add them to your mental library. Your reference will never give you everything you need to work it, and I’m not sure if that’s maybe what this question as getting at-- if I have a reference folder of go-to ‘types’ or something. I don’t. I have a folder of poses labeled with characters I think they’d fit, and that’s about it. If you’re just imitating what you see in a photo, you’ll always be drawing That Person, not Your Character. So you are going to have to pull some of it out of your brain. Note, however, the important difference between just ‘making it up’ and recalling information you’ve studied in the past. That said, while on this last topic of expanding your mental library, that includes not just doing studies, but also learning and observing the ways other accomplished artists work. Here are some of my book recommendations when it comes to those which have most helped me in regard to this particular subject. This includes books that specifically tell you how to vary your body types, but also ones that just have a lot of examples of different kinds: Morpho: Anatomy for Artists Morpho: Fat and Skin Folds Famous Artists School Course in Illustration and Design (If anyone is interested in this one and has trouble finding a non $500 copy, hit me up and I’ll help you out) Spirit of the Pose Anatomy Lessons from the Great Masters Drawing People: How to Portray the Clothed Figure Figures from Life (my favorite currently; not the most varied array of figures but he goes in depth on how to successfully grow an academic study of a model into an illustration influenced by your own ideas and personal style) If you found this answer helpful, although it isn’t specifically about character design, I go a little more in depth about some of the topics I briefly covered here (such as choosing the right reference, good vs bad reference in general, honing in on shapes, pushing the pose, etc) in this short book of mine :>

#tumblr messed up the coding on the original ask so I had to repost this!#art tutorial #hope this helps!!#not sure if got a little too rambly #i wonder if it's hashtag justintpthings to spend 3/4ths of a post talking about how to draw by talking about thinking lol

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iraprince · 4 years

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what's the best way to practice poses besides a character standing still and looking to the side? ive been wanting to know for so long and im really frustrated about it

figure drawing! this is a website i really like. i like to use the class mode, which starts with 30 second-1 minute gestures, then slowly works its way up to 5 minutes per pose, 10 minutes, etc. if you aren’t used to drawing fast gestures, 30 seconds is going to feel CRAZY and IMPOSSIBLE and you’re going to have a bunch of drawings that are like, an oval for the head and a few panicked lines instead of a recognizable human body shape, but that’s normal and fine. these aren’t supposed to be pretty and post-able, they’re practice for your hands, like doing situps.

(for reference, here are some of my own 30 second ones from last month; even when i do these regularly and have a lot of practice, 30 seconds isn’t long enough for me to get an entire body down, obviously. it’s about warming up and learning to identify and quickly capture the most interesting/foundational parts of a pose.)

the reason i think figure drawing is so important is 1. i think learning to draw quickly and confidently has been, at least for me, really foundational in learning to draw poses that flow and have movement and feel lively instead of seeming stiff and belabored; 2. over time repetition of practicing poses off photos will help you learn anatomy benchmarks and help you learn to internalize How poses work, like how arms and legs can naturally bend and how bodies tend to rest and move, and THAT will help you eventually be able to spitball poses without reference. (i am a HUGE supporter of using ref as much as possible and i don’t think “being able to draw without reference” is some kind of incredible divine achievement that everyone should be fixated on, but from a practical standpoint, it is nice to be able to sit down and draw whatever u want and have it look good and feel confident in what you’re doing without having to spend an hour hunting down the perfect ref or dragging someone over to take your own).

figure drawing is frequently not really that fun, especially when you’re first starting out and short gestures feel impossible. it can kind of be a straight-up slog sometimes (the reason im showing refs from last month is i haven’t done a figure drawing session for warmup since last month -- partially bc im really busy but partially bc i just fell off the wagon in a willpower sense). but i think it really, REALLY helps, even if your art style (or desired art style) isn’t realistic, and i think it will do a LOT for u in terms of anatomy and learning gesture and gaining confidence in your hand, and eventually will really help u be able to synthesize poses entirely from imagination w a lot more ease. i hope this helps, sorry it got so long!

#Anonymous

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grassyneptune · 4 years

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Do you have tips for anatomy? It’s something I feel like you have nailed! Love your stuff, hope the new year is good for you!

I’ve only started taking up art as an actual hobby for 5 - 6 years now and I still have a long way to go, so I don’t really know how to explain my art process because I’m still constantly experimenting with it, sorry!

Anatomy is a bit of a broad subject, but I do have a few google bookmarks I’ve collected, maybe they’ll help a bit? (most are from Tumblr for convenience’s sake)

Bodies

Bodies 2

mans Bodies

Woman waists

Arms

Gesture drawing

Gesture drawing 2

Heads

Heads 2 (deviantart)

HANDS

Not reallyy anatomy but more of body shapes changing the anatomy

Here’s also some navigation pages and a masterpost I go back to every now and then?? (note some links may be broken)

Artist-refs Navigation

Inkys-resources Navigation

Masterpost

one thing I’d say though is don’t be afraid of references, especially real life references! I see it everywhere and it’s such a ridiculous concept, I regret keeping away from them because some people told me my art wouldn’t be original anymore…even though I drew it

I typically plan out the drawing and such a couple times before I do a full sketch so I vaguely know what I want, then do research and find refs + having the quick thumbnail drawing to the side. I have a lot of things buzzing in my head all day so I find it better to jot down a thumbnail, then do reference and refine instead of the other way around. If you can’t find a good ref/you’re offline/etc you can always try the pose yourself! or if you want a specific/dynamic pose you can use a camera (doesn’t have to be a good camera as long as you get the general shape, and do take more poses than you originally intend) it doesn’t matter if you don’t have the same body as the character you mean to draw, as long as you get the concept of how the pose is working and know how to apply it

ALSO, don’t rid your old art. I know how tempting it is and I’ve done it many times that I regret. If you want to learn from mistakes, you need to clearly identify them first so you can go, “I don’t like how I had done this, how can I do it differently.” it’s also quite fun to see how much your art has developed even though it feels like a pain in your heart remembering how proud you were of that one drawing, and later realizing it ain’t as great in your eyes anymore

#not minecraft #not art #grassblock #long post?#also tysm!! i hope the year does good for you as well!#apologies for rambling i still feel gross so i don't have the will-power to fix it

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weeping-petals · 4 years

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Shadow Rabbit

Word Count - 2,493

The Crystal Gems need to have a talk about their encounter with the hostile Spinel, and send Steven off on a quick ‘errand’ to pick up doughnuts. By the time he returns home, he has even more questions.

“That can’t be right. You didn’t just fall asleep.” Pearl began, promptly when they return to the Crystal Temple.

The blast of light faded, and each member of the Crystal crew stepped off. Pearl followed close behind Steven, still aboard the ‘you’re wrong and I must be correct’ train. Behind the Pearl, Amethyst made a face.

“Maybe fell on your head,” the lilac gem posed. “Or got dropped, tossed, hurtled. Maybe a fist collided with—”

“Would you guys stop it!” Steven burst. He tugged off his hoodie and threw it aside. They weren’t listening, and hastened to judge ever sentence that popped out of his mouth. All throughout the hike back, they boggled him with interrogation of what happened, how he felt. The trio was uncharacteristically clingy, more so than if he had fallen into actual peril. “That’s how it happened. We were sneaking around, well, she was sneaking. I stopped paying attention, and… yeah, it was really boring.”

Amethyst shrugged. “No, that doesn’t sound like Spine. Try again.”

Pearl disregarded the coat on the floor (very unusual) and knelt on her knee, to examine Steven once more. “You must’ve suffered a concussion. You shouldn’t have been sleeping, in fact, you should stay awake for the next few hours. To be safe.”

Steven was at his wits end. “I didn’t FALL! The complete opposite of interesting happ—”

“I could use some doughnuts,” Garnet blurted. She put a hand on Pearl’s shoulder, stole her away from Steven, and set a hand on Amethyst’s head. The two gems went along with the gesture, grasping a hidden meaning. “Steven, you’re the best at catching doughnuts. Do you mind running a quick errand?”

This was a universal request to excuse them for a short spell. Steven toed the floor with his sandal and pouted. “Sure. Any special requests?”

Pearl raised a finger. “Two bakers dozen.”

Amethyst piped up next. “Filling. And coating. Lots of sprinkles. BACON!”

“Red and blue,” Garnet wished, clasping her hands together. “You better take the wagon.”

It hurt a little more than it should have, despite knowing it was gem business. The topic always spooked his dad, but it fascinated the pants off Steven. He should have been a part of it; he was the one kidnapped, but he also wanted to help Spinel. The time he spent in her company (or captivity?) felt like days, though it was only a few hours. The sun was rising on the tranquil shores of Beach City, the denizens emerging from storefronts or meandered their way along the boardwalk to begin opening shop. The Crystal Gems spent a whole day and night out in the forest.

The wagon was easy to haul off from the beach and to the road. He ventured to the front of the Big Doughnut and hurried inside.

“I need a bakers dozen! ASOP!” He whooped.

“Whoa-whoa!” Sadie, opening shop today, struggled with two large boxes of merch. “I barely got the displays set. Can ya kinda give me a sec?”

Steven immediately chilled. “Oh. Sorry! Forgot what time it was. What time is it, by the way?”

“Barely got in, if that’s a good ref,” she offered. She set the boxes on the counter and began opening, pulling out pre-packaged pastries. “You’re up early for a Saturday.”

“So, time doesn’t flow differently in the magical petrify forest. Huh?” Steven tried to sound clever, stroking his chin as he crossed to the counter. “In-teer-esting.”

Sadie smirked as she rose up from behind the display case. “Magical forest? Time flow? Is this more of that gem stuff?” If Lars was here he would be groaning at her, to not get Steven started. But it was nice to have some positive company while she was setting up, and Steven was always getting into some wild adventures. It kept him out of trouble.

“It was cool,” Steven enthused, eyes starry. “We – the gems and me – went out to check on this rock forest, where this temple was bein’ built. There were crystal trees, bigger than the city, bigger than the temple and the city combined!” He swung his arms up, exaggerating details. “It was sunset there, while here it was middle of the day! Oh-oh! And there was a gem there! A real gem, like Garnet, Pearl, or Amethyst!”

“A gem person? Y’mean, other than those gem monsters….”

Steven broke from his whirlwind showman and gawked. “Why does everyone keep hating on her? She’s not a monster!”

A loud thump resounded from the counter, likely from Sadie bumping her head. “Hold up, take it easy.” She straightened, rubbing her crown. “I’m going off on all those stories you tell, and the fact the other gems are always fighting these… monsters.” She cast her eyes away, hesitant. “And, aside from you, your friends, and… your mom – I had no idea there were other gems, gem people, around. So….”

“A bakers dozen! Make that two!” Steven announced. “I have to get back, so I can ask them about her.”

“I gotcha the first time, kiddo.” Sadie resumed ripping packages and lining up the inventory. “That’s like twenty-six doughnuts, and we’re not officially opened yet. What sort of doughnuts you want? I can go through the boxes and get started.”

“My dad!”

Thump!

“Maybe he knows something about her!” Steven did an about-face and raced to the door. But halted. “Wait, Amethyst might be upset if she doesn’t get her doughnuts.” He did a little dance at the door, indecisive about what he should do and fighting the urge to blast out to the carwash. Even worse, what if his dad didn’t know anything?

“Yes, do that!” he harped.

Sadie sighed and dropped her forehead to the countertop. Adorable as Steven was, he sure was a mess.

“So,” she said, after hauling out the third box from storage. “Did you catch the name of this new gem?”

Steven sat at one of the tables, swinging his feet under the chair. “Spinel.” He was twiddling his thumbs on the tabletop, focused intently. The crash of the box snapped his attention back to Sadie.

“Spindle?”

“Spinel,” Steven repeated. Sadie gazed at him, expression perplexed. “Hmm?”

“Sorry. I’m sure I’ve heard that name before.” She shook her head. “No idea where.”

“My dad?”

“Nope.” Sadie collected up the boxes and made progress on filling up the order. “That’s half my stock. Anyway, I think it was… Sour Cream? Certainly not Lars. I think it was around Halloween, we were sharing creepy stories about stuff that frightened us, y’know, when we were kids. That guy Sour Cream told us about this imaginary friend that was a kind of variant of this crooked man, and he called it Spindle—”

Outside the Big Doughnut, Steven burst from the doors screaming, “SOUR CREAM!”

Sadie was not close behind, didn’t catch Steven, and stood at the threshold. “Steven! YOUR DOUGHNUTS!”

For the better part of the day, Steven raced across Beach City checking every nook and cranny he laid eyes on, every shady alleyway seeking the ‘Cool Kids’. He ventured to the abandoned warehouse, but the nights activities ended hours before dawn. In desperation, he tried hammering away at Lars door, but the father of Lars answered and spoke on behalf of his son that “that boy is still sleeping.” Steven raced off, exploring all the likely cool places the Cool Kids would meetup. He had no idea where Sour Cream lived, let alone other go to hangouts. He didn’t want to race out to the cliff.

At long last, Steven began a desperate patrol of the shoreline. And there, near the pier of Funland he spied the Cool Kids in the midst of a round of hacky sack. And there was Sour Cream, balancing the lumpy satchel on his knee.

“Sour Cream!”

“Huh?” He balanced the sack on his elbow, right before Steven nearly bowled him over. “Brah! What gives—” He passed the orb, and Jenny managed to nab it on her ankle. “I guess I’m taking two!”

“I have questions! Questions! And you have answers I need! Please!”

Reluctantly, Sour Cream let his arm get tugged by Steven, and went along with the pre-teen. “I was in the middle of something. Do you get bad reception at your house? Texting is a thing.”

Steven stalled. Above, the noises from screaming ride goers spilled down as the coaster careened through its track. “That’s… true. I’m used to talking face-to-face though. Heh.”

Once Sour Cream liberated his arm, he jammed his hands in his pockets. “That’s more direct. I see the appeal.” He nodded. “I can’t help but catch those vibes of tension radiating off you. You got something you think I’ll help you with?”

“I don’t know.” Steven was beginning to second guess. He was in such a hurry to locate Sour Cream, a task deemed all but possible, he didn’t gather up a good question. Or beginning. “Uh… did you ever know a gem?”

“Amethyst? Yeah. Forever a long—”

“No-no-no.” Steven took a breath. And stalled. Amethyst? He shook his head. “A gem named Spinel?” The bafflement that met him was disheartening.

“Sorry lil dude. Aside from Amy, I don’t know any gems.”

“Well,” Steven cupped his chin and considered. “What about the crooked creature? Spindle?” At first Sour Cream shook his head, but then, recognition lit up in his eyes.

“Ooh, yeah. That thing.” He turned his gaze up thoughtfully. “This critter used to hang around the city, I’d see it lurking in the shadows sometimes. Kinda spooked me, but I didn’t get the ambiance it was dangerous.” He stooped on the sand, and began sketching out a face, grin, bent body, and tall ears. “It was sort of like a rabbit, made of ramen. Say, who’s been telling you my stories?”

Steven didn’t answer. He was mesmerized by the crude picture, and could see how Spinel could be mistaken for a rabbit. Minus the fluffy tail. “Spindle?”

“Yeah! Er, don’t know where the name came from.” Sour Cream weaved his arm in the air, fish like. “It did this deal, sort of slithered up and down walls. I’d see it, but no one else could. Meh. As I got older, I stopped seeing it. One day, I guess.” He shrugged and stood. “I grew up.”

The story was very strange, but there was no mistaking what was staring at Steven from the sand. “Thanks Sour Cream. That really helped.”

“Really? I didn’t do much.” He wiped the sand from his hands.

Steven waved, as he took off. “That was all I needed. Sorry for stealing you from the game!”

“No prob. Don’t do anything I would!”

It was a long hike back to the Big Doughnut. Long, because Steven was halfway to the Crystal Temple, before he realized he’d forgotten the goods. He hurried back to the shop and raced inside.

“Where’d you go?” Sadie asked, upon coming from the back storage.

“No time to explain! I hope I’m not too late!” He grabbed the doughnuts, nearly forgot to pay, and went back to the cash register.

“Too late for what?” she was getting panicked. Steven was sweaty and red, from running around too much in the sun. “Are you okay?”

“Thanks for the doughnuts! I’ll see you tomorrow!” Steven blew out of the store, nearly plowing into Lars.

“Crud, what is it now?” Lars barked, scuttling aside. “Don’t they feed you?”

“I was just leaving!” Steven threw the boxes onto the wagon and took off, leaving a cloud of dust.

Lars scratched his head. “Weird. Usually he tries to hug me… or something else weird. Sadie!” He entered the shop. “Did you give him caffeine again?”

“Again!?”

Racing a second time back to temple winded Steven. He managed to not lose a single doughnut or box on the uneven, and soft surface of the sand. Local seagulls took an interest in his cargo, and a few brash winged beasts pursued prepared to tear apart the precious goods if the boy stopped for the barest of moments. It raised the stakes for Steven’s skirmish back to the home, but he managed.

“Shoo! Rawr!” He swung his arms at the seagulls, as he unloaded the boxes. They were still following him, gracefully gliding on wind current, while Steven ascended the steps. “AAAAAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!”

Steven plowed through the screen door. Boxes went flying, a few doughnuts scattered, and seagulls poured in through the gaping portal. “Hey guys!” More seagulls swooped in, settling on the confectionary treats slain in the madness.

The Crystal Gems gawked with varied stages of horror. Except Garnet. This was not the scenario she anticipated, but it was no less what she would’ve expected.

“My DOUGNUTS!” Amethyst roared. She shifted form mid leap, and a large liger pounced on the crushed boxes, hissing and swiping at the laughing gulls. One bit her on the nose. “OW!”

Steven rolled away before he got stepped on. He still had a lone box in his hands. “Salvaged one!” He scampered up and held it out to Pearl.

“Aw, uh, thank you… Steven.” She took the box and handed it to Garnet, whom just held it. “It took you longer than we expected.”

“RAAAAAAAAAAAAAAAAAARRRRRR!” Liger Amethyst shook her mane. Seagulls had overrun her, while she competed with them for eating the doughnuts. The birds were stealing the crumbs from beneath her jagged teeth. “THAT’S MINE YOU SEA RATS!”

Pearl grimaced and clasped a hand over her mouth. Garnet sighed.

“I think that’s enough of that.” Garnet handed the box back to Steven. “Cover your ears.” Pearl did that for him, but Steven was concerned, and dropped the doughnut container to set his hands over Pearl’s.

Garnet formed the gauntlets and walked over to the doorway, where Ligerthyst combated the bold avians. She raised her hands over her head.

“OUT OF OUR HOUSE OF SUFFER MY WRATH!” She screamed. That was it. She was loud, and commanding, and terrifying when needed.

The seagulls screeched and flapped, vacating the premises in a white cloud. In their wake, feathers covered everything, including a scratched and scuffed up Liger. “ooOow.” Amethyst pawed at the boxes, tears formed in her eyes.

Steven shifted his head to view Pearl. Her hands went tense, and were uncomfortable on his head. He couldn’t hear, but Pearl looked super upset and paler than usual. He pulled away from her grip.

Amethyst sniffled. “Nothings left. It’s all gone. Everything. Gone.”

“Look! We still have one box here! TADA!” Pearl snatched the box off the floor. She barely got the lid off, before Ligerthyst lay siege to the contents. She sighed, relieved.

Steven almost expected vultures to descend, it looked like one of those nature documentaries in the veldt. Anything would be more pleasant than those seagulls. “Um, so… did Spinel live in Beach City, too?”

The room went silent, and all three gems looked at Steven. Ligerthyst had crumbs all over her muzzle.

#steven universe #su fanfic #spinel #spinel fanfic #steven fanfic #crystal gem spinel #fallen crystal gem spinel #steven universe fanfiction #fanfiction #spinel fanfiction #steven fanfiction #garnet fanfic #pearl fanfic #amethyst fanfic #steven universe the movie #su the movie #suf

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littorella · 5 years

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Reference use

Artists should use references. No one should be afraid. I reference the hell out of everything. They help with anatomy, perspective, and teach you to be better. But it’s tough to say what is “appropriate use” and what isn’t. Where is the line between referencing and tracing?

The fact is there is no line, no rule, no right way. I feel like we should talk about this, but no one does.... so I’m sharing my own guidelines. These force me to learn and also avoid uncomfortable situations (like when you and someone else use the same reference and end up with essentially the same art.) Not official rules or anything, it’s just what I do personally.

TLDR; Mark of good ref use for me is it makes sense when you see them side by side, but you wouldn’t instantly recall the art if you saw the reference alone.

1. Never use the “entirety” of the reference

If you use the pose, do not use the clothes. If you use the clothes, do not use the colors/lighting. Change the hands or the angle of faces. You should be adapting your reference to fit your vision, not copying it, so force yourself to reimagine something.

2. Reference for only part of your art / use multiple refs

Try to draw what you can and only pick up refs for the parts you can’t quite get right. There will be gestures and objects you’ve never drawn before; get ref for those. Things you are comfortable with? Probably don’t need one.

3. For pairs, it’s ok to not use the same ref for both characters

It’s rare that there’s an exact pose between 2 people that matches what’s in your head. Do not settle for what’s in your ref if it’s not exactly what you want. Use 2 different refs or just use one person.

4. Take your own photos if you can

Use your vacation photos. Or if those are boring, get a mini tripod + remote. It’s like $10, and then you always have exactly what you want. Also, no one else is ever going to accidentally use the same ref as you. Although, careful using your face--this is how some artists end up looking just like their art.

That’s about it! In general, don’t ref another artist’s work. I feel that they’ve already done the hard work of translating to 2D, so there’s not much room left for you to learn. Reference when you need it, don’t when you feel comfortable. It’s all up to you!

#art reference #we're all just trying to be better don't freak out #don't be afraid to reference!

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cabinetofdrcaligosto · 5 years

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Simple/Cel Shading Toot

@fire-is-pretty asked if I could make a quick shading tutorial ^o^ So here we go! This is her character, Milla (who’s Raz and Lily’s future daughter!)

It’s good to get a sense/visual to where your light is coming from. It’ll help you know where to place highlight and shadow.

Another quick note. Some people approach highlight and shadow differently. I know some people that will cover the character in shadow, then erase away the highlights. While others (I do this) will start with the base and just add in the shadow and highlight where needed. Anyway you approach this is right!

Another good way to go about shading if your nervous is:

Start shading just the head, then just the body, then just the legs, etc. (but be sure keep note where your light is coming from to angle those shadows and highlights)

(Another helpful thing I found, if you have a smart phone, try setting up a simple lighting scene and take a quick picture of it if you can’t find ref on google. Using your phone to take a quick pic is super helpful with gesture drawing too! Need a hand pose? Take a picture of your hand or a friends hand in the pose you need, and draw from there ^o^)

#tutorial #asks #fire-is-pretty #i hope this helps!!#let me know if I didn't explain something right or if somethings confusing ^^;;;#or if you have questions I'll be glad to help!!!#it took me a long time to understand shading and I still make mistakes from time to time ^^;;;

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misfit-among-the-angels · 5 years

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You started and I'll finish it

Word count: 5115

Genre: SMUT

Pairing: Shinsuke Nakamura x Reader

Warnings: Smut and wrestling I guess

Summary: Alternate Universe Smackdown live where female reader starts a feud with Shinsuke Nakamura, but situation changes when Shinsuke starts to tease the reader.

You also can find this on Archive of our own

A/N: Originally I was inspired to write after I've watched some of Shinsuke's matches from New Japan. And at first it was meant to be a short fanfic, but after couple of months I came back to this with a fresh idea.

ONE!

TWO!

THREE!

The bell rang and Shinsuke’s theme song started to play. I and he were the winners of a tag team match against Carmella and Baron Corbin. Referee raised our hands and then walked to check if Baron was okay. I was resting at the right ring corner, Shin was in the middle, and it was my moment. I was cursing myself and creative for making me do this, but game is a game right, either you play along or you lose. I gathered all the energy that was left in me and launched at Shinsuke, kicking him with Kinshasa, his own finishing move. Audience gasped at this and they even stopped singing along his theme song which stopped also. Corbin rolled out of the ring as fast as he could. Referee tried to stop me, but I just barked ‘Get off’ and walked to Shin, which was now lying on his back with a hand on his neck, which was the place where I struck him. A devilish smile appeared on my face as I looked down at him

‘King of strong style, eh?’ I chuckled as I squatted down. ‘Well, it seems you’re not so strong anymore, “King”’. I made sure to emphasised “king”. As most people in the arena, Shinsuke had pain, shock and surprise written all over his face. I stood up and mocked his hand gesture and then I spat on him. Audience gasped even louder and even started to boo me. But I just shot one cold glare at Shinsuke and exited the ring. Baron wanted to say something to me, but I just gave him a death glare and stormed out of the arena.

As much as I hated to admit this, it felt so damn good to be like this, to be bad. But nevertheless, I was worried about Shin because I knew that my attempted to do Kinshasa was probably not as perfect as he would do, and, I was mad at creative because the truth is, I liked Shinsuke so much and this fucking feud was making me feel horrible.

It was next week, I was making my way to the ring where Shinsuke was waiting for me. Audience booed me, but I didn’t care, to be honest it was kinda fun.

I entered the ring just to see Shin’s sassy smile. Apart smile he was as calm as a man can be.

I grabbed mic and stepped closer to him. I looked him in the eye, ‘you wanted me, “King”, so here I am’. Shin rolled eyes at me but remained silent.

‘Don’t you dare to roll your eyes at-’ I was cut short by a knee strike to my gut which sent me to the ground. Audience cheered loudly and chanted “Nakamura”. Somehow I regained my posture, but now I wasn’t so confident and I was grabbing ring rope. Now Shinsuke stepped closer, still holding a mic. Sassy smirk was still on his face, but his eyes were burning with a cold flame.

‘I’ll see you next week,’ that was all he said. After that his music started. He gave me one last glare as he made his way out of the ring leaving me in the ring alone.

The past month was probably one of the hardest and the weirdest in my life. My feud with Shin took a really wild turn. Not that only Shinsuke was winning all the matches against me, he actually kissed me after one. I was cleanly pinned by him and lost another match. It happened so fast that I couldn't even believe it at first. But when the referee told me that Shinsuke really won, I literally lost my shit. I pushed a poor ref away from me just to find The King of Strong Style facing me with a lazy smirk dancing on his handsome face. I hated that smirk with every nerve in my body. I opened my mouth to say something snarky at him but I was literally pushed in the nearest ring corner. And the next thing I felt was Shin's lips on mine! He did that just to shut me up and to be honest, that worked too well. And in the blink of an eye a kiss was broken and I was left in both shock and arousal. I found myself fighting against the urge to break my character and just have my way with him right here and right now... But even being in character I had to behave even though I knew that if I’ll see Shinsuke one more time this evening I will lose it.

And from that event Shinsuke was teasing me whenever he could. Little touches when we had fights or flirty smiles and smirks when we talked… How he got to know my biggest secret? How he got to know that I had a crush on him? I didn’t tell anyone about this and creative couldn’t be THAT smart, so it was all Shinsuke. If it was his tactic to drive me crazy - it worked too damn well. But he wasn't the only one who had tricks up his sleeve. I had some tricks of my own and I was too far gone not to use them.

I couldn’t believe that I lost one of the biggest matches I’ve ever had in my life, and it was a damn pay-per-view too! I was too damn sure about myself winning this match that I wasn’t ready for Shinsuke.

I don’t know how I managed to leave the ring and walk all that way to the backstage. When I finally reached backstage I leaned at the nearest wall. I needed to calm my heart which was racing as hell and I needed to calm my mind, and that was hard to do. Every time I closed my eyes I saw Shin and his sassy smirk. My body longed for his touch so badly. Delicious shivers were running up and down my body. I was so damn turned on that it was painful to even walk, but I needed to reach my locker room.

I sighed and started to walk slowly. But my legs were giving up and those goddamned shivers… Well fuck me.

I couldn’t care less if someone will hear me or something, ‘mother fucker!’ I was angry, I was tired and on top of all that I was turned on so fucking much. But still, I was trying to think what I should do next...

King of Strong Style really went hard on me. I challenged him for a title shot and I thought it will be the best time to use some of my tricks.

Shin was looking extra smug today. Like it was so clear that he had something on his mind, but I’ve mistaken that for his usual smug looks. Big mistake.

At first match was going pretty well, we both were building up our momentum and we were both really focused on a match. Not until his famous "come on" pose. Secretly this was my big weak spot, every time when he did that I felt goosebumps forming on my skin. He yelled "come on" at me as usual and he probably was expecting me to eat this up and run at him like others did just to get a knee to the gut. But I had other plans. I tilted my head to the side and mocked him, yelling at him "come on" too. At first Shinsuke pouted. It seemed like he was thinking about something. Then suddenly a big smile flashed on his face. He stared to circling me like I was his prey. I kept an eye contact and I was turning with him, I could’ve stayed still, but I didn’t trust him, not when he stalks me like this. I felt my cheeks burning like hell, I for one tried to keep my resting bitch face just for the sake of my character. Finally Shin stopped and brushed his hair out of his face. He beckoned at me with one hand, not even bothering saying that famous phrase of his. But the way he wiggled his fingers got me instantly. Like he knew that this was my weakness. I stopped a moan which was trying to escape my throat and finally launched at him. Shinsuke was more than happy to knee me in a gut.

Then in the middle of a match I was trying to lock on a submission when I felt Shin’s fingers tracing my neck ever-so-slightly. My body shivered at this and I had to let him go. Otherwise I would’ve melted in Shin’s hands. I had this feeling that he knew what he was doing to me all along. I don’t know how he was able to do this when the whole match was televised, it seemed that he had no trouble at all. But I was struggling hard.

The final straw was when Shinsuke was trying to hold me in a submission and he "accidentally" moved on top of me. And while I was struggling and trying to get out of it he took his chance to grind his hips against me. He even went as far as to breathe on my neck. I almost immediately and involuntary started to grind my ass against him. This was getting out of hand. I was pretty sure that at this point my panties were basically drenched, and as knowing that Shin slightly bit my neck. I no longer couldn’t take this slow torture, so the only option I was left was tapping out.

The bell rang and Shinsuke was still a champion while I was lying in the middle of the ring and trying, with my arousal clouded brains, think what the hell just happened.

I was half way to my locker room when suddenly the familiar voice of AJ Styles asked me, ‘whoa, who’s got so unlucky to be called "motherfucker"?

‘Shinsuke’, I hissed, trying hard not to show how I actually felt, I just wanted to be left alone. I didn’t need any company or comments. But I stopped and faced him.

‘Well I can admit, he can be an asshole sometimes,’ AJ smiled at me. ‘But you two have an incredible chemistry going on in the ring. I always love watching the two of you’.

‘Oh, so you enjoy seeing me being beat up by your best friend... How fucking nice,’ I rolled my eyes at AJ. ‘Do me a favor and tell him that I will make him suffer next time’.

I turned from AJ and started to walk away when I heard him saying, ‘it might be the other way around…’

I didn’t pay much attention to those words only because I thought that AJ was either speaking of something else or just fooling around. But little that I know AJ was actually sent by Shinsuke. Only if I had known that I would have paid more attention to AJ’s words.

When I reached my locker room I finally was save from all the unwanted attention. Shower might help me calm down, but first I’ve got an idea. I searched for my phone which was in my bag, when I found it I opened my front camera to record a little video for fans and obviously for Shinsuke.

‘Today you won by a sheer luck,’ I said and stared intensely at my camera. ‘But don’t forget Nakamura, that title belongs on my waist’-I made a wider shot and pointed at my waist-‘so be ready to lose your crown “king”. I smiled at the camera and stopped recording. I probably could’ve done something better but hopefully this will do.

I added that video to my tweet and wrote, ‘today I lost but I’ve got a little reminder for @ShinsukeN’. I clicked send button and headed to shower to wash all my sweat and arousal away.

Shower indeed helped me relieve some tension and I came out of it feeling really fresh. I immediately checked if Shin responded and yes, he did. I sat down just in case if I’ll see something triggering. Knowing Shin it could be anything. And especially right now he probably will try to get into my head even more. I opened his tweet, he didn't wrote anything, so I took a deep breath and clicked on a video. What I noticed immediately when video started was that someone filmed this from Shin’s phone, it wasn’t just a random selfie like video. He was casually resting against the wall with the same sassy smile that I knew so painfully well.

‘You still want this,’ Shin pointed his long finger at championship which was around his waist. ‘Come and get it!’ He winked and video ended.

Shiver ran down my body but I only smiled to myself.

I was too tired to go explore the city so I decided that the best thing that I can do at this moment is to grab a book, curl up in my hotel bed and just forget about Shin for a moment. I usually wouldn’t do this, I’d go and explore city, take some pictures and get my rest this way. But my body and my mind were exhausted after that match. Shinsuke indeed hits hard. But I wasn’t worried about bruises and stuff, I still couldn’t get my mind on this whole teasing thing. Maybe it will sort itself…

Evening went really good until my phone’s screen lit up. The hell?! I was a bit annoyed but when I saw that it was a massage from Shinsuke I sat straight up in my bed. Since when he sends me direct messages on twitter? And since when he talks to me behind all wrestling stuff? We barely see each other on a daily basis. This was strange but it got my really curious. A video message, let’s see…

‘Let’s settle this once and for all. Meet me at the ring side tomorrow’s night. It’s gonna be just the two of us. And if you meet me tomorrow I promise, I won’t do anything stupid in our match next week,’ video ended leaving me a little bit confused but excited.

I played video couple more times just because I find his accent cute.

I wasn’t in the mood for recording a vid as an answer so I just wrote, ‘I’ll be there’. I picked my book again and tried to get my mind off of this matter, but I couldn’t. Why suddenly this became such a personal matter? Why we couldn’t sort this out next week?

Under my confusion I couldn’t help myself but to feel intrigued. A lot can happen when it’s just me and Shin in an empty arena in the middle of a night…

This was it. I was standing near the entrance to the main area where the ring was already standing. Darkness surrounded me and I couldn’t see shit. I could’ve use my phone’s flashlight but I didn’t mind darkness. My heart was racing, it was so strange to be in this big building alone in the night. I took some deep breaths. I was too curious to run away, but let’s see if curiosity will kill this cat.

My eyes finally got used to the darkness and I could see a silhouette of a ring. I walked slowly towards it. I reached the ring and walked around it – nothing. I was a bit confused because Shin said to meet him at the ring side. I didn’t know what to do next so I jumped on the apron and stepped in to the ring, I always wanted to stand in the middle of it in an empty arena at night. I was standing in the middle of the ring, darkness and eerie silence surrounded me, it was a thrilling experience.

One minute I was standing in a darkness and the other minute I was in a spotlight. It was so sudden that it blinded me. I blinked few times to let my eyes adjust to the sudden light. Anyone else would probably freak out at this point but I was enthralled. But this light was not enough for me to clearly see what was happening on the ring side. But wait a minute, I can see a silhouette of sorts. I turned myself in the direction of it. The silhouette was siting, that I could see, but I couldn’t see anything else. I assumed it was Shinsuke. Who else could it be?

And as I was thinking about how Shin planned all this, another spotlight turned on and shone directly where I thought Shin was siting. But it wasn‘t him, it was AJ.

‘What? You were expecting someone else?’ AJ broke the silence.

‘Am... I was supposed to meet Shinsuke here,’ okay, now I was really confused. ‘But what exactly are you doing here?’

‘Oh yes! I forgot to mention that he’ll be here in a few minutes. But while we wait I just wanna clear some things and ask you some questions, okay?’ He didn’t answer my question I noticed that but decided just to wait and see.

‘Okay, but wh—’

AJ quickly interrupted me, ‘just by honest okay? I really wanna hear a truth’.

‘Okay, go ahead’.

‘Okay then. You know that hotel room walls are like thin paper. You basically can hear what other person is doing, right? So other day and even few days back in this month I might have heard some noises coming out of your room, even Shinsuke has heard them,’ he gave me a lazy smile. ‘But hey, we might have misheard it and it could’ve been not you, it’s easy to misjudge something like this. So could you give me any information on this? And remember - truth!’

Oh shit they know! My cheeks were burning, suddenly I felt so exposed. I wanted to hide form the spotlight and from AJ’s piercing eyes. Even if I’d try to lie my body would betray me, my face was already betraying me. I was sure AJ noticed how red my cheeks were. I cleared my throat not knowing what I will say, only one thought came into my mind. Play it cool and smooth.

‘And what kind of noises you’ve heard? I might have been singing along to some songs or who knows, I might’ve been talking in my sleep’.

AJ’s smile grew a bit bigger, ‘oh you know, inappropriate ones. You even have said Shinsuke’s name few times. What were you doing?’

I opened my mouth to say something but then I closed it, I wasn’t sure what I wanted to say. I closed my eyes for a second and at the same time took a deep breath.

I opened my eyes just to see darkness and emptiness around me, both of our spotlights were gone and AJ was gone too.

All of a sudden I felt someone’s presence behind me. Then all too familiar voice whispered in my ear, ‘All this time you couldn’t keep your hands and you were touching yourself wishing that it was my hands instead. Am I right?’

I couldn’t help but bite my lip. I didn’t dare to turn around even though I knew what I will see in a spotlight. Shin brushed my hair out of his way and placed small kisses on the back of my neck.

‘Shin…’ this was all I could managed to say, it sounded more like a moan than like my usual voice.

‘Answer me’.

This man will be the death of me…

‘You’re right,’ I was capable only whisper this but Shinsuke heard that anyways. And then he was gone. I bit my lip again preventing a whine which threatened to leave my lips. I already wanted to feel his lips on my neck. I heard him walking and soon I saw him standing in front of me, his spotlight was following him. Big smile was dancing on his lips. Shin was looking like he was about to hit the gym with his red sweatpants but strangely without a shirt.

‘Since our feud started I asked AJ to keep an eye on you. I didn’t know you but you intrigued me so I wanted to know more about you. At first, AJ didn’t bring any useful information, not until that one time he heard you. I believe it was after that spontaneous kiss of mine. Not sorry for that, I couldn’t resist,’ Shin cheekily showed his tongue at me, still teasing me. ‘Then we changed our rooms so I was always next to your room and you didn’t even notice that’.

So I gave my secret away without knowing it, stupid me…

Shinsuke wanted to say something but I decided that I won’t have any more teasing so I just stepped in and kissed him. It wasn’t a slow and passionate kiss, it was fierce and dominant. I imagined Shin was not ready for this but he definitely enjoyed this kiss as much as I was enjoying it. It was not long before my hands started to wander. I basically moaned in his mouth when my hands caressed his strong back. He smiled in between our kisses and went to hold me by my waist.

Soon we had to break our kiss because the lack of oxygen. Gods, Shinsuke was looking absolutely gorgeous, his hair was a bit messy, he was breathing deep and his abs were showing off just in a right way.

‘Oh I didn’t know you were this desperate,’ Shin raised an eyebrow at me. ‘I guess the teasing really got you’.

‘Oh shut up! I swear if you don’t fuck me right here and now I–’

‘I will,’ big smile appeared on Shinsuke’s face. ‘In time…’

I don’t know what I did, but one second I was ready to punch him really hard and the other I was laying on a ring mat with my hands above my head and Shin on top of me. His face was millimeters away from mine. We stared at each others eyes for a while but when I felt his grip on my hands relaxed I moved quickly and now I was straddling him.

‘Really?’ I chuckled. I didn’t wait his replay and leaned in to steal a little kiss from him. In process I harshly pulled at Shin’s lover lip and started to move my hips against him at the same time. I felt him shiver against me. I smiled. I took of my shirt but I left my bra on. Let’s drive him crazy.

I kissed my way to Shin’s neck, giving him couple of bites and licks. Then I slowly moved to his collarbones and his chest. All this time I never ceased to move my hips. Finally feeling him hardening against me. I smiled at him, suddenly stopping all my movements. I moved between his legs. I palmed him through his sweatpants, looking at him and registering all of his facial expressions. Shinsuke’s eyes was challenging me but he was biting his lip and this view itself made me even wetter. I slid down his sweatpants and boxers and his cock sprang free. I licked my lips and leaned down slowly licking his cock from the base to the tip. I did this few times without breaking an eye contact. But then I focused on a tip, slowly swirling my tongue around it and then taking it in my mouth. I felt him shivering against me and then he let out a low growl. This growl made me feel goosebumps all over my body. I gave him few little licks on his tip and then I wrapped my mouth around his cock, slowly taking him inch by inch into my mouth until he hit the back of my throat. I felt my eyes watering a bit but I could control my gag reflex, so I wasn’t bothered. Shin slightly thrusted his hips up and tangled his hand into my hair. While slowly sucking him and swirling my tongue around his cock in my mouth I raised my eyes to look at Shin and what I saw was beyond sexy. His head was thrown back, eyes closed, few strands of his hair draped on that handsome face… He even muttered something in Japanese, I couldn’t understand that but it was sexy to hear his low voice in this silence.

Soon I started to pick up a rhythm, constantly changing between sucking and licking his cock. This sent shudders through his body, his abs rippling as he was convulsing in pleasure. He was close. But I didn’t want to give him what he wanted this easily. So slowed down my movements again, taking him out and slowly pumping him with my hand. But then Shin did something I wasn’t ready for. With his quickness and agility he basically got me into some kind of a submission lock. We were in a sitting position, Shinsuke was behind me, he spread my legs and hold them in place with his own. My back was against his chest, his cock was pocking at my lower back.

Shin brushed my hair out of his way again and breathed on my neck. He unclasped my bra and tossed it away, ‘you really thought I will let you this easily have your way with me?’

My answer was turned into a moan when his palms reached my breasts. He teased gently over my nipples for a moment before beginning to pinch and tweak them, ‘go on, moan, I waited long enough for this’.

He gave my nipples as much attention as he could give, it was until this point where he only brushed his finger over them and I shivered. I was so close to begging him to touch me where I needed his touch the most, but Shin read my thoughts and slowly slid his hands down my stomach. I was happy that I wore sweatpants too, so he easily slid those off of me with my panties together.

At this point I was dripping, I moaned loudly when Shin finally ran his fingers along my lips, all the way up to my clit, ‘ohh fuck…’

Shin’s fingers began circle my clit slowly, sometimes teasing my entrance but not dipping in. My head fell back on his shoulder giving him better access to my neck. His other hand was gently massaging my breast and nipple. Finally he decided not to tease me and slipped two fingers inside me. Slowly pushing his fingers in and out, in and out. Never penetrating me deeply. But this combination had me in an absolute ecstasy. My body was shivering against his, eyes closed, little breaths and moans escaping my throat. I felt like I was about to explode. And just as I thought my orgasm was going to hit me, Shinsuke pulled his fingers out of me.

��How badly do you want it?’ he teasingly asked me. I wanted to move and slap him or teasing him like this as well but Shin was holding me tight so I gave up and played along.

‘Oh gods Shin, please…,’ I begged him. ‘I want it so bad, I want to your long fingers inside me!’

‘As you wish..,’ He was satisfied with my begging so he slipped two of his deliciously long fingers inside me again and started to finger me in a quite fast pace. His fingers were brushing over my sweet spot and paired with him biting my neck was my undoing. My toes curled, my back arched, I moaned his name loudly. But Shin didn’t stop pushing his fingers in and out of me and soon my second orgasm washed over me, even harder than the first one.

My body went limp against him, smile was on my lips as I was catching up my breath, ‘your fingers can do magic’.

Shin chuckled as he pulled his fingers out of me, ‘wait until you see what I can do to you with this’. He grinded his cock against my lower back.

This was probably my moment to straddle him again, but I just enjoyed way too much having him this dominant. So he laid me on my back and then Shin lowered his body and his cock landed right where I wanted it. I bucked my hips to urge him. He gave me a teasing smile and slowly pushed himself into me. He felt amazing. Shin was completely buried inside me. He was laying on top of me, and looking into my eyes. But not moving. I felt him inside me, but it was not enough. I wanted him to move. I wanted him to fuck me. I tried and moved my hips, but he had me pinned down. Gods, what was he doing to me?! Teasing me again?! Sensing my agony, Shinsuke slowly started to thrust into me. Yes, this is what I wanted! I closed my eyes and arched my back, enjoying how amazingly good he felt. Shin leaned in to kiss my breasts and slowly picked a faster rhythm.

Soon Shinsuke was moving faster and faster inside me and gods, I could feel it and he could feel it too. Shin slid one of his hands between our bodies to circle my clit and eventually pushed me over the edge. Shin followed me soon enough, with a heavy moan he pushed deep inside, filling me with a warmth that spread from deep in my belly making me moan again. Shin collapsed beside me, I turned my head to look at him. Shin’s hair were draped around him, small droplets of sweat running down his face, his eyes closed… This view made me smile breathlessly.

Our hotel was nearby this big arena and thank gods for that. And so as we finally walked out of that big and now silent building, we found AJ casually sitting there and basically doing nothing. He heard our steps and raised his head.

‘Finally you’re done with whatever you were doing,’ AJ pretended he didn’t saw that we were holding hands. ‘But next time please, don’t be so goddamn loud’. He gave us a little smile walked towards hotel.

I looked at Shin and he looked at me, few second passed and we started to giggle like a couple of schoolgirls.

‘I don’t know how much he have heard but I will tease him about that,’ I giggled.

‘Me too,’ Shin brushed his hair out of his face held my hand more tightly and so we followed AJ to the hotel.

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