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#yes I'm rambling what of it
solarpunkani · 4 months
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sometimes spite is a powerful motivator and today its motivating me to crochet
long story short I saw a cool bag on pinterest while I was looking for crochet patterns but there was no fucking pattern but one of my friends found a pattern for a similar but not quite bag so I watched an hour long video, transcribed it into text, and am now gonna make a wholeass backpack just because Sunflower Vibe
Wish me luck I guess
Also this is the bag
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lazylittledragon · 3 months
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do any other artists feel like. yeah you're a 'good artist' because you draw things that look nice, but like. TECHNICALLY? you're really not great
i really hate that i can recognise that yes, my art is good, but is it VARIED? is it dynamic?? is my anatomy good? is it full of texture and colour theory? do i know how to do This? can i do That? no, not really. and that's quite painful actually
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raycatzdraws · 2 months
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ribbonwood
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tarufai · 2 months
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shimmershy · 11 months
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Chara Week Day 5: Ghost
Every time I see that machine in the True Lab, I wonder if it could possibly be Chara's soul in there? Probably unlikely, but not impossible... It's interesting to think about what the implications of that would be.
A version with no text and then a version with just the machine, because I think it looks pretty cool and ominous alone as well.....
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mixmangosmangoverse · 28 days
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So when a celebrity says something pro Palestine or even pro Hamas everyone goes "yeah woo celebrities should always use their platform to talk about issues"
But when a celebrity says "actually killing Israelis is bad" suddenly celebrities shouldn't get involved in conflicts and shouldn't use their platform to talk about issues
It's so blatant that people just mean "celebrities should only boost the opinions we deem correct and should never ever express sympathy for Jews, that's so lame"
I'm so done
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chronicowboy · 7 months
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thinking about the way arthur looks to merlin whenever he disagrees with his father or in any moment of internal conflict and how he does this as early as episode five when lancelot is punished. just like. merlin is his moral compass, his impartial party, the person that doesn't expect anything from him but will tell him when he's wrong but he's also the person standing at arthur's side when arthur dares to stand up to his father, he's the servant that isn't afraid to point out when uther's wrong and side with arthur, and arthur trusts him implicitly.
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dragon-spaghetti · 2 months
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Yous don't want to know how many sketches exist of me fighting for my life w this
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^ plus most recent lineart wip
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fangswbenefits · 3 months
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I love how much of a complex and intricate character Astarion is.
You can approach his story in so many different ways, and it will still make sense, depending on your perception of events and what we are given canon-wise.
I don't believe there is a singular, correct way to handle his trauma. Everyone is different. We all pour bits and pieces of ourselves into him, as our experiences shape how we interact with his story.
It's truly fascinating to read all these different perspectives surrounding him.
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minzart · 7 months
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Disney mirrorverse is so funny
(A brief sumary of actual scenes in the game)
Malleficent: YOU ARE A DISGRACE TO THE FORCES OF EVIL!
OOgie Boogie an agent of chaos: ÒwÓ
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Malleficent: Belle, sweety, I don't go around calling you out for your mistakes do I? No? So silence.
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Jafar the second he sees the absolute mistake it was creating the mindless evil mirror versions: SPIT THAT OUT. SPIT. THAT. OUT. I DID NOT GAVE YOU PERMISSION TO EAT THAT THING-
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Rapunzel after 3 seconds alone with Oogie Boogie seeing the others arriving: OH THANK GOD MALLEFICENT AND BELLE ARE HERE-
Malleficent: ... that would be the first time anyone reacted like that to my arrival... strange
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Also... DOES CAPITAIN HOOK JUST WEARS TICK-TOCK AS A FUCKING MANTLE HELLO?????
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DRAWING BACKGROUNDS: TIPS AND TRICKS
So many people are afraid of drawing backgrounds and I think it's a shame, so here's some tips and tricks, because I'm not perfect at it myself but I think the hardest part is really just knowing where to start.
First off: Perspective
Yeah, yeah, that's the scary word. But I promise you, once you're familiar with the basics, backgrounds are a LOT less intimidating. Don't get discouraged if WHEN you have trouble with it. Even professional artists struggle with it. I promise you, screwing it up is good and normal. That's how you learn after all!
Now I'm not going to go into detail on how to do it here, because honestly there are a thousand and one free resources online and in libraries that can explain it far better than I ever could in a singular broad-strokes tumblr post. But I AM at least telling you you should familiarize yourself with these basics:
Important Terms: Horizon Line: A horizontal line across your canvas, showing your viewer's eye level and providing a location for most of your vanishing points. Vanishing Point: Integral to drawing in perspective. The sides of a 3D object get smaller as they become farther away from the viewer in space. This point is where the parallel lines of a side eventually meet.
The Basic Types of Perspective: One Point Perspective: Good for drawing things that you're looking at straight on. Two Point Perspective: Good for drawing things at an angle. Three Point Perspective: Good for drawing things the viewer is looking up or down at, especially at an extreme angle.
[Click images for ALT descriptions]
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And if you're comfortable with these and serious about improving your skills for use in storytelling, I also might suggest looking up:
4 Point Perspective: Great for extra wide or tall shots and for camera tilts if you're doing an animation or animatic. I think some other names for this in animation include "banana pan" and "warp pan."
5 Point Perspective: Fish-eye lens. Good for all your angsty anime boy slipping into madness needs!
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Some perspective tips I wish someone had told me earlier:
Objects' relation to the horizon line is constant. A super helpful tip to remember when placing a character or object in space is that they will always (assuming they aren't changing in size or moving up or down) have the same relation to the horizon line no matter how far or close they are. If your horizon line is at shoulder height for your focus character in the foreground, any character of the same height in the background will still line up with the horizon line at the shoulders.
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How to pick the distance between your vanishing points: 2 pt perspective uses 2 vanishing points, 3 pt uses 3, etc, etc, but how close should they be? Well, first of all, for anything that isn't one point perspective, one or more points will usually be off the canvas. Super annoying, I know, but the closer your vanishing points are, the more warped your drawing will become. Second, a helpful thing to know is that choosing the distance between your points is basically the illustration equivalent of picking your camera lens! Photography buffs will know that wider (shorter focal length) lenses show more space and make the distance between foreground and background more dramatic, while longer focal length/telephoto lenses are flatter, and more focused and intimate. The same is true of vanishing points that are closer (shorter focal length) or farther apart (longer focal length).
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2 point/3 point/etc doesn't actually mean you're limited to that many points total on your page. this one confused me a lot when I was getting started, lol. A lot of examples will show you drawings of nice, neat cities or something, in which all the buildings are facing the same way in order to demonstrate perspective drawing. But in real life, buildings don't all face the same direction. They're at all sorts of different angles. So how do I do that??? Answer: Just because you're drawing in 2 point perspective or whatever doesn't mean you... have to actually keep your 2 points in the same spot. You can move them around, just keep them the same distance apart, so you're not screwing up your camera lens.
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Other Tips:
Use reference! The instant you try to draw a house, you're going to forget every house you've ever seen. That's just how it goes. Buildings are complicated. Do yourself a favor and collect a few reference images first, buddy!
Consider details (like architectural style, amenities, and materials) Your building will look more like a building when you keep in mind that buildings have gutters and door knobs and light switches and paneling and stuff, and aren't just boxes with roofs on them. Again: reference! You will forget electrical sockets and baseboards exist immediately. Art brains are dumb.
Use details and texture to fill in negative space Giant stretches of blank space tend to be boring and distracting. Put a few suggestions of wood grain or something on that wall back there, bud, just don't overdo it.
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Line weight Darker, thicker lines draw more attention, look heavier, and look closer to the viewer than lighter, thinner lines do. Take advantage of this to draw the viewer's attention to your focal points, de-emphasize less important details, and imply depth. It's up to you to decide how you want to use this and what your style is, especially once you start getting into combining or replacing it with shading, values, and color, but a helpful rule of thumb is to try reserving your thickest lines for focal foreground characters and use thinner lines on backgrounds, especially details in the far distance.
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Perspective guides If you're drawing digitally, take full advantage of any perspective tools you have access to! A lot of art programs lately have begun adding perspective guide features that let you set up vanishing points and then literally guide your hand as you draw so you stay in perspective. Some of these include Procreate, Clip Studio Paint, and Adobe Fresco. (still sadly none in Photoshop as far as I'm aware, what the heck, Adobe!). Check through the settings of yours to see if it gives you any perspective guides or other similarly useful tools. They're 100% worth it! And for god's sake, if you've got any skew or perspective warp tools, draw your complicated shapes flat and then warp them instead of spending an hour on it! Don't make my mistakes!
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thatrandombystander · 2 years
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Thinking about how when Sunrise was making Code Geass, they got CLAMP (who made Cardcaptor Sakura amongst other things) to do the character design
Except CLAMP was originally formed as a BL/yaoi doujin art group before they started making original work, so they also made some REALLY homoerotic official art of Lelouch and Suzaku. Like, you can find these in the artbooks or even on screen during episode credits
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I just think it's hilarious how CLAMP had to witness whatever the hell was going on between these two, pick up on it enough to make official art of it, and then watch as the show included numerous women in love with Lelouch
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lazylittledragon · 3 months
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Not trying to be rude or anything but you shouldn't use the word 'manic' or 'manic period' etc. unless you actually have manic/depressive episodes because it downplays how severe those disorders can actually be. They're just words but unlearning harmful terminology like that can help destigmatise mental illness and I would hope youi would want to do that.
yeah it's almost like i used those words specifically because i DO understand how severe they are
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oddlittlestories · 6 months
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So I love House because it's one of the only shows I've ever seen that acknowledges how hard life can be while also having fun with it all the way down. He makes Wilson a fun video in the c word, like seriously.
And the inherent complex morality of how screwed up the characters are. Like how they deliberately hurt others, or accidentally do, and how all of those motives are not always but often the same motives that drive them to do their kindest acts. How hard it is to show up and how fear and pain make us act out. How showing up and connecting is the key
Something something bad and good are not opposites something something reasons to live & fun in the darkness something something fear of death, fear of being alone & fear of being in pain vs. the euphoria of knowing & loving & experiencing
it's just so human
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shadow-the-crow · 7 days
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The Distortion didn’t like Michael as a who.
I mean, it says itself that it doesn’t want to be Michael. But the who and what thing actually brings us farther than that. It shows us his whole arc.
We all know the quote "i am not a who, archivist, i am a what." When i first heard it, i thought: Makes sense, it’s an inhuman creature, not a person, it just can’t have enough identity to be a who. Like it says itself.
But in Michael’s statement, it talks about having your who torn from your what, and replaced with another who. So it actually did have a who before becoming Michael. And it even admits that Michael also was a who, a who that became part of its being.
I think… it could just never accept being Michael. As it said, Michael Shelley was a constant reminder of its failure – the embodiment of it. The Distortion was forced to become the embodiment of its failure. To think with its mind. Of course it could never accept that. Imagine how horrible that must be – despising your own mind. (I think some people can relate to that, actually. I’m sorry if you can. I can.)
So it tried to disassociate itself completely from being Michael. To pretend it was only a what. I mean, we see that it’s comfortable with it/its pronouns as Michael, but not as Helen. As Michael, it embraced its inhumanity – not because it wasn’t comfortable with being a person in general, but with being that specific person it was forced to become. A person whose mind wasn’t made for the Spiral. Its failure incarnate.
But just before the Distortion in its Michael form dies, he ends his statement with "that is who i am". WHO. (thanks @totheidiot for pointing that out to me ^^) Michael finally got to talk about everything he had to endure. For the first time, he said the cruel truths out loud: How much it always hated being Michael Shelley. He told Jon everything, which also forced him to face the truth himself. And i think facing it finally allowed him to accept it. Accepting how shitty something is is the first step towards learning to live with it and maybe even learning not to hate it.
He could finally accept his mind. His who. Every part of himself.
And not even two minutes later, he died.
(Of course, the Distortion itself didn’t die. But its current state of existence died. It finally accepted its who, only to get it painfully torn from its what again.)
Because he got too lost in his who. Talking to Jon allowed him to be more human. But the cruel world he lived in doesn't reward humanity. It exploits the weakness that comes with it.
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misteria247 · 1 year
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Fun facts I keep remembering randomly:
12 Leo is not only a swordsman, but he's also archer. Like this kind is able to use a bow and arrows just as well as he can use the blades he gets his hands on.
It's wild.
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