“someone was cutting down the dead, wilted trees behind the back exit of the tum audimax and there were only a handful of them still standing to reflect the warm morning sun. i guess this wall is going to be all blue for quite some time now”
you get me out of it, old bread, sheets needing wash, shirts on wires, wind lifting corners—curving edges in the air. i think of you. my mind pushes you on me. my mind constructs emotion. which? lust, yes. thrust need. skin desire, to feel your back against my chest as we sweat naked and you look at me from over your shoulder and our eyes make lines. Breath stoking cell division, the need again/post-lust. i think of you. i am lonely. my mind becomes theatrical. i turn an engine of scenarios. i do everything right and transcend as an agent of lust. we combine together and fall. we descend and make a fireball and this burns charcoal. the pressure forms a visage of love. i sing. you hook your ankle into my hamstring. we form lines worth statues. you get me out of it and make me a mosaic.
Can you imagine Remus’ face the first time Sirius called him “babe”? It just slips out of his mouth all naturally one day when he meets Remus on the common room and gives him a little peck on his lips and asks “where have you been, babe?” and James raises an eyebrow in amusement, Peter gasps for air trying not to laugh, Sirius aggressively blushes, open-mouthed while he realizes what he just said and Remus’ corner lips curves up in a tentative smile as he answer “I was waiting for you, babe”.
During a visit to London in 2008 I fell in love with the square font used on the British car number plates. I was immediately inspired to start working on this font and have been developing it intermittently ever since. Several more trips to London and the project evolved before it finally took off and became Shentox. Despite the starting point being inspired by simple, everyday car plates, the font soon evolved into something fine and very rich in detail. Even though the square genre is very restrictive, Shentox is a highly legible contemporary font with a full range of weights, useable not only as a display family for headlines and posters, but as a distinct, clean font family for branding and general editorial use (Especially magazines). It has been carefully drawn paying extra attention to the details, high end finishes that makes Shentox a safe font for use in large scale work. For example, the curves of every individual corner have been adjusted character by character to avoid the common problems encountered with square fonts (Eg. darker corners between weights or a visually inconsistent radius between the Upper and Lowercases as a result of copy/paste). Shentox italic, which has a 12 degree slant, has been corrected to avoid distortion when slanted. The radius of the upper-right and lower-left corners are more pronounced, giving it a more fluid Italic feel. Shentox is available in Open Type format and includes ligatures, tabular figures, fractions, numerators, denominators, superiors and inferiors. It supports Central and Eastern European languages. This type family consists of 14 styles, 7 weights (Thin, UltraLight, Light, Regular, Medium, SemiBold and Bold) plus italics.
Spent some time in New York during my break! I’m a fan of mountains and green fields, so New York was far from what I love but I enjoyed spending the day exploring the corners and curves of this huge city with my friends. I definitely recommend visiting if you like famous landmarks, tall buildings, and busy shops!
mosaku-san, how do you do your lineart? i suck at those tbh and yours is so *meow* ;w;
OH I HATE LINEARTS TOO ESPECIALLY FOR BIG PICTURES that’s why sometimes there are periods I change my style because I’m too lazy to make a lineart (but if you do make a lineart, once you are half-way, you get a sense of accomplishment to keep going too so it’s not all bad though!).
I think the key point to making line arts look better are the “stronger/thicker” lines or the varied “thickness” of the line art.
(I’m still in AkaKuro repentance)
I edited this for the example.
Green circle: I usually put those “thicker lines” on those parts where shadow usually casts on the forehead. The other times, I don’t. But if you feel like it, you can put those thicker lines where the “curves” or “corners/turning area?” are.
Blue circle: I also make thicker lines for those parts I want to show different depth. Like for example, for the ERI (the collar). To kind of show it’s inverted, I cast a shadow on the parts to show that it’s standing up and not flat on the wearer. Same as the other blue circles. I put them to show how the clothing actually bends (where they go to).
Purple circle: I just get bored so easily so I also sometimes shade in those little parts with dark shadows.
Brown circle: To pop out an object, you can thicken the lineart of the said object like so.
Aaaaahhh anyway, I think looking at the picture will be better to understand than my description (。┰ω┰。). But anyway, the point is, to vary the thickness! At edges, at separate objects and at partitions (for example to separate the obi from the rest of the kimono, etc.). Oh but be careful too because you might make one object pop out too much. You should balance them out, don’t put too much thickness only on one side or one part (it might look like a cut-out).
Oh, I’m using the Pen Tool at around 89% opacity at the above picture.
If it’s a manga-esque thing like the Rakuzan + Kuroko one I’ve done when I started Tumblr, I go ahead and shade everything in the line art itself to make it more interesting. For the shading, I didn’t just slab the pen to make a flat shade, instead, I scribbled with a small brush. Sometimes I cheat and slab a big part, but I still leave some parts to be left for the small brush to scribble on.
I used 100% Pen Opacity here.
Lowering the opacity can make your line art look “softer”. One hundred percent makes it sharper.
My personal taste in line art is actually the not-so uniform one. So I do not practice “carefulness” when drawing line art, I just draw away and not care about it being perfect. I almost always draw above it anyway (when editing- and you can too- and if you make a mistake, you can always erase around it). This also lets me avoid the stress of having to draw perfect lines because I can never draw perfect lines. My hands shake like the ones holding the sushi in TV shows.
However, I care about it being “understandable* in a sense that you can tell one object apart from the other, and that’s where the line thickness will come in handy!
I also color my line arts to make them appear *softer*.
I color the line art of the eyebrows, jaw, eyelid, eyes most often. You can also see that in Kurokocchi above.
Ah, if you can see Akashi above, some linearts are drawn on a different layer. Sometimes, I add things after I’ve finished the picture and I just put them above the whole thing instead of erasing the previous lineart. It makes it easier for me to color that way because I’ll just select the outer side of the lineart and Inverse the selection to get the small objects. It also allows me to reposition the small objects however I want later on if I change my mind where I want them. This is also why sometimes I separate the layers for two characters standing side by side in case I get the wrong height difference. For the Aomine - Akashi picture, I separated Aomine and Akashi into two Groups where the lineart and the colors are all under their respective group.
Depending on the art, if I want to make the line art stand out more, I duplicate the layer and merge them together. That always works for me (in SAI) to make the line art darker and more prominent :D. Instant fix. I still color the line art after to pick out the parts I want to look “softer”.
Sometimes, I delete parts of the line art when I’m coloring like the fold lines, once I know how I want the fold to look. :D
If you want to make your life easier when you color, you can separate the layer you’ll put the shadows (in the lineart) so it will be easier to select the parts later on. I don’t do that because I hate having many layers (^w^;; ) ← makes life harder for self
These are the ones I can think of!
(((((((((((っ･ω･)っ (Don’t tell yourself you suck) ε=ε=┏(ﾟロﾟ;)┛
Well, have you ever noticed how on every plane you’ve ever been on, the windows you look out of have rounded corners? Those curves are pretty much the only thing keeping the plane from tearing itself apart in midair like in that scene from Fight Club. It distributes the stress to all of the various points along the rounded curve, rather than on that one sharp corner, which otherwise would (as they found out) tend to pull apart and form a crack over time.
Trust us, this was not easy to figure out. Experts had no idea why the planes weren’t holding together until they tested the structure by simulating the repeated pressurization of the cabin. Sure enough, the fuselage eventually burst like a bootleg condom, and the break started with cracks right at those window corners.