black convertible

anonymous asked:

How would the 2Ps react to a piano being dropped on their car?

How would the 2Ps react to a piano being dropped on their car?

2P America: he’s more confused than angry. His car was a piece of crap anyways. If it were to fall on his motorcycle, however…

2P England: that was his Mini!! He’d be sad and I’d have to fight whoever was responsible

2P China: he doesn’t have a car, but he’d probably think he was just on a bad trip if he saw a piano fall on a car near him

2P Russia: he’d just be so pissed. Just. So pissed.

2P France: Time To Get Smashed™

2P Canada: he’d probably go out drinking and get into a couple of fights to let off steam

2P Italy: he has a few others, but if that was his Spider, there’s going to be an Issue™ (it’s a black, convertible Ferrari 458 Spider. It’s so nice.)

2P Germany: he’ll probably get Luciano to take care of this for him

2P Japan: that’s gonna be a bit of a problem

2P Romano: did some dumbass really just drop a piano on his Lamborghini?? Really?? He was having such a good day

2P Prussia: is his life a cartoon??

Sin City

Genre: Smut, literally nothing but smut 

Pairing: Reader x Jungkook [Demon AU!] 

Word Count: 3.4k-ish 

Based on this beautiful video I found on YouTube



Originally posted by sugamysavagebaby


Demons are lining up as the black convertible pulls up to the entrance of the club. Men and women scrabble to get their phones out as the handsome devil walks over the red carpet before tossing his keys to the valet driver. Cameras flash and the crowd screaming his name earns them a smirk of his red lips and a wave of his hand. Women faint in delight at the beauty and grace exuded by him.

“Jungkook!” The owner of the club greets him excitedly, pulling him in for a short hug, “It’s so good to see you.”

“You too, Jimin,” He responds, adjusting the sleeves of his shirt, “I’ve heard you got some new girls in town? Care to tell me more about it?”

“Tell you?” He scoffs, slinging a hand around Jungkook’s shoulder as he begins to lead him from the main stage to one of the more private rooms, “I’d much rather show you.”

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Da, da, da, daaaaaaaa…… that’s a little more dramatic than I had intended. I love all these wonderful Sai tutorials that get posted on here but I haven’t seen much attention payed to Sai’s Lineart tool which I can’t get enough of. I’m sure there probably are Lineart Layer tutorials out there - I just haven’t come across one so I’m just adding to the pile. The Lineart tool is so awesome it deserves any number of tutorials anyway. It’s so easy to use, it saves me so much time, and it offers so much control which I really love. Honestly, the tool is so easy to use that this is less of a tutorial and more of just a general encouragement to just whip it out and start playing with it. Yeah. So say we start with a simple line like this swirly-wirly thingy that I drew with the marker tool. Well, the first step would be to create a linework layer by clicking the linework layer button.

There we go. Now, a lineart layer in Sai is different from any other regular layer in Sai and it will bring up a completely new range of tools. I’m gonna briefly go through them but the best way to understand exactly what each does is to just try them out for yourself. There’s no substitute for experience or however the saying goes.

  • Pen - This is your freehand lineart tool and to best honest I don’t really use it that often. That’s just me personally. I have an expensive gaming rig that has all sorts of magic running under the hood but we all know that Sai’s memory management is pretty crappy and I don’t need the lag or crashes that come with this tool when working at a high DPI. You may have a different, entirely pleasant experience with this particular tool but for me, if I’m doing freehand inking, I’d much rather just use the regular Pencil tool.
  • Eraser - Kinda speaks for itself.
  • Weight - This one I do love. Say you’ve drawn a line - or a path as Sai calls it. With this tool you can adjust the thickness of the particular line by simply selecting the brush size and then clicking on the line.
  • Color - Same as Weight. Simply select your desired colour and then select the desired line you’d like to change. Very useful. For the aesthetic.
  • Edit - This one comes with its own subset of mini-tools that I’ll get into in a moment. But this is definitely a useful tool - for me it’s probably the most useful.
  • Pressure - This is the one that adds the character to your linework. I’ll explain further below.
  • SelPen - A selection tool. Pretty standard. Since the Lineart layer works in ‘Anchor’ points (which again, I’ll get in to further down below) I don’t really use this one.
  • SelErs - Selection Erase. Goes hand in hand with the SelPen. I can’t say that I personally use this one  much.
  • Curve & Line - The Curve and the Line tools are the cornerstones of the Linework layer. I’m explain both further down.

The Edit tool, as I mentioned, brings up its own list of sub-tools. And they definitely have their uses. Again, it’s best to play around with them to truly get a grasp of what they do but I’ll just run through them quickly before I get on with the main tutorial.

  • Select - For selecting anchor points of paths. Honestly, I don’t really use this one too much simply because hovering over a point or path and clicking will select it.
  • Move/Add - Now this one I use a lot. Moving an anchor will affect the curvature of your line if you’ve used the ‘Curve’ tool, or you can add curves to a straight line by clicking and dragging in between anchor points.
  • Delete CP/Curve - Kinda speaks for itself. It will delete an achor point in your line. Sometimes this can be useful for making your curves rounder if you’ve added too many points to it.
  • Deform Path - Again, kinda self explanatory. It will warp your line. I don’t really use this one myself but that’s not to say that it couldn’t have its uses.
  • Deform Anchor - See above.
  • Move Path - Instead of moving just an anchor or adjusting the curvature of your line you can move the entire line at once. Can be useful.
  • Duplicate Path - Does exactly what it says - creates a copy of your line. Haven’t found much use for this simply because I don’t particularly like copy/paste stuff in linework. Faults or differences add character.
  • Delete Path - deletes a line you’ve drawn independently of other lines on your linework layer. Can be useful as well.
  • Connect CPs - This is difficult to explain the benefits of. It’s one that should be experimented with. It basically joins lines together. I use it quite often. Just pick this option and drag from one anchor point to another to join them.
  • Pointed/Rounded - See the diagram below for this one. I find it very useful.

As you can see I used the Curve tool to draw a simple curve (left) and then I used the Pointed/Rounded tool to convert the curve into a point (right) by selecting the tool and then clicking on the anchor point at the height of the curve. I find it very useful. Anyway, back to our swirly-wirly thingy.

Because our swirly-wirly thingy is basically one long curve, I simply select the curve tool and start clicking. Starting at the centre point on one end, I click to add anchor points as I trace the shape of the object. Each point adjusts the curvature from the last point. It’s kinda hard to explain verbally or even visually but try it out and you’ll quickly see how it works.

Once I have a line over whatever I’m inking done I like to adjust the weight to suit my preferences. I like to work with thicker lines because they give more room to play around with weight. So to adjust the weight you click on the Weight tool, select a brush size and then click on your line. If only it were that simple in life.

Once I have a good weight selected I move on to the Pressure tool. The pressure tool gives you two options. Pressure for width and pressure for density. Width is like controlling the weight of the line at individual points and density controls the transparency. I don’t usually use the density option. As with traditional inking I prefer to denote depth, shadow, etc. with weight as you can see in the image above. To adjust the pressure, simply select the pressure tool and then select an anchor point. Click, hold and drag to the left to make the line thinner of more transparent and to the right to make the line thicker and more dense. As you drag, a percentage will appear over the anchor point you’ve selected. This can be useful for keeping things consistent.

That’s all well and good for curved lines but what about straight lines? That’s where the line tool comes in. It works exactly the same way except it won’t add a curvature to your anchor pints. Still very useful though. Especially when combined with the Weight and Pressure tools.

Here’s an example of one my drawings. It’s Dark Empress Kitana from Mortal Kombat. The one in red is the pencils which if converted to black would probably make a pretty good linework layer. I’m a firm believer in taking the time to clean up your sketch/pencils layer because it will dictate your entire drawing. The one below in black was done using Sai’s linework layer feature. Although not entirely.

As much as I love Sai’s linework layer, it can look a little too clean which is not great when you’re drawing people. Although, it’s all art so it’s all up to personal preferences and personal style. There’s no wrong way to do it. For me though, I prefer to do skin, facial features, hair, etc. by hand using Sai’s Pencil tool on a normal layer and reserve the Linework Layer for architecture, clothing or any non-organic substances. I inked Kitana’s eyes and eyebrows freehand ( or as freehand as you can be with Sai’s amazing stabilisers) but everything else such as her armour or her fan weapon thingy was done using the Curve and Line tools on the Linework Layer.

I hope this tutorial has been useful. Or if not useful - then at least encouring to try out Sai’s linework layer. It’s such a robust feature that I don’t see get much attention and I can’t even begin to describe how much time it saves me or how much I adore it. If you have any questions (because I’m well aware how unsuited I am to writing tutorials - this is so damn rambly - sorry!) then feel free to drop me an ask here at keithbyrneart.

P.S, sorry about my handwriting in the stills. It’s gotten a lot messier these days.

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For the past 6 months or so, I’ve been illustrating a weekly column for The Forward, a new york based Jewish newspaper. The questions deal with interfaith life, as more and more modern jews begin relationships and families with non-jews. Here are a few of my favorites:

1. A black man converting to Judaism feels left out.

2. How can a mother and father from two different religions talk to their son about god?

3. A jewish girl going off to college wonders how hard it will be to keep kosher.

4. A pregnant woman ponders moving to a city without a jewish community.

5. A woman feels uncomfortable when on vacation with her boyfriend’s liberal family speaking out against Israel

6. A woman considering converting to Judaism.

7. A Catholic husband worries that he and his Jewish wife won’t be together in the afterlife.

“ LEXA KOM TRIKRU ” // The concept for this edit is about Lexa in the city of light. Obv city of light its not a paradise but i imaginated it as a quite and beautiful place where everyone is in peace.
This portrait edit is inspired by the classic italian portrait “ Il ritratto di una dama ”.
Those lights symbolise her candles and her peace and love with Clarke. Since she is like an angel ive convert the black colors into white (the circle in her forehead, dots = they initially were the black paint )

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A Converted Factory Turns Into A Family Home | Kempten, Germany

(Source: vosgesparis.com, Photos by wertvollfotografie)

We Intertwined: Ch. 1

An Ignis Scientia Story

AO3 | Chapter 2
Word Count: 1,600

@ladyscientia @chocobro-daydreams @chocobrodreamteam @iinkpools @mistressoli @cupnoodle-queen @itshaejinju  

Ever since he was a child, Ignis had a curious mind. He was always seeking knowledge, always curious to know minute facts about seemingly insignificant things. He wanted to know about the geography of Eos, the traditions of the Lucian royal line, the tales of Ramuh and Shiva. He loved hearing those stories, loved falling asleep to his mother’s voice, telling him about the might of the Archaean.

But Ignis’ favourite bedtime story by far was the one about soulmates.

“It’s said that everyone has a soulmate,” she’d told him one night, running her slim fingers through his tawny hair. “The Astrals created life on Eos. Creatures that walked on four legs with four arms and two heads. They had two hearts, two brains, and two souls. The gods were so afraid of their power that they split them in two, and humans have been wandering Eos in search of their missing halves ever since.”

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anonymous asked:

What are messianic Jews and Black Hebrew Israelites and why are they considered "people who sometimes call themselves Jewish but really, really aren’t?" Sorry if this is a stupid question.

This is a bit of a thorny one, but not a stupid question. I’ll do my best to answer.

Messianic Jews, very broadly speaking, are Christians who appropriate the trappings of contemporary rabbinic Judaism in the process of worshipping Jesus. Sometimes, people who are actually ethnically Jewish are involved in these religious movements; this doesn’t make them not Jews, but it doesn’t mean they’re actually practicing Judaism, either.

Messianic Judaism is not considered Judaism by any normative sect of Judaism; rather, it is a branch of Christianity as described here. I also recommend reading this (long) post by a (non-Jew) who got involved with Messianic Judaism and later left.

Ultimately, though, Messianic Judaism is theologically incompatible with actual Judaism, and mostly manifests as non-Jews appropriating the practices of actual Jews. This is offensive to many Jews because Christians have historically been our oppressors, and Christianity has been an instrument of our oppression. For Christians, who spent millennia denigrating our traditions, to now turn around and steal them in service of a religion that was founded in opposition to Judaism, is very offensive.


The Black Hebrew Israelites are a diverse constellation of different groups, mostly African-Americans, who believe they are the descendants of the ancient Israelites. This often coincides with denial of actual Jews’ Jewishness, and calling themselves “the real Jews” or “the true Jews”, which is offensive, inaccurate, and hurtful to actual Jews. I know less about their religious practices, but they often involve Jesus, and so cannot be actual Judaism. They may therefore be seen as a type of Messianic Jew. 

The issue of race complicates this, especially in the North American context, where many ethnic Jews have access to whiteness, and white privilege. As a result, it can appear that our criticism is based in racism or anti-blackness - and unfortunately, sometimes it is, Jews being no more immune to prejudice than anyone else. (It should go without saying, but racism of any kind is unacceptable.) Further, there are Black Jews (both converts, and those whose families have always been Jewish) who take umbrage at being lumped in with Black Hebrew Israelites, even as they struggle to be accepted as the Jews they are in the (actual) Jewish community. 

(An addendum: I am not Black and so I’d like to defer further discussion of the Black Hebrew Israelites, and Black Jews, to actual Black Jews. So I invite further comment in general, and especially from any Black Jewish followers.)

theguardian.com
Moonlight's Mahershala Ali: anti-Islam prejudice 'not a shock' if you have grown up black
Oscar-nominated Muslim actor reveals additional discrimination he has faced since converting to Islam in 1999
By Andrew Pulver

“If you convert to Islam after a couple of decades of being a black man in the US, the discrimination you receive as a Muslim doesn’t feel like a shock. I’ve been pulled over, asked where my gun is, asked if I’m a pimp, had my car pulled apart. Muslims will feel like there’s this new discrimination that they hadn’t received before – but it’s not new for us.

[…]

My wife stopped wrapping [wearing a headscarf] in New York … as she had so many bad experiences. She didn’t feel safe anymore”

Ali said an airport worker had let slip he was on an FBI watchlist after 9/11 and that his accountant told him “his name had been flagged” when he tried to rent a property and discovered his funds had been frozen.

Editing Manga Icons for Skintone: A Guide

Well, as long as I’m in the process of editing these icons, I might as well throw a tutorial together for anyone who might need it.

As you’ve probably noticed, there are very few manga faceclaims out there with darker skin colors, which seriously limits FC options for some muses, since not everyone is comfortable with live faceclaims or can draw their own. SO, here’s a simple guide for how I edit my icons

I’ve found this method is easier with icons that are already cropped & resized, so it’s probably in your best interest to make the icons before editing. It’s pretty quick (even if you’re like me and use a crappy laptop trackpad); editing one icon usually takes under 1 min. once you know what you’re doing. 

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Anonymous asked:

How do you use ’ ; ’ in a book ? I searched but don’t understand it. I’m afraid that i use it wrong


Semi-colons are used in three ways:

1) To connect two independent but related clauses.

I bought a new car today; it’s red with a black convertible top.

2) To punctuate lists that require the use of commas.

My have several meetings around the country next month, including places like San Diego, California; Toledo, Ohio; Boston, Massachusetts; and Atlanta, Georgia.

3) To separate lists that are related but different, or when the separate clauses already contain commas.

I need several items at the store. From produce, I need: salad, corn, grapes, and celery; from the deli, I need: sliced turkey, sliced cheddar, and sliced roast beef.

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