cheating at perspective

One day, I hope I’ll be able to write exposition half as good as this…

anonymous asked:

Kind of a random question but what do you find hardest to draw?

I have my good and bad days with the common art difficulties like hands and feet but only ONE thing I am 100% bad with is this

Symmetric fuckers like this thing but at an angle/perspective where I cant just fucking cheat with the flip/perspective tool will take my life away I s2g

This is the country of God

Ghosts of the past
Their aging skills cast
The shadow of death
Serpent tongues
Invite to relax
Invading intruders
Get into the act
Troubadours on the side road
Day dreams are turning to stone
Ballet shoes spin on
Apollo’s light turn into hilarity
Dead man bones rattle on the doorstep
Roses of doom bloom in cheat and chivalry
Ministers perspectives metamorphosed
In teenagers monkeys
This is the country of God and Satan takes a nap in heaven

Important Revelation

Me: Laslow totally has a thing for masked men. 

Me, a few days and two shitposts later: But you know, he could also have a thing for guys with cravats…

Me, after finally playing Conquest: Laslow most definitely has a thing for dem titties good choice my boy

(XanderOdin, Keaton, and Saizo C-A supports/Kaze and Niles DLC conversations)


Now what post by me would be complete without some shitposting?

Me: Wait a minute…

Me: OH SHIII—-!!!!!!!!!

draggyfication  asked:

Hello, I love your art so much and how you draw Tobin! I was wondering though if you could give any tips on how to draw his hair?? I dunno why, but it is really difficult for me. No pressure if you are busy or don't know how to explain it.

aaaaah thank you so much!! ;; I always have a blast drawing Tobin so I’m glad you enjoy my spin on him! And yes of course I will do my best to explain! Disclaimer though: I’m not entirely on-model when I draw him and I exaggerate the volume of his hair quite a bit, but here’s a couple quick sketch things I made to try breaking down my process. Hopefully it’s somewhat helpful… :’D

His hair was a little tricky at first but I found that breaking it down into layered shapes made it much easier for me. Also I sometimes cheat perspective a little when drawing an otherwise boring angle (like in the profile view, you would never see that much of his bangs on the far side but it helps make the silhouette more interesting). Merging the bangs with the top layer of his hair to create one shape is technically closer to his official art, but I find that separating the bangs gives me a little more freedom to add movement. Then I’m not stuck trying to manipulate one huge shape instead of two smaller ones.

the ahoge is completely unnecessary but it is a personal/unfortunate habit of mine to put it on everyone I draw so uh. yes.

ANYWAY thank you again for your nice words and I hope this helps you with your own art!! I would love to see your Tobin drawings sometime…! ;;

When Nick and Judy’s friendship truly started

For me, the scene when Chief Bogo and the rest of the police back-up squad confronted Judy after her and Nick’s dangerous chase in the rain forest district with their claimed “savage” witness truly set the start of their friendship.

WHY you ask? Well, if you can hang in there long enough to read this long explanation(that’s really long overdue), here’s why:

First, did you notice Nick’s face in this scene when Chief Bogo strongly demanded Judy to hand over her badge?

He looked confused.

Because Judy Hopps– the self-determined, overly optimistic, and stubborn bunny cop that was annoyingly dragging him along her long chase after a missing otter just because she hustled him– was being cornered and indirectly degraded into nothing more than what she was: a simple bunny. And he couldn’t understand why they treated her and saw her that way. 

“She is a bunny but she’s still a cop”. I could read that thought from looking at his face.

He knew he joked and teased her about what she was all the time and stated those facts about her dreams will die and that they can be nothing more than what they are: a sly fox and a dumb bunny– that she won’t ever be a real cop BUT he knows that after all the things they’ve been through together like after putting him in danger and saving him from it that she IS in fact a good cop. And that he was wrong about her because she was more than what she was and she was fighting to prove it.

He saw her differently after that.

And he defended her which he could never even imagine his sarcastic, selfish, sly, and untrustworthy self would do. It wasn’t like Nick to get himself in trouble against cops or even defend one. He was NIck Wilde! He was a sly, shifty and quick witted fox, who would know to stay out of trouble if it meant he couldn’t gain or profit anything good from it. BUT he didn’t do that. He put himself out there for her sake. He didn’t even defend himself after Chief Bogo stated “Do you think we would believe a fox?” It offended him but he didn’t dwell or act on it because he was already used being seen as that but not Judy. 

Even Judy couldn’t believe what Nick was doing. He was sticking his neck up for her to her boss which after knowing him for a short period of time is not likely to happen. Ever. It was the first time he acknowledge that they were in this together as a team, and also the first time that he ever put himself in this case seriously. Judy realized that he did care.

And she saw him differently after that. 

They’re both natural enemies in terms of biology, they’re not friends, they were both in this only by agreement because they both had something they wanted, AND they are two very different animals/persons: one is a determined and hardworking cop while the other is a law breaking and cheating entrepreneur, each with opposite perspective about life. So it’s surprising on both their sides for this ever to occur in any circumstances. 



During the sky tram ride, they let their walls down for the first time. And they became honest to each other. They had both showed sides of themselves that were vulnerable. Even that is a hard thing to do with a person you really barely know about in a day or even thought of as a friend. 

It’s easy to block people off from your world, but to let your walls break down and letting other people in is a different because it is a lot harder. We don’t like it when other people see us in a perspective we are not proud of. It’s not because of their criticism. No, it’s because sometimes we let ourselves think we are the representation of our worst selves– our fears. We believe and get carried away by our negativity and self-doubt that sometimes we let it manifest itself within us. It makes us feel ugly and lonely. And sometimes even when we don’t realize it, it makes us monsters– our very own inner demons manifested outside of us because we let it win over our consciousness, because we lost sight and hope of who we truly are and who we want to be– which is the very best version of ourselves.

Nick was a representation of this and Judy was the mirror representation of it. Which is where the moral of this movie comes in: “You need to believe in the best version of yourself and try to see the bright side of every situation you’re in. It’s not about what you are, it’s about who you truly are as a person inside. Because you are unique and no one can take that away from you.”

That conversation in the sky tram was a real moment between the two of them. They weren’t talking about the case. At that moment, they were being real towards each other. They had a connection. It was because of that that they gave each other more trust. It’s things like that honest to goodness moments of realism that builds a strong relationship toward anyone.

They both saw each other in a new light of respect– not just as a police officer or a business man or that they’re from different species of animals or predator and prey, but as simple living beings with emotions.

And that’s when their friendship truly blossomed.

You are allowed to think for yourself

People pointing out problems with things are not always correct.

Sometimes they’re right, and sometimes they’re wrong.

The fact that someone is yelling at you, using social justice terms, and calling it a call out, does not in itself mean you have done something wrong. It just means that someone is angry at you, for reasons that may well be justified, and may well be completely off base, and may well be partly right and partly wrong.

Sometimes people calling you out are right, and sometimes they’re wrong.

The only way to figure out what’s true is by thinking about it. There’s no algorithm you can use to mechanically figure out who is right. You have to think for yourself, and consider using your own thoughts whether you think the things someone is telling you are true or not.