conception tips

concept: i wake up early fully rested and excited to start the day, i go on a run, eat healthy meals, wear nice and comfortable clothes that i feel good in, i go to school to see my many kind friends who love me and would do anything to protect me. i take tests and ace them, i have perfect high A’s in all my classes. immediately when i get home i do my homework and finish it all before dinner. i understand everything i’ve learned. i read and write for a couple of hours before bed in my huge room, full of bookshelves and potted plants, while rain pounds on the window, and then i drift off to sleep….

rain witch self-care tips 🌧

- allowing yourself rejuvenation through dancing under the rain

- gazing at majestic gray clouds and only finding inspiration in them

- keeping a rain-scented candle for those times in which you’re missing the cloudy days

- doing deep-breathing exercises outside (or in front of an open window) during storms, inhaling the freshness of the air

- likening yourself to the earth after a rainfall, utterly cleansed and purified

- drifting asleep to storm sounds

Right, here we go with my brand new series of tutorials, entitled How to THINK When you DRAW. I’m going to hit a massive range of subjects, techniques and approaches in this series, so there should be something for everyone, no matter what your interests or ability level.

Oh, and if you have any area of drawing that you’d particularly like to see a tutorial for, TWEET US HERE with your REQUESTS, and I’ll do my best to tackle them for you :)

The first two tutorials are looking at how to draw draping or hanging fabric and creases, enjoy!




anonymous asked:

How might one choose between a first person and a third person limited POV? Does it matter based on the plot or is it entirely a matter of preference?

I have two answers for this: 

1. It matters quite a lot.
2. It’s entirely up to your preference.

I can hear someone groaning in the background. “Bryn’s stopped making sense again.” Pray tell, when have I ever made sense..? Let me explain a bit further then;

Here are some points to look at when deciding between first person and third person limited, and why none of them actually matter all that much:

*Note: All mentions of third person refer to third person limited.

- First person tends to be more predominate in YA fiction. Some readers might relate it entirely to YA. Some readers find it a more immature voice, and expect to see it used where cliche whiny and brooding YA protagonists are involved. On the other hand, there is absolutely nothing to say that your story needs to follow this trend. First person can and has been used in fantastic books for all the same genres as third person has, and there’s nothing that should stop you from making it your own and doing with it exactly as you wish.

- First person can make it easier for a reader to connect to your character and is a more fluid medium through which to convey emotion and voice (ie, your pov character’s personality coming out in the unique way they narrate). This might be good if your story revolves more about the emotional journey and growth of your pov character and less around the plot itself. On the other hand, third person can accomplish exactly the same connection if you make a point to include your pov characters emotions and thoughts, tune up your narrator’s unique voice a notch, and are willing to do a little extra editing. 

- Third person makes it a lot easier to work in multiple povs. If you’re writing an epic fantasy, this might be something you can’t (or don’t want to) work around. On the other hand, there’s no rule against having a key character narrate from first person, while the rest narrate from third person. There’s also a growing trend of having multiple first person narrators, though to pull that off well you have to have very strong distinct voices for each narrator. 

- Third person makes it easier for the reader to be kept in the dark if your pov character is withholding information from the reader, because that small step of emotional detachment makes it a little less obvious when your pov character refuses to think about certain things. On the other hand, this is hard to pull off (without sufficient editing) when using any pov, so why not just go with what you prefer.

tldr; There are reasons you might pick either first person or limited third person over the other, but neither of them will ever prevent you from telling the story you want to tell. 

At the end of the day, I’d go with what feels most natural to you and to your point of view character. 


A warmup sketch from this morning. Process gif goes over my thought process step by step. If you want more tutorial check out my youtube videos! 
1. Sketch
2. Silhouette Block In
3. Matte Shadows
4. Color Dodge the Inverse Selection of the Skeleton
5. Pattern
6. Fill Light Above
7. Highlights
8. Cast Shadow And Background


└ “Yokoso Wagaya e~” says Kizoku Tantei.

Cr: Kizoku Tantei 01

querulousartisan replied to your post

Honestly, when I was going to school for graphic design and illustration, all of my teachers that worked in the industry have stated that this is a very encouraged technique just because of how fast you need to make a piece and make deadlines. It has a bad rep because of the people that abuse it, but it is a valid thing to use.

No joke! The concept art world is VERY similar. The professional world for commercial arts (that is, graphic design, illustration, concept art, anything that’s not “fine art,” basically, and “fine art” honestly rips stuff off in much worse ways) is built around producing high volumes of work around tight deadlines. Anything that saves you time is a valuable tool in your belt.

Like, those beautiful concepts of environments that you see are often photos that have been warped around, blended together, and painted over. Of course you have to have a good grasp of perspective and lighting and a solid painting technique to pull it off, but it’s still a lot faster than painting stuff from scratch. Especially when it’s 8am and your art director needs to see 3 concepts for this environment for the meeting after lunch. Look up “matte painting” sometime, it don’t mean the same thing as it did in the 70s:

(A table of contents is available. It will be kept updated throughout the series. This series will remain open for additional posts.)

Part Fourteen: Concept Is Not Plot

I’ve always said these post series may receive new entries as time goes on, but I believe this is the first time I’ve gone back to add another topic to a past series. It’s good, and folks should remain aware that these sorts of pop-up additions can happen.

Recently, my writerly-coworker came in to my office to commiserate about his writing project and the scene he’s currently stuck on. We talked about climax scenes and I shared my own climax difficulties, which moved on to talking about other stories we’re stuck on and what scenes caused the pause. As we talked, it occurred to me that the problem both of us butted against was that we had a concept, but not a plot.

I went through each of my current projects: a flying city that literally docks into a port on the ground of the planet, occasionally taking off again without warning, with no schedule, that could be gone for weeks or years and sometimes returns without all its people; a dryad boy whose family turns its members into books; an illustrator of textbooks commissioned to paint the sky except that the sky hasn’t been seen by anyone alive; an alchemy engine through the center of the earth where magic makes homes in the walls of the shaft and sometimes geysers of magic spring up at random across the surface; an ancient race of people left advanced technology across the world after retreating underground to be forgotten about, mythologized, and eventually demonized.

Every single one of these is a concept, not a plot. Remember that plot consists of conflict and the events that build and build in tension until they reach that boiling conflict that is the climax before tapering off in the resolution and conclusion. Not a single one of these has a conflict built into them yet. Each has the implications of conflict, but not the actual conflict itself. Especially if we’re the type of writer to dive in without an outline or plan, we can fall into the vulnerable trap of having no plot without realizing it.

More difficult is that many of these concepts don’t indicate a character (some do, some don’t). To write a story, you must be able to take a concept and develop it enough to have a plot–the story itself–and often that plot can be grown from a character dealing with your concept. Most crucial to the development of that conflict and the plot that leads up to the climax are the characters who’ll live with and come to deal with the original concept you want to explore. Consider who your main characters may be and how they fit into the concept you’ve dreamed up.

How are their lives impacted by the flying city, and how are others in the world dealing with the same concept, whatever that concept is? What kinds of problems could this create for the characters? These problems, and the impacts of whatever your concept is upon the characters’ lives will help later when you’re trying to come up with obstacles and build the up-and-down, try-fail-try-again mechanic of the plot itself.

Once you have the understanding of who you’re writing with and their connection to the concept, you can begin thinking about what goals your characters are pursuing. Part of basic character building is thinking of what a character’s goals are, what they’re dreaming of, what they’re striving toward, what they want to achieve and how they’re moving toward that endpoint. The GOTE tactic of character and plot creation is based in this central idea that every character is trying to do something. Use those goals and the impacts of your concept on the world and the lives of those living in it to integrate the inherent problems created by the concept into the characters’ arcs. Using all those things you considered about how the concept shapes the world and the people living in it–their reactions, their understanding, their tactics for dealing with it–you can build some obstacles and problems to overcome for the plot that are directly centered on the concept.

Take those two things (the character as an entity that exists within this concept, and the character’s goal), and twist them together with a couple of good obstacles created by the concept idea itself (and maybe some obstacles created by virtue of the character themself). By entwining those, you can still achieve a story that heavily features the concept that drew you to the story in the first place, while building a plot that you can actually write a cohesive and impactful story about. Does all of this mean I need to rethink every single one of my story starts? Yes. Yes it does. Don’t worry if you’ve realized this is also something the stories you have on pause are suffering from. I’m right there with you, putting my concept in context.

Dear men designing costumes for active women

Maybe you’ve never had to think about these things but I SURE AS HECK HAVE

1) Revealing bras are NOT good for physical activity because they don’t hold the chest in place. Believe you me, running around without a proper sports bra HURTS LIKE THE DICKENS. Real jiggle physics are painful, man. 

2) Long, loose hair looks amazing but it’s a huge disadvantage in any kind of combat. It’s hot, it’s distracting, it gets in your eyes and mouth, and it’s way too easy for an opponent to grab. Ponytails and braids are much more practical.

3) Tight booty shorts and leotards = wedgies and chaffing. Not what I personally would pick to wear if I wanted to do anything remotely athletic. And yes, olympic gymnasts wear leotards but they also use spray adhesive to hold the fabric on their butts. 

4) High heels are for parties, not for hand-to-hand combat. When wearing heels, your stride length and power are severely limited, not to mention the balance issue and the damaging strain that a kick would put on your ankle.  Have you ever tried to kick anything while wearing heels? I have. It’s pitiful.

5) Utility belts looped loosely around the waist may accentuate the body in a flattering way, but I can say from experience, if you run for any amount of time with a heavy belt hitting your hips and ribs, you are going to have some serious bruises. Tighten that sucker up.

In summary, I am fully aware that your design choices are completely up to you, but please understand what you’re putting your characters through when you choose their costumes.