how does one photoshop and color because i sure as hell do not know

Extremely frank Reaper/Gabriel Reyes discussion and analysis follows:

I mean this in the politest yet bluntest way possible:

Gabriel Reyes/Reaper is hardcoded mlm.

I’m going to level with y’all

Gabriel/Reaper is legitimately one of the strongest mlm-coded characters in current media.

And before people go, “You’re biased, you’re pulling this out your ass,” Gabriel/Reaper is basically a “mlm character designed and written by straight men (mostly).”  I’m actually willing to believe that Blizzard has semi-decent intentions with him at this point, but from the outset, Gabriel/Reaper’s design is so blatantly “we aren’t entirely sure how to design/write a mlm character so we’re gonna kinda throw everything at the wall and see what sticks.”

I am not saying all mlm individuals in real life behave like this or do these things.

Rather, I am saying that these are mlm stereotypes perpetuated in the media that artists, designers, and writers at Blizzard have seemingly applied to Gabriel Reyes/Reaper.

Here’s the “we took every major mlm stereotype and built it into Gabriel Reyes/Reaper’s character” list:

  1. Talking with a slight lisp
  2. Incessantly sassy, sarcastic, and sardonic
  3. Wearing jewelry (Reaper canonically wears a silver bangle on one wrist, seemingly only for aesthetic purposes)
  4. being dedicated to “an aesthetic” - single major color palette, with “pop” accent colors like red and silver
  5. Dropping pop culture and music references nonstop
  6. wearing heels
  7. Wearing skintight clothing
  8. His entire “we’re vaguing this” relationship with Jack Morrison/Soldier: 76
  9. The fact that zero female characters in the game hit on him (as opposed to Soldier: 76 and Reinhardt, where Ana compliments the former and straight up flirts with the latter)
  10. Quoting Edgar Allan Poe
  11. frankly, literally dressing himself as the deadass “opposite” of Strike-Commander Morrison (while Soldier: 76 basically dresses “the opposite” of Commander Reyes).
  12. He makes his own Halloween costumes
  13. the implication that the only people allowed to call him by a nickname (Gabe) are Jack Morrison/Soldier: 76 and (rather reluctantly) Sombra
  14. Death Blossom - although the Ultimate title is a reference to The Last Starfighter, Chu has joked that it’s related to Gabriel/Reaper hurling roses at Jack/Soldier: 76.  When someone on twitter make a photoshop of Reaper attacking Soldier: 76 with a bouquet of roses on Valentine’s Day, Michael Chu joked, “Well, it is called Death Blossom.”
  15. Having a paired spray with another man (Jack Morrison/Soldier: 76) - the Commando “Contra references” sprays
  16. Continuing to call Soldier: 76 “Jack” despite 1) “hating him” (or so we are told), 2) Soldier: 76 trying to obscure his name, 3) Soldier: 76 technically having been “Strike-Commander Morrison” to Gabriel Reyes/Reaper for decades says a lot about Gabriel/Reaper’s attitude towards Jack/Soldier: 76.  Despite having a major fall out and literally fighting each other, Gabriel/Reaper persists in calling “John Morrison” by a personal nickname.
  17. If “This is my curse” is, in fact, a Killswitch reference - holy hell, y’all.  Holy. Hell.  “This is my curse/ The yearning/ This is my curse/ There is love/ Burning to find you/ Will you wait for me?/ Will you desire?/ Your silence haunts me/ But still I hunger for you.”

There is no “cute flirtatious banter” between him and any female/feminine character in the game.  By this, I mean interactions that are comparable to, say, the McCree-Hanzo “this is thirsty work” lines or the Pharah-Mercy “Let’s keep the skies clear” lines or even the Ana-Reinhardt “and you look as lovely as ever” lines.  In fact, arguably, the only lines where Gabriel/Reaper actually has “cute flirtatious banter” are with Jack/Soldier: 76.

Soldier: 76: Well. You sure take to this bad guy thing easily, don’t ya? (said with laughter)
Reaper: And you sure know how to play boy scout. (said in a teasing tone)

Soldier: 76: One of these days someone is gonna to put an end to you.
Reaper: I invite them to try.

The latter is seemingly the reason why Soldier: 76 will sometimes say “Well, someone had to do it.” when killing an enemy Reaper.

(Meanwhile, on Soldier’s end, he either is entirely oblivious to Ana’s compliment on him “looking pretty good,” or he straight up ignores it.)

Once again, I am not saying all mlm individuals in real life behave like this or do these things.

What I am saying is that these are, by and large, stereotypes of mlm individuals portrayed/perpetuated by media that Gabriel Reyes/Reaper exhibits.  And while I think many of them are more entertaining or better-portrayed than many other mlm characters in media, we should keep in mind that these all snowball into something much bigger.  Something that Blizzard has only seemed to fuel with the Uprising content.  Whether or not they ever actually act upon it in a direct or outright manner is debatable, but regardless, here is what is currently present in the game, comics, and animations.  Furthermore, Chu has recently retweeted “familial Strike team content” from a major fandom artist who has posted and continues to post Reaper76 content.  The official Overwatch twitter retweeted content from a different major fandom artist who posts Reaper76 content almost exclusively (though the retweet was of Blackwatch content).  Even if the content itself does not directly show Gabriel Reyes/Reaper engaging in romantic interactions with another man (Jack Morrison/Soldier: 76, in these cases), it DOES mean both Chu and someone on the Overwatch social media team are watching these artist accounts.

But yeah, sure.

It’s all “subtext.”

(that’s sarcasm, btw.  Because some readers will take that literally.)


“So, what are your plans for Valentine’s Day, loverboy?” Stiles asks, glaring at his overstuffed burger, trying to figure out the best way to take a bite out of it without making all its contents fall out.

“You know, nothing much. Kira’s coming over. We’ll have dinner with my mom and then we’ll hang out. Nothing too wild. We’re staying in,” Scott replies, licking his lips after having magically figured out how to angle his jaw for maximum burger enjoyment.

“Yeah, ‘staying in’ is code for ‘marathon sex’.”

Stiles picks two french fries from his plate, stalling for time before trying the giant monstrosity of a burger.

“What?” Scott shakes his head, leaning back in his seat. “Nah, man. It’s a full moon tonight, I don’t want to risk it. I know my control is good, but… I just want to be safe.”

Stiles twists his face in an incredulous pout. “You’re scared of turning furry in bed? But you told me she liked it. In great detail, should I add. Seriously dude, I know a lot about your dick, we should be worried.”

Scott face turns an interesting shade of pink, pursing his lips in a way that means he’s trying not to smile. He fiddles with the straw of his drink nervously.

“She does like it,” he admits, his eyes going a little hazy, before he shakes himself. He snaps his attention back to Stiles and adds, in a lower voice, “But it doesn’t mean I want to lose control tonight. All the other times it happened, I wanted it and she wanted it. I don’t want to accidentally bite her butt or worse. I want to be myself.”

“Fair enough,” Stiles says, shrugging, trying real hard not to look guilty about momentarily picturing Kira’s butt in his mind.

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korrasforevergirl  asked:

Would it be okay to ask how comics are actually made? Like are the panels drawn out first and the story put in them or does the story have to be planned and drawn before the panels go down? I would use bing but I don't know how to word the question right to where I don't get everything but I was looking for so I can make panels the right way. There was something that lets you make it on tablet, but I have no tablet

Sure! This might get long, so hold onto yer butts.

Creator-Owned IPs vs Licensed IPs
We’re gonna start off with a broader understanding of the different directions comic creation start from. Creator-owned books (we call them ‘books,’ though we mean comics, and this umbrella includes both single issue series and GNs) are exactly what they sound like: IPs that are owned by the creator(s), series like Saga and most Image titles; original graphic novels; and designated creator-owned series from publishers who handle both licensed and creator-owned works. Contracts differ for exactly how much a creator-owned IP is owned by either publisher or creator, and this is why people like the Image comics model, because creators own all of it. This sounds like the best case scenario, of course, but it’s a tough road, because you need to have a pitch ready, your pay is almost always back-end (meaning you get the profits after you sell; advances are either small or rare), and it helps to have notoriety to get the right eyes and ears on your work. Licensed IPs on the other hand are works that already exist, and then are licensed out into comic form. Think of video game comics, or comics series like Adventure Time and Legend of Korra. Licensed work also tends to have lots of chefs in the kitchen, which is its own kind of hell, since things need to stay on-brand or follow age conventions for narrative/visuals.

DC and Marvel also fall under this label. More generally, we call it ‘work-for-hire,’ and it means you own none of the art, property, etc. But it also usually means you’re paid for the work before sales, and, depending on the publisher, it can mean more money upfront. In general, comics pays absolute shit unless you’re working for the Big Two (Marvel/DC) or have a successful creator-owned title at Image or elsewhere. 

Writer/Artist/Editor Relationships
Creator-owned work processes vary greatly, since their circumstances are all different (story & concepts could’ve been done together, or a writer may have found an artist to work on her idea, etc). I’m going to mostly talk about the work-for-hire process, since it’s a little more consistent across the board. The publisher will hire a writer, who will in turn write a script, and the script will be sent to the artist to draw. For Mike, Bryan, Nickelodeon, and me, we communicate through our editor Dave, and his assistant Rachel (a saint, truly). If I’m being honest, it was a little overwhelming for me in the beginning to receive so much feedback from many many people, which I was not used to from previous comics experience. But we’re all growing to understand each other, we all respect each other deeply, and our editor does an amazing job making sure communications between all of us remain clear and effective. I’m leveling up like crazy from the constructive commentary I receive on every page!! I can’t wait to come out of this project a total badass, haha.

I also can’t forget to mention the colorist, who is a very crucial part of the process. As it is, the industry severely undervalues colorists, and moreso, the flatters that sometimes help them (they basically do simple color fills so the colorist can get right to rendering, etc). After I’ve uploaded my linework, the pages go to Jane for colors. After another round of edits and approvals, they will go to the letterer, which I also find to be an underappreciated craft.

1/ Mike writes the script
2/ Editor reviews. After edits & approval, it is sent to me
3/ I send back thumbnails of what all the pages in the GN will look like
4/ Edit/approval review, edits are made, and then I start on pages
5/ I don’t have a pencils step; I blow up my sketches onto my pages at low opacity and ink right over them
6/ Uploaded for review. If it requires edits, I fix and send it back
7/ Colorist receives pages and does her thang,
8/ and after reviews/edits, it is sent to the letterer.

And that is all the process I am closely tied into, but beyond that (the publishing and marketing deets, etc), I am not.

Artistry, Paneling, Tools
As for the actual technical part of comic making, it’s harder to get into the specifics only because it’s super different for each artist, and our education comes from different sources. Growing up in Japan, I read a lot of manga and Franco-Belgian comics, so my layouts and style will more closely resemble that stuff. Many people still work on special comics paper or just 11x17 bristol board, but I work exclusively in Photoshop on my Cintiq, on special Dark Horse formatted comic page files. If you want to read more about how comics are made and the concepts behind good composition, paneling, etc, I’d pick up Scott McCloud’s UNDERSTANDING COMICS. It’s a good primer, and fun to read, since it’s just one giant comic!

Industry Thoughts
I think I need to add this here, because understanding the general atmosphere of the industry informs why creators are/act/work a certain way, or have a specific kind of online presence, etc. The industry is still very much a white boy’s club, and it is a constant battle for the marginalized to work in an industry that seems to hate us with every microaggression (and just outright bigotry) at every corner. Additionally, as mentioned above, comics pay is super garbage; some of us are full-time freelance and some of us still have day jobs; we get no benefits, etc; and, as in most entertainment industries, it’s just as much about who you know versus how good you are. Networking is key, and you’re much more likely to get hired for being a polite person who gets their work in on time over being an amazing talent who is always behind and a jerk. Unless you are certain dudes are certain big publishing companies. *side-eye*

Being a comics creator is grueling, and you definitely put in more than you get back. We also feel a need to maintain some amount of online presence, and I take the effort to curate my social media feeds, both what I consume and what I put out. Me being me, I wear my heart on my sleeve, my loud mouth says whatever the fuck it wants, and sometimes I’m super crude; but I am trying to not be so curt with the over familiar or well-meaning folks who appreciate my work, and maybe just overstep some bounds. (The creepers can fuck right off, though.)

ANYWAY. Hope that’s all helpful to know and gives y’all some perspective! :)

anonymous asked:

Super sorry if this is a bother! I was just wondering if you had any general tips for digital painting or linework (your sketches look absolutely amazing- I love the variety in line weight you use). Not so much 'how do I do this' but rather 'what do you personally find helpful', if that makes any sense. Either way, you have really really breathtaking work and it makes me feel totally inspired and motivated☆ Thank you for your time, I hope you have a nice day!

i’m not sure if i’m qualified enough to answer this, but i’ll try. (very, very long post ahead)

things to check and to do right away if you haven’t.

  • calibrate or otherwise check your monitor’s display settings! you don’t want to realize afterwards that everything you drew was red tinted or something equally strange (at least this is fixable). things like “movie” or “game” display modes toy around with your constrast and color balance, which is particularly jarring when you find out that what seemed like a nice grayscale image to you actually looks like a black silhouette to someone else.
  • make sure your tablet is mapped correctly to your screen! i’ve run into a fair number of people who didn’t realize that their tablet wasn’t mapping to their screen’s aspect ratio properly (“oh, so that’s why drawing a circle was so hard”, etc).
  • set your tablet pressure to something reasonable! trying out some people’s tablets (surface, etc) is a joy sometimes - not so much when getting to 100% pressure feels like i’m going to break the screen. the opposite is also true - a light touch should not be giving me 90%. given that you can adjust the pressure response in most software you’ll end up using, make sure your tablet settings allow you to make use of the full range of pressure.
  • figure out what color picker you prefer - HSV (hue/saturation/value, aka the square) or HSL (hue/saturation/lightness, aka the triangle). you might be surprised at how intuitive one feels over the other, depending on how you work. *you can elect to use the RGB sliders if you’re some kind of a savant.
  • make sure your workspace is ergonomic! you’ll be hitting the stylus/tablet and be camping in front of your screen for a long time, and you don’t want it to affect your health. carpal tunnel and its associates are not a joking matter.

now, general advice.

  • learn your tools. try out everything you can get your hands on, and find out what you like the feel of. some people do their linework or painting in SAI, others in Photoshop, CLIP Studio, Krita, FireAlpaca, SketchBook… the list goes on and on.
  • figure out what your tools can do for you. find out how things work: how each brush setting affects what it does, what your commonly used hotkeys are, how your workflow should go, what each blending mode does, the difference between density/flow and opacity, etc.
  • try out whatever neat features are available in your software of choice. the multitude of adjustment and editing tools in Photoshop, the linework quality-of-life features in CSP, the rather unique behavior of the “marker” tools in SAI, etc.
  • remember that even while working in digital, some things don’t change. the technical skills you will rely on remain the same - draftsmanship, color theory, composition, perspective… you know the drill. read books, observe others, and practice. never forget that good tools are useless if you don’t have the skills to take advantage of them.
  • come in with no preconceptions. no, free transform isn’t cheating. using stabilizer S-7 is not something to make fun of people for. what matters is the end result - what you tried to achieve, and what you actually achieved. tools are tools, and there is no virtue inherent in doing something the hard way for its own sake**.

**in an ‘artistic’ sense there is, but practically speaking no one will care enough to find out if you drew that straight line freehand or with a ruler.

  • reference early, reference often. remember, you’re already on a computer, and the internet is just an alt-tab away. anything you don’t understand, look it up. how does metal look like when light shines off it? how do i draw those funny curves in the ear? what the hell does tree bark look like? and so on. your imagination is important, but if you don’t feed it, it won’t have anything to work with*.

*”Fiat Lux”. to be able to make something out of nothing is to be unto God**.

**i refer here to the God of Judeo-Christian tradition because even the gods from other religious traditions didn’t or couldn’t make things out of nothing. 

  • save all the time. it’s easy to forget to save for hours at a time… until you get blue-screened or surprised by windows update in the middle of the night. with software features like automatic backups in CSP, there’s really no excuse to not do so. you really don’t want to be trying to figure out how to get back to where you were from an waifu2x-upsized tiny screenshot you took to show someone your WIP.
  • flip or invert your image to double-check if you got your proportions, etc. correct. it’s easy to get blinded to these things as you are working on them, as your brain sometimes gets too used to what it’s looking at*.

*there is, however, a caveat to this. note that compositionally, certain things work because they face a specific direction. this has been known in artistic psychology for quite a while - whether something is left-facing or right-facing has a strong effect on how you perceive or look at a picture. flip, fix, and then flip back. don’t dwell too long on it in reverse or you might break your composition.

  • be extra careful when you break things out into layers. lining your sketch layer or painting away something important by accident is a common and very distressing experience. don’t let it happen to you!
  • thumbnail! before embarking on a complex piece (or any you intend to take to completion), do many little compositional drafts so that you know for certain you want to take it in a certain direction. digitally, you have the great advantage of being able to upsize the thumbnail and continue working on it, so don’t get caught realizing your composition isn’t working just as you’re putting on the finishing touches.
  • in the same vein, it may be (extremely) helpful to try visualizing things with a posing program (e.g. DesignDoll) or a quick 3D mockup in Sketchup or the like to figure out how things should look in perspective. the tools are there. use them as and when you need them.
  • look at other people’s work, what do they do and whether it works (and of course, whether you like it). find out how they do it and whether it works for you. techniques are always nice to appropriate*, and might come in useful some day.

*this is also known as theft to some people, but there’s really no shame in that**.

**“If I have seen further it is by standing on the shoulders of Giants.” - Isaac Newton. our understanding of things are built on the understandings of other people. my technique is built on someone else’s technique, and his on someone else’s before him. take it, use it, make it your own, and build on it. and when the time comes that someone asks, pass it on.

  • finally, if you want to know certain things, ask 'how do I do this’ to someone who you want to learn it from, instead of 'what do you personally find helpful’. i know it sounds a bit direct and awfully specific, but it’ll often get you a better answer to something you’re looking for than a fluffy general one like this.

feel free to ask if you have any other questions - it’s hard for me to answer things that are actually about drawing if they’re not specific enough! hope this helps.

Craigslist Interlude: Vanity Fair Reports

craigslist au. In which Skye takes on the ultimate Ward gauntlet: Being featured in Vanity Fair.  Oh, and she and Grant might just have a surprise up their sleeves. PS HAPPY BIRTHDAY LIZZIE

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➸ hair stylist/make up artist and actor/model AU

Clint sighed, the brush twirling carelessly between his fingers. Most of the time he liked his job, he really did. Being the makeup artist on sets of actors and models, making them gorgeous enough to be worshiped, flirting casually with some of the biggest names in society, definitely had its perks.

Today, though… Today was the special kind of hell that made him question if the others had been a hallucination. He’d been hired out for a men’s fashion magazine shoot. Men were even more particular about their makeup, because unlike women who were going for a certain look or effect, men wanted all the benefits of makeup without actually looking like they were wearing any at all. Today there had been a steady stream of haughty men who had either not spoken a word to him, or done so only to tell him what a terrible job he was doing.

And the very last model he was supposed to work on before he could get paid, pack up, and go home, was late.

Of course.

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okay so this is just a quick tutorial thrown together to help out some peeps. i’m by no means an amazing photoshopper, but i’ve got the basics down. or at least i like to think so. anyways. 

i actually lied in the header, this is not a few steps. i meant it to just be a short tutorial, but it’s actually pretty in depth with a lot of pictures and descriptions. if you want to know how to just resize something, then skip allllll the way to the bottom.

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