i have not yet styled it

anonymous asked:

club don't really get enough credit for how well rounded their studio is. They've had at least one best dancer winner at every tda since 2013 yet still don't limit themselves to btf style contemporary and always have hip hop, musical theatre and jazz groups. Plus all of their kids are well trained, producing kids like kalani and brynn who are still technically strong even without training at club for so long. I feel like people are just so used to club they take the studio for granted

they are a great studio! maybe theyll add tap to their classes soon, for a full round lol!

i think tho they are pretty appreciated for how good they are!!

anonymous asked:

Alex is Latino but what is his specific background (if you've chosen it yet) I'm curious because depending on the specific nationality one can determine what accent he may have when he speak Spanish, what styles of dance he may know, etc. I love all your characters so much I just want to know everything!

He’s Mexican-American, Anon! And I know all about Alex - whose full name is Alejandro Castillo Junior.  He speaks Spanish fluently and we’ll see some mix of languages from him at times (I don’t speak Spanish but I have three people who do who are helping me). He does have an accent, in part because while his mother also speaks English, she is more comfortable with Spanish. He was born in Starling, but both of his parents were born in Mexico. 

cherri--rose  asked:

Omg I love your blog, because it's really pretty and unique just like mine but by the way I honestly didn't want to bother you but I hope we can become friends and you're pretty awesome!

“I honestly didn’t want to bother you” do you see this??????!!!!!!!!

you putting your eyes on my blog means that we’re friends now, and i’m love you, just excuse me for a second while i spontaneously combust from happiness at this compliment

P.S. your art is fan-friggin’-tastic and I love your style. :’D

This was a pretty stupid thing to draw but also really fun at the same time! :D

I haven’t actually watched all that much of Rick and Morty but from what little bits I have seen, I can honestly say that it looks freaking hilarious. And the HTC Vive video that @therealjacksepticeye uploaded yesterday only showed me more ridiculous, yet funny things that I can expect to see in it. :P

Also, I’ve never actually drawn in a style different to my own before so if anything looks weird or doesn’t look right, that’s why.

If Styles hadn’t yet adapted to global social-media attention, he was tested in 2012, when he met Taylor Swift at an awards show. Their second date, a walk in Central Park, was caught by paparazzi. Suddenly the couple were global news. They broke up the next month, reportedly after a rocky Caribbean vacation; the romance was said to have ended with at least one broken heart.

The relationship is a subject he’s famously avoided discussing. “I gotta pee first. This might be a long one,” he says. He rises to head to the bathroom, then adds, “Actually, you can say, ‘He went for a pee and never came back.‘ ”


He returns a couple of minutes later. “Thought I’d let you stew for a while,” he says, laughing, then takes a gulp of green juice. He was surprised, he says, when photos from Central Park rocketed around the world. “When I see photos from that day,” he says, “I think: Relationships are hard, at any age. And adding in that you don’t really understand exactly how it works when you’re 18, trying to navigate all that stuff didn’t make it easier. I mean, you’re a little bit awkward to begin with. You’re on a date with someone you really like. It should be that simple, right? It was a learning experience for sure. But at the heart of it – I just wanted it to be a normal date.”


He’s well aware that at least two of Swift’s songs – “Out of the Woods” and “Style” – are considered to be about their romance. (“You’ve got that long hair slicked back, white T-shirt,” she sang in “Style.”) “I mean, I don’t know if they’re about me or not …” he says, attempting gallant discretion, “but the issue is, she’s so good, they’re bloody everywhere.” He smiles. “I write from my experiences; everyone does that. I’m lucky if everything [we went through] helped create those songs. That’s what hits your heart. That’s the stuff that’s hardest to say, and it’s the stuff I talk least about. That’s the part that’s about the two people. I’m never going to tell anybody everything.” (Fans wondered whether “Perfect,” a song Styles co-wrote for One Direction, might have been about Swift: “And if you like cameras flashing every time we go out/And if you’re looking for someone to write your breakup songs about/Baby, I’m perfect.”)


Was he able to tell her that he admired the songs? “Yes and no,” he says after a long pause. “She doesn’t need me to tell her they’re great. They’re great songs … It’s the most amazing unspoken dialogue ever.”


Is there anything he’d want to say to Swift today? “Maybe this is where you write down that I left!” He laughs, and looks off. “I don’t know,” he finally says. “Certain things don’t work out. There’s a lot of things that can be right, and it’s still wrong. In writing songs about stuff like that, I like tipping a hat to the time together. You’re celebrating the fact it was powerful and made you feel something, rather than ‘this didn’t work out, and that’s bad.’ And if you run into that person, maybe it’s awkward, maybe you have to get drunk … but you shared something. Meeting someone new, sharing those experiences, it’s the best shit ever. So thank you.”

—  Harry Styles talking about Taylor Swift - Rolling Stone May 2017 (x)

anonymous asked:

"You love me, right?" maybe where Harry is asking the question after a fight or something...

This isn’t the best I have to admit, but I wanted to try and write some thing and kind of help get my mind of my pain from the surgery for a bit. Sorry for taking ages and Thank you for leaving a suggestion! Also wittle vulnerable harry melts my heart. Under the cut cause it went on for ages for which i apologise profusely.

Keep reading

7

HAIRvolution of @therealjacksepticeye - UPDATED 2

Hello community! 

It has been another half year and 2 more rows of hair shades and styles have been added to this chart. 

Through this half year we experienced the entirity of Anti-pocalypse on halloween and his comeback during pax. Pax itself. Some more amazing long gameplays like Oxenfree and Night in the woods. More insanity and collabs. RYC 100. And some streams to top it off.

I have to say I have driffted a bit away from the channel. I found other things I got exited about and watch, but I never want to leave completly, or not just yet :) Sean and this community are too precious to me still.

//firealapaca.    please do not repost to other sites, if you want to- ask if I permit it. I will be removing all stolen versions on instagram, facebook and everywhere else.

JSE artists, please at least take a moment to consider this...

I’m making a fan game that I know is going to be good. Like really good.

But we’ve hit a major snag.

We lost the artist who has done all the cut scene art up until now. This is a huge blow to our project, as none of our artists have a similar style.

We need someone who can imitate this style to save this project:

If you can do something even somewhat similar, we need you. Jack doesn’t know it yet but HE needs you because we know he’ll love this game.

We need the game’s epic finale finished. There are, I think, 6 or 7 pieces left, plus one set of faces, like these. 

We’re kind of screwed without it so please contact us if you can help.

I’m really banking on the community here. I promise this is a really good game. And the stuff you’d be doing is the emotional center of the game. We’re talking the epic finale.

Please share this or consider giving this a shot yourself.

Contact me at @katemarie999 or @undyrus-forever if you can join.

Viktuuri Mafia!AU based on @drawverylittle‘s artwork. <3

Part 1 : It Starts With A Video

On AO3 || Next

Viktor loses count of how many times he hits rewind on the security tape. He’s numb to the whirring, hissing sound of the rewind. But the image is fuzzy. No matter how many times he goes back, home many times he pauses, he can’t quite see what he’s trying to focus on.

The man in the video is clearly young. At least Viktor assumes he is. The men with him are older, larger. Lackeys, for all intents and purposes. Security detail. The young man in the center is slight, his forearms exposed by the roll of his sleeves are slender, but even in the fuzzy image Viktor can tell a muscle cords beneath the skin. He’s no slouch.

The most Viktor can make out in the black and white video beyond that is black hair and a tattoo that stretches down the back of his forearms. But no amount of pausing, of staring, of getting so close to the screen the brightness is making him dizzy, has made him able to make out what that tattoo may be.

“Viktor!” Christophe whines from the desk beside him. “You’ve watched that tape hundreds of times. What else do you expect to see?”

“I can’t make out what is on his arms,” Viktor replies, pausing the video again. Is it another arm inked on to his own?
 
“You can barely make out anything,” Christophe points out with a sigh. “That’s the misfortune of having a security tape from these washed up casinos as evidence.”

Viktor leans back and sighs, leaving the video paused on the man reaching out with one of his tattooed arms to take a briefcase from the casino manager.

“I need a better picture.”

“Don’t we all.” Christophe rolls his eyes and pushes himself away from his desk. He’s already changed out of his uniform and into a well fitted, black button down. His sleeves are rolled up in a manner reminiscent of the mafia member Viktor can’t take his eyes off of. “How about you dwell on that another day and come out with me? We could both use a drink.”

Viktor shakes his head and flips open the file on his desk, pressing his fingers to his chin in contemplation. Newspaper clippings, witness testimony, images of property damage left behind are all they have to help them track down the newest member of the Russian mafia.

They say he’s Japanese. That he’s young. That he rose up the ranks in the Yakuza so quickly, so efficiently that no one questioned his reign. That the Russian mafia all but begged him to make his way up here, to resurrect their dying presence. But Viktor can’t quite tell fact from fiction yet.

Is this young man really Japanese or is he just another Russian member that was kept hidden from the press and the policy force? Is he here to stay or does he have a singular purpose? Has he really bitten someone’s ear off? Or torn out their eye? He suspects some of the rumors are just that… rumors. But he’s determined to find out which ones are rooted in truth.

“Go on without me,” Viktor tells Christophe, offering a weak smile. “Tonight I would only cramp your style.”

Christophe snorts and slams the file shut. “Viktor, your style is my style. You could never cramp it.” He pushes the file aside and loosens Viktor’s tie until he pulls it over his head. He flicks open the top few buttons of Viktor’s uniform. “None of this is going anywhere. Besides,” He grabs Viktor’s hand and pulls him out of his seat and Viktor gives up fighting. Christophe is too persistent to struggle against. “Maybe our little mafia man likes the clubs here too.”

Viktor chuckles and resigns himself to a night out. Christophe is right. He could use a drink, something that can distort his mind into forgetting the swipe of dark hair and black tattoos reaching down sure, confident arms.

anonymous asked:

If someone adapted to your drawing style, should they give you credit??

Hmmm, I’m not sure how to answer this question…

Let me think. Theoretically, when I only started, I took A LOT of inspiration from burdge. There were times when people mentioned my style looked very similar to her, quite strongly. I gave credit whenever I took inspiration from one of her drawings (sometimes they led me to ideas and situations); but overall I drew it freehand, not using Burdge’s art as a reference. BUT I really REALLY wanted to branch off from that style, because I wanted to be myself.

If there was someone who adapted to my style, but with no intention to really change it, and not taking anything from themselves or other artists (so their style resembles mine as much as it’s physically possible) I think it might be kind of…credit worthy in a way? Or maybe not, it’s like. When someone’s style resembles the style of another artist who “was there first” people will notice anyway. The resemblance (even a slight one), is usually very striking, not to mention the whole style adapting. 

THOUGH. I think there would be the difference between “adapting to someone’s style” and “adapting someone’s style to yourself”. I think the majority of people start with adapting to someone’s style, when they start drawing, but they don’t yet have a good understanding of what they do and who they are. I guess with time, even if someone used a certain artist’s style most of the artists want to develop their own way of doing things. 

I can say with honesty I am not a big fan of people adapting to my style, but I always remind myself that they might be in the beginning of their journey, and they might really want to find something unique and their own, but it doesn’t happen over night, so I should never judge them for the point they are at this moment I see them.

That’s why I guess it’s never a good thing to bash someone in a name of a certain artist. Even if you see that resemblance to someone’s style, when it’s “not credited”, I don’t think it’s worth all the yelling. Unless it’s straight up tracing, of course. Though even then it might not be worth it.

Uh, anyway. I’m still not sure how to answer your question, I’m sorry. I guess…As long as someone doesn’t trace my drawing, and only takes inspiration from the style, it doesn’t have to be credited. Hopefully this person will realize eventually they don’t want to be the second someone.

I got into TAZ with @defenestratin​ and @sorrydeer​ recently and have this headcanon where during lunar interludes, Magnus leaves Steven with the Voidfish and they chill while he goes out to shop and stuff!! :D 

rachelhanke  asked:

Hey Charlie! First off, I adore your art. It gives me all the feels. Secondly, since you're primarily a self taught artist I'm wondering if you have any resources you strongly recommend for someone hoping to someday have a similar job to yours in concept art? If you've already answered this question just let me know and I'll comb through your blog to find it!

ESSAY IMPENDING.

I think, along with resources, I’d always recommend having a good idea of what ‘area’ you want to work in too. My job is kind of a strange one (in that it’s an house job but we’re not producing the games or films or actual products.) We are a step in the production line. I get to be part of sweet projects, but also I get to be part of many… I’m not locked into whatever a studio might be making for 2 or 3 years etc. My fingers are in a lotta pies.

The reason I say that is because a lot of people coming into concept will likely need more skills than I have. I am 95% a 2D artist. I work with 3D but very rarely, and not enough to know the inns and outs. I like 2D… and I consider illustration to be the sweetest spot of all the work I do, so I’m quite happy with that balance (and I’m an old fucking curmudgeon and I don’t wanna learn no 3D.)

If you went for a traditional role in a games studio, it will probably be more expected for you to be fluent in 3D. Not always of course! But it’s likely another good skillset to have. Purely 2D (just art focused) roles are not something that I see as often as mutiltasking roles. Which makes a lot of sense. 2D art is often mostly needed at the beginning of a project, and briefly at the end. In my seven years at Atomhawk I’ve seen a lot of people in other studios laid off, and a lot of studios go under. So, multitasking roles mean people will always have something to do.

APOLOGIES. I’M SOUNDING A LITTLE DOOM AND GLOOM. Great jobs exists! People will always make cool stuff!

I’m very much a jack of all trades and my job demands a lot of different things: characters / turn arounds / outfit designs / expression sheets / illustration / marketing art / pitch art / but it’s all primarly focused around characters. So. If characters are what you want - look into that! I would say that when it comes to apply for / getting work etc, we always love to see range. If someone isn’t showing me all the process behind their work it’s likely the first thing I’m going to ask for when it comes to an interview. I think if you have shiny work (on a freelance basis) a client would have enough confidence in the end result. But for a production role like mine, I wanna see that stuff.

Rough sketches through to shiny polished work. The whole lot. I want it all. I want to see people’s thinking! I’m rambling.

First of all: be able to draw well. Know your characters. Know your figures. Know your anatomy enough to make it convincing and be able to twist it when you need to. We get a lot of people who apply, who, quite simply (don’t hate me) are not good enough yet. We have people who work in tons of different styles and methods but at the heart of it, they can draw well.

DESIGN. Mother of god. Design. Drawing well is the first step, but you also have to have that creative flair to be able to come up with ideas and be able to sell them convincingly. Drawing the thing is only half the battle. No one wants a beautifully rendered character wearing the most impractical / boring outfit you’ve ever seen (just an example). Thinking logically about design is something I’ve seen underestimated many times over the years. In fact, I’d go as far as to say it’s more important than someones drawing abilities. When it comes down to it, drawing is just the tool to represent the design.

Resources wise: the internet is your oyster! Cast a wide net. Create the kind of work you want to do but also push yourself. I think the results are usually better when artists find an area they’re good in and the push the boundaries of that. Better than trying to be a jack of every single trade possible. Don’t have an awesome portfolio full of character work and then think ‘oh, wait, this is just characters, maybe I should stick a fucking car in there too?’ YOU KNOW? Do what you do - and do it well.

Briefly just a few of the things that helped me most: any massive black videos you can find. Mostly for process. Jason Chan’s videos easily had the most impact for me, both in learning how to improve my process and painting the kind of characters I wanted to. Micheal Hampton and Mike Mattesi (force) for anatomy and energy in poses. Your peers! Your favourite artists in the industry at the moment! The places and people you will learn the most from are always so very individual.

Shit that was long. Good luck!

PS. It’s also my humble opinion that you should never take all of your advice from just one person - just take the pieces that click for you :)