i make the most boring art

i decided to make a little thing for pride month!! it was something i wanted to draw since i don’t even know, so there it is: little fusions with pjo/hoo characters!

JERCY (jason and percy):

- gorgeous ace boy

- such an amazing leader. he’s very persistent and  most of the time work with fun to make his point. life’s boring, but he doesn’t need to be

- king of hot&cute face

PIPABETH (piper and annabeth):

- bi queen

- she’s the leader of everything. get out of her way. seriously

- “please kill me softly”

NANK (nico and frank):

- very gay

- he’s so polite. literally the biggest gentleman in the world

- doesn’t talk much, but if you need him, he’ll be there for you. anytime

LEYNA/REO (reyna and leo):

- handsome trans boy

- no one beats him at anything. it doesn’t matter what you’re playing, you will lose

- the world is his. bow down, please

HACHEL (hazel and rachel):

- pan-cutie

- art!! queen of drawings

- small and sweet, but will never tolerate any of your shit

i LOVE this. actually wanted to do more with another characters like will, grover, clarisse, etc.

Muse || Peter Parker

Prompt - Y/N is an artist who tends to find inspiration in others, as in she draws other people, and she draws Peter the most. He sees one of her drawings of him and asks her about it. FLUFFY!

Warning - none. 

A/N: haven’t written anything in awhile and this might be a little short. Besides, I was getting bored. I am also in the midst of writing some smutty sin, so you can look forward to that. 

not my gif

Originally posted by gryffinclaw-in-wilde-times

She was a creative person, incredibly above average when it came to expressing her imagination. Her art was aesthetically pleasing to the eye, those who saw it wondered how a girl of such a young age could possibly make something so realistic. She had a talent for capturing the person’s essence in every drawing, or portrait to be more specific.

She drew everyone, whether they noticed it or not. 

But there was one person who she absolutely loved to draw.

That person was Peter Parker. 

The boy in the layered sweaters and graphic t-shirts. 

She adored that boy’s physique because to her drawing him came like second nature. In her drawings, his fluffy brown hair would be perfectly styled, his clothes exactly the way he had them; disheveled. 

But there had been one day when he had been late to school. He walked into their shared class, his hair tousled, his clothes in disarray. He had ran his hand through his wild morning hair in an attempt to tame it, and at that moment Y/N had already pulled out her sketchbook to draw his rugged appearance that captivated her so much. 

She watched him for the duration of the class period to get his features perfect. Nobody noticed her watching him, it was a normal sight to see her staring at someone. Everyone knew that she was an artist and that she drew anyone that captured her eye, some people took it as a compliment, others didn’t. 

She loved that drawing, she was proud of it. 

Everyday she drew someone new, and among those new drawings was always an even better drawing of Peter. 

In the beginning, when she first started drawing him she barely knew his name, she was just intrigued by his noticeable Star Wars t-shirt. But then as time went on, she became more infatuated with the young genius. 

She tried talking to him but the moment she caught a glimpse of those chocolate brown eyes, her face would become warm and her eyes were immediately back on her sketchbook. He was her muse. 

She found comfort in sketching his cheekbones, his jawline, his nose, his beautiful hair. It enraptured her. 

She was in her last class of the day, off to the side in the last row of desks. Peter sat directly to her left.

She had already finished her classwork so she pulled out her almost completed sketchbook and opened it to an empty page, her pencils were already laid out waiting for her to use them. 

She didn’t really mind if he noticed her drawing him, maybe he’d want to talk to her about it and then she’d actually be able to talk to him without being a shy idiot about it. 

She began with the outline of his face. She had done these steps so many times that she could probably do them in her sleep. 

She continued to sketch him, but she was so engrossed in her drawing that she didn’t notice Peter’s eyes flickering to her paper. He recognized the face as his own and his eyebrows furrowed together. 

She’s drawing me. She’s actually drawing me,’ he thought. 

A ghostly grin etches its way onto his face as he watches her, the pencil running over the paper, her index finger smudging the graphite for the appropriate shading, her bottom lip in between her teeth in concentration. 

He noticed that she didn’t even need to glance at him to complete her drawing. Unknown to him, but she had his face permanently etched into her brain. 

The bell rang signaling that it was finally time for the poor students to go home. Y/N packed up her stuff but carried her sketchbook in her arms. 

As the students began to excitedly file out of the room, Peter followed behind Y/N to try and talk to her. 

Y/N liked to take her time when she left school because she didn’t really like being in a crowded subway surrounded by tons of people, downside to living in New York. She walked slowly as she let her beat-up converse hit the newly polished school floors. 

Peter tapped her shoulder making her turn around. When she saw that familiar face looking down at her with a gentle grin, her heart fluttered. 

“Hey,” she said trying to make it seem like she wasn’t dying to run her fingers through his fluffy hair. 

“Uh hi, I’m-uh, I’m Peter,” he managed to say, she smiled at his nervousness. 

“Yeah, I know. You’re in most of my classes, you’re not invisible,” she clutches her sketchbook tightly in her arms. 

He’s talking to me. He’s actually talking to me,’ she thought.

He blushed cherry red, “I um, I noticed you drawing me during class and I-” she wanted to let him finish but she had to ask. 

“I didn’t make you uncomfortable, did I?” She asked, he shook his head vigorously.

“No! No, you didn’t make me uncomfortable. I just know that you draw everyone and I was curious as to why you were drawing me,” he explains.

“Because you’re beautiful,” she blurts out without processing the words as they left her mouth. 

Peter’s grin then turns into a full blown smile, cheeks blazing red. 

Y/N knew that she should feel embarrassed about what she had just said to the object of her artistic affection, but she wasn’t embarrassed. 

“You think I’m…beautiful?” He couldn’t stop smiling, his cheeks were hurting from how hard he was smiling but he couldn’t help it. 

A gorgeous and talented girl had just called him beautiful.

“Yeah. You’re my muse, my inspiration,” she wished she would just stop talking, but she had already started so there was no point in stopping.

“I know it’s a bit awkward but I-I draw you all the time, I find your features…fascinating,” she tells him, he chuckles. 

“Well maybe we could hang out sometime and you can draw me as much as you’d like,” he offers awkwardly sliding his hands into his pockets, she hides her absolute joy by looking down at her sneakers as her cheeks turn a bright red. 

“Um yeah, yeah I’d like that,” she accepts.


They leave the school together and he walks her home only for her to insist that he stay so she could take him up on his offer of making another portrait of him. He accepted, but this time it wasn’t a drawing…it was a painting. 

He flipped through the pages of her sketchbook as she prepared the materials that she needed for the painting. 

“Don’t you ever get tired of drawing me? I mean, I’m nothing special.”

She laughs, “Not at all, like I said…you’re my muse.”



A/N: I hope this was satisfying enough. I’ll probably be posting another fic this week because I’m having lots of inspiration. <3 

anonymous asked:

hey! i think ur art is p cool c: any tips for using ps?

thank you! here are some super quick things people may not know going in:

  • smart objects
  • masks
    • clipping masks
    • layer masks
  • adjustment layers
  • liquify, general fliters
  • blending effects
    • for layers
    • for brushes
  • grids, guides
  • history/save states/snapshots
  • importing brushes
  • workspaces
  • dark magic
    • quick exporting
    • what a contact sheet is
    • batching, scripts.

this will all be in PhotoshopCC. This is the more technical side of Photoshop instead of the fun drawing side, because let’s face it you’ll already learn that in time. This is stuff to make drawing digitally or editing or whatever easier, faster, and less trouble. These are shortcuts and smart things basically.

smart objects!

touching up? use smart objects!! please!! When you size them down they still maintain the data of the original, so you can scale and re-arrange without data lost (you can’t draw on this layer as a smart object though!). do this please. to undo this look for “rasterize layer”

this also means filters are clipped onto the layer but aren’t actually changing the layer. You can then turn them off, delete them, ect. without any repercussions. Smart objects will be more data but they are safe bets.

you won’t see this for drawing and painting but when you’re editing your drawings for maybe a poster or compiling them this is super useful! 

Keep reading


Yeah so I made a thing. Idk I was just bored and wanted to add some variety to the people I draw so I tried to make these with characteristics I dont see as much in what I draw.

Ok so  was thinking about girls for most of the time I made these but they’re pretty versatile so I guess you could do  whatever I don’t really care.

And if you use this to draw something you post tag me in it with #queenofawkward27 cuz I’m curious to see the results

For All The New Gals

First of all, thanks to everyone who read and liked last weeks post; the notes really help to emphasise that I’m not just blurting stuff out into cyberspace.  So, you know, cheers for that…


I had two reasons to start this blog nearly 7 years ago (wow).

  1. I wanted some kind of validation without people around me knowing that I crossdress. (I can tick this one off the list.)
  2. To speak with other crossdressers and help them out.

Over the last week I’ve had a flood of complements about me going out and how I looked amazing’ and how others ‘wished they had my confidence and looks’. Believe me, I like a the admiration as much as the next person (insert smug face here), but it didn’t happen overnight.

Example time; I’m bringing out the big guns for this one.

That hideous monstrosity with the bingo wing arms, hair plucked from an ostriches backside and more shadow on her chin than a dark alley at night in a bad part of town is me. This was before I even knew myself as Jessica, and long before I developed any kind of fashion sense. 

Now, for comparison, let’s take a look at a much more recent picture.

Same person, better crossdresser.

So what happened over the 7 years? Was I sprinkled with pretty pixie dust? Granted a wish from a genie? Trained in the arts of femininity by an ancient guru?


I just realised that some of the things that help to make you look more female are also some of the most boring parts of being a gurl.

So, after an introduction larger than my forearms from the old picture, here are my 3 best tips for those of you just getting into crossdressing and what to rapidly improve your feminine look.

1. Don’t buy pretty. Buy because it works.

I made this mistake so often. We all (or mostly) get into crossdressing because we like the idea of looking amazing in a pretty dress, so in theory if the dress is pretty then you’ll look pretty in it… right?


I’ve said this plenty of times over the years, but I’m always happy to say it again. You have to know what works with your body. I could wear pleated skirts and baggy tops until the world comes crashing down around me, but throw me into a tight mini-dress and I’d rather blow the world up myself than be seen wearing it. 

If it works, great! If not, then simply take it on board and move on. This might take some trial and error, but eventually you’ll be able to tell at first glance whether a dress will look good on you or not.

2. Stop posing like a bloke.

Quickly go back up and look at the ‘old’ and ‘new’ pictures of me. Go ahead, I’ll wait.

You back now? Good.

My pose as Ye Olde Jess makes me look bloke-ish. Not because I’m actually standing like a guy, but because I’m trying to hard to look like a girl.

In the new pic, I don’t have the same pose, but I’m doing more to look female; it’s just not as obvious. 

  • Push your shoulders back and your chest out.
  • Don’t slouch.
  • Suck in at your stomach.
  • Don’t look up.

It’s not about where your hand is on your hip or pulling a face to resemble our feathered ducky friends. Just follow those 4 tips above, and above all else, smile, it makes the world of difference.

3. Pretty makeup ain’t what makes you pretty.

You don’t want to hear it as much as I don’t want to say it, but lipstick and eyeliner isn’t going to make you look feminine.

Concealer, foundation, and powder; those are the holy trinity for crossdressers everywhere. Make sure you invest in the good stuff too, otherwise you’ll end up looking like that blotchy beard-shadowy mess in my old pic.

If you can get your foundation looking flawless and hide away that beard, you’re already miles ahead.

There’s not much else to say on this really. Obviously you can still use lip and eye makeup, but you should always concern yourself more with the canvas that is your face being clean and ready to go.

Pro Tip: Wash your face before putting on any makeup. It makes a huge difference.

Aaaand yet again I’ve managed to make a lengthy post. Hopefully I didn’t bore you and with time and patience you’ll notice a difference in how you look as a woman.

Anyway, I’m gonna end it there before I start blathering on about something else. Here’s a bonus pic to say thanks for reading all the way through.

And of course I’ll have another topic to cover by next Sunday, but please let me know if there’s anything you would like me to write about.

- Jessica Blaise x x

You all need to know

Hey folks, I hope you’re doing well! Today 30th April is my bday and I wanted to share some important thoughts with you all. Things I want you to know. Feel free to skip this tho, I’m just being grateful and deeply sincere here <3

Keep reading

ffortissimo  asked:

waitwaitwait how does this perspective drawing stuff work

Okay, fair warning: I just picked up this thing like a few hours ago, my hands are rattling, my muses are excited and I’m so glad I went to Krenz aka cushart’s little seminar where he spoke extensively (in a language I haven’t practiced in a long time. aka not english) about the importance of “grounding” a character in order to make them realistic and believable. 

The seminar was great because I actually… didn’t understand any of the perspective tutorial that I’ve read off the internet before this? The seminar was basically like a missing link for me, so I hope that I can share that in this long post. 

So be prepared for long post!

Based on the seminar, he said the biggest issue with character posture and design he has seen many people do is that it’s based on assumptions and conjectures. Most of us absorb posture, dynamism and foreshortening by looking at other people’s works and imitating/recreating them (myself also being a big offender in this). Basically, he’s saying that there should be a structured approach for you to get into posing a character in your art /while/ allowing you to blend the character into a background seamlessly. He used a chunk of Mandarin jargon that I’m unfortunately unfamiliar with, nor am I familiar with the phrases in english, so take my phrasing with a word of salt: 

1) Find/make/use a 16-square box. 

Boring, I know.

2) Stretch it to your liking to determine the most important plane your character will be interacting with. 

I used this plane because it’s an extreme example of how the grid can be used. Here’s an example of a sketch I did earlier with the 16-square grid being utilised as a normal 45 degree floor plan:

Anyway, back to my blank example, the angle of the 16-square will be mainly determined by your camera angle! The one I did is for a wall. The grid is mainly there to help you project the shapes of the object you want to draw! To help illustrate things, here’s an example of a L-shaped sofa or whatever leaning against the “wall” of perspective grid:

The lecturer basically said that it’s the easiest to draw the character/pose/object out in a side-view first, so that you can identify the position of each of the prominent points when you translate it into the 3D/grid plane. His explanation was borderline mathlike and was going into the area of geometry, which I’m not very good at. But basically, it’s about finding out how much “space” each part of your drawn object can take up, much like drawing geometrical shapes in maths class!

3) Draw a side-view of the pose you want.

Top left you can see I scribbled out the side-view of a horrible excuse of a pose. The most important things you have to find out is the angles and planes of note from the pose. Mr. Krenz mentioned equating the notable planes as an unfolded surfaces of a cardboard box; you can tilt at certain points, but it has identifiable angles, which is important for you to determine the angles of your torso, legs, etc and helps solidify your perspective angles when you draw em. 

For the pose I drew, the points of note are: the head is leaned towards the “wall”, and the hand goes straight down; but notice how the back is curved and the butt is not close to the wall. This is important. 

You’ll also notice that I drew a horrible excuse of a box projected out of the four squares in the 16-square grid. This is the important part! There’s actually some maths shenanigans as to the proportion of the box and how it relates to your anatomy, but I think the safest way to go is to assume a box projected out of 4 squares is equivalent to a torso. so that box = the size of one torso. that means everything from above the hip in the pose should fit into the box.

Remember how I harped on the position of the butt and hands and the angles? This one is for the next step:

4) Draw in basic spheres and shapes. Ignore anatomy for now. 

If you see each part of the body as shapes (spheres, squares, rectangles), it’s easier to plot them out in relation to the angle of the perspective grid. Over here, you can see that the shapes are drawn in correspondence with the perspectives. I won’t cover much on this part, mostly because there’s already a hundred other perspective-box-shaped-how-to-translate-to-human tutorials out there that explains it a great deal better than I do. The vital point to take out of this part is that you must plot according to the position of each key point– the back curve, the hand angle, etc onto the geometric shapes when drawn. The box should help you out in this I hope.

5) Finally! Fleshing it out!

Yep. This is also where anatomy fixing happens, if you see the need.

Notice how the angle of the lad’s mantle, vambraces, shin guards, etc corresponds to the geometric shapes scribbled out earlier. This step becomes immensely easier with practice, but basically the gist is that the geometry lines help you determine the direction of the clothes and stuff you have to flesh out.

6) Not necessary, but put in shadows and shading to help solidify the scene.

I thinned out the scribbles here and dabbed on a dark color to immediately portray that the kid’s hiding in the shadow of some doorway. See, immediately there’s a background! And he does look like he’s sitting there and no immediate worries of how the anatomy or angles of things out of place, because the 16-square has already determined it for you beforehand.


I think the important part is that personally, this is easier for me to get into instead of looking purely at theories of horizon lines, vanishing points, etc because honestly, it is very difficult to see those if you’re drawing character-oriented pieces.  While this technique is not foolproof and is actually more complicated (read: there’s actual math shenanigans in it that i didn’t get into), I think this is a good starting point for artists of any level to start training their eye to see in order to make characters better blend into the backgrounds.

Hope this helped and sorry for the length!

Emotion and Pacing in comics

One of the reasons that I love comics so much is that there are many valid ways to approach the medium. When I make comics, the parts I’m most concerned with are character and story. Everything I draw on the comic page is in service to character and story. Because of my focus on those two elements over, say, experimenting with my art and page structure, I will sometimes get criticism that my work is safe or boring. This is probably fair criticism! I don’t do a lot of experimenting with paneling or challenging storytelling or explicitly challenging artwork in my comics, because right now that’s not what I’m interested in. Maybe I will be more experimental someday, but not right now, with the kind of stories I want to tell. :)

When I make a comic, my goal is for my readers to be engaged with the story I’m telling, and the characters in that story. That’s also what I look for when I want to read a good comic. I want characters to love, I want a story to be engaged with.

For the most part, I struggle with drawing comics (most artists do, if we’re honest ;)), but there are some parts of comics I think I have a good handle on. I feel like I’m strongest when portraying emotion on the page, and I’m good at drawing those scenes out and making the reader feel what my characters are going through. Some of the techniques I use to convey emotion came from being obsessed with movies when I was a teenager, and some techniques are stolen from my holy trinity of influences: Jeff Smith (Bone), Hiromu Arakawa (Fullmetal Alchemist) and Naoki Urasawa (Monster, Pluto, 20th Century Boys). 

Of the three artists I’ve mentioned, I consider Urasawa especially to be a master of emotion and pacing. When I first started reading his comics, it was like light struck my brain; finally I saw what I’d been trying to do for years right there on the comic page in front of me! I like the way he lays out his emotional scenes a lot. Here’s an example (read right to left): 

Urasawa uses repeating panels and decompression to draw out the emotions of a scene. In this single page there isn’t a lot of movement. It’s literally just two characters staring at each other, but the tension rises going from panel 1 to panel five. Gesicht (the man)’s expression doesn’t change between panels two and five, but we literally feel his anger rising off-panel, concluding in the close up in panel 5.

There’s an excellent You Tube channel called Every Frame a Painting (I’m sure you’ve heard of it, but if you haven’t, please go watch all the videos! There aren’t many, and they’re all really informative). My favourite video is this one, about editing:

This video hit on something that I strive for in my comics: emotion takes time. When I draw a scene that is emotional, when characters are struggling with something, or celebrating something, or being challenged, I want my readers to feel what the character is feeling, and one of the best ways to do that, for me, is to take my time. To give that emotion time to breathe on the page. 

I’m going to use some scenes in my graphic novel The Nameless City to illustrate how I use decompression and pacing to underscore the emotion in my comics. To avoid spoilers and because this is getting a little long, I’m going to put it under a cut. Please read on! :)  

Keep reading

DAY 3367

Malta                            June 16, 2017                    Fri 9:49 PM local time 

Birthday - EF - Sigali Siman Tov          Sat, June 17         …. it is birthday time and we wish Sigali a very happy one .. love from all of us ..Ef

Many are the arts in their finality that have been designed for me .. and they are truly most artistic .. but really some of the photographs that keep appearing on the platforms are truly amazing .. I wonder where it is obtained from .. and they rightly deserve a mention on record of its occurrence ..

An afternoon in Tashkent, Russia .. during the festival of films .. Raj Kapoor ji, Shashi ji were also there .. as were the family .. Shweta and Abhishek barely seen along with Jaya ..Abhishek actually signed his first autograph at this event .. quite confident he was asked by one of the Russian hosts to do so and he did .. we all laughed ..

Raj ji Shashji and I were placed before a mike and asked to sing a song .. any song .. and Raj ji took the lead and we sang ‘Saare Jahaan se achcha, Hindustan hamara ..’

‘The Great Gatsby’ premiere at Cannes .. and with the star Leonardo di Caprio at the red carpet and then on stage .. me giving introduction speech in Hindi .. 100 years of Indian Cinema .. he a most humble and down to earth co star .. caring and considerate through out the making of the film ..

Visiting Jaya on the sets of ‘Hazaar Chaurasi ki Ma’ ..Govind Nihalani the director .. and the eating and feeding continues .. !! this at Raj Kamal Studios ..

Oh … i could just go on and on and on .. but thank you Ef for these inputs .. 

and there be many more .. and I am unsure how these are made .. would someone enlighten me ..

Lamenting deficiencies may take away the pain of it for an instant .. but the long run remains with them ; the deficiencies .. if some is deformed and ugly .. there shall be some that is formed and beautiful .. the balance of nature is beyond all doubt .. having and being in possession of the best, the worth, the biggest and the largest are mere adjectives to describe them .. in practical terms they are just alphabets .. thoughts of the mind and the physical presence of the material - and deficiencies are often valued against deficiencies - shall ever remain .. and shall remain with them that are in possession of the deficient .. no other will or shall have the capacity to give the feel of it .. it never can .. for they are not the sufferer .. the sufferer is the one that holds it .. holds it day and night, lives breathes with it .. suffers its inadequate performance or demands of it .. other than him there are perhaps sympathisers .. and we know all about them from one of Babuji’s poems described earlier .. 

Deficiency needs bearing and will .. the will to still be in its strength, even though all else crumbles about .. others will refer to it as that .. you will never .. for admitting it is a failure .. a retirement .. a death ..

As someone once said : ‘To retire is to die’ !!

Kill not thyself by the limitations of what could not happen, or was not what was required .. not of standard .. of lesser quality ..

That lesser, has the capacity to be the best example of more .. for when the less does normal, it becomes the more  .. 

Having more and stating its presence as more .. is boring .. static ..

Having less and stating its more or building up to more is revolution and reigning the crown .. 

I shall have the lesser than most other .. but the will to make it seem or look more is the battle that shall be won .. and win we shall .. everyone is not perfect ..

And should never be ..

The perfect have no place on Earth .. on life .. on with us .. on with us in humanity .. for if thou art perfect, then why wait here in the world of Mother Earth .. your place is not required here .. you would be better off ‘upstairs’ .. leave us mortals to work out our imperfections, until ..

Good night

Amitabh Bachchan



After talking with my partner in crime @junkpilestuff , I challenged myself whether I could make the most lame G!Sans there is with no tragic backstory to haunt him.

He pretty much accepts any “troubling” things that most would agonize over.


Then someone mentioned his face reminds them of a certain emoticon…

Original G!sans belongs to Borurou

Sound of Music AU- Captain Fraser

Before you read this first installment, know that I’m going two different ways with this prompt!
1. The Sound of Music AU will be a few select moments from the movie where Claire is Maria and Jamie is the Captain.
2. The Sound of the Highlands will be a complete gender swapped retelling of the Sound of Music with Nanny Jamie as Maria and Dr Claire as the Captain. This will be episodic and updated as I can, BUT I CANNA RESIST.

You can find more of this AU here.

The car pulled to a stop in the lavish driveway of the Fraser’s ancestral home. I pressed my nose against the cold glass, trying to get a better look at the towering manor house.

“An’ here ye be Miss, Lallybroch at last,” commented the driver as he opened my door.

I nodded to him in thanks as he unloaded my small suitcase and guitar from the spacious trunk. Instead of setting them down and returning to the car, he started to head towards the gigantic front door.

“Oh!” I said in surprise, “I can take my bags, if you like.”

The driver gave me a look of amusement over his shoulder, but continued walking. I reached his side just in time for him to knock on the door.

The heavy, wooden door creaked open, revealing a rather grumpy looking man in a suit.

“Hello! I’m Claire Beauchamp, the nurse you hired for the summer.” I introduced myself and reached out my hand in greeting.

He didn’t take the hint, but instead stared at me, “And I’m the butler, Miss Beauchamp.”

Embarrassment mingled with disappointment washed over me as I offered my hand again, “Oh. Well, it’s a pleasure to meet you Mr…”

“Germain.” He shook my hand limply, ushering me into the grand house.

Jesus H Roosevelt Christ, this place was even more impressive on the inside.

Mr Germain cleared his throat, giving me a serious look. “Wait here, please.”

I wandered away from the door as soon as he disappeared around the corner, unable to help myself from taking a closer look at a portrait on the wall. It was exquisite. A young woman sat on a plush settee, auburn curls tumbling over her shoulders. I reached out my hand to trace the intricate carving of the frame and nearly jumped out of my skin when a voice spoke from just behind me.

“I’ll thank ye to no’ touch the art.”

I spun around, coming face to face with a tall and finely built man. His cold, blue eyes bore into mine as I quickly apologized, then added, “She’s beautiful, who is she?”

“My mother,” he answered, the muscles of his jaw tightening in annoyance.

His hair was the same deep auburn as the woman in the portrait, but wasn’t as cropped as the standard military fashion. He wore it a little longer, the soft curls brushing the tops of his ears and brows.

At five feet and nine inches, I was used to matching or surpassing men in the height department. Captain Fraser all but towered over me as I tipped my head back to look at him.

“Why are ye staring a’ me?” He bluntly asked, breaking into my mental assessment of his appearance.

Hesitating slightly, but then deciding to throw tact to the wind, I answered with a smile, “Well, it’s just that you don’t much look like a Captain, Captain.”

“And ye dinna look much like a nanny,” the Captain retorted hotly.

“That’s because I’m a nurse,” I grinned, “not a nanny”

He made a noise that communicated disapproval and acceptance, all at once, deep in his throat, “Mmhmm. Ye’ll have to change before ye meet the bairns.”

“Excuse me?” I blinked.

“Ye do own a set o’ scrubs, aye?” Captain Fraser asked, looking more and more annoyed by the second.

“Well, yes, but I didn’t pack –”

He sighed heavily. “I’ll have Mrs Fitz find something in yer size first thing in the morning. Ye’ll do for the time being. Now, Nurse…”

“Claire.” I provided.

Nodding, he continued, “Nurse Claire, I dinna ken how much the agency told ye.”

I shrugged, “Not much. Seven kids under the age of sixteen, youngest with severe allergies and other miscellaneous health concerns.”

He gestured for me to follow him down the hallway, not bothering to look at me as he spoke. “Ye are the twelfth nanny to come to care for my children since my wife died. I do hope ye’ll be an improvement on the last one. She was here barely more than an hour, two a’ most.”

Good Lord, what were these children? Monsters?

“What, ah, is wrong with them?”

Spinning on his heel, he leveled me with an ice cold stare. “There’s nothing wrong with my children, Nurse Claire, only the nannies.”

“Of course,” I back-peddled.

Watch yourself, Beauchamp.

“They were completely incapable of maintaining routine and discipline. I cannot abide my children to be without those two principles. Do I make myself clear, Nurse?

I nodded, then seeing he expected a verbal answer I replied, “Yes, sir.”

He turned away from me again, continuing down the hall.

“Every morning ye will tutor them in their studies. They are all fluent in French and the Gaelic, as well as English, save the youngest,” he instructed, then added in afterthought, “She does speak them conversationally, though.”

I could speak French fluently myself and looked forward to using the language again. Gaelic, however, was completely foreign to me. My steps slowed as I contemplated the reality of a small band of children who would be able to have entire conversations right in front of me without my knowing what on earth they were discussing. The Captain’s authoritative voice spurred me to catch up with him as he continued with my instructions.

“Ye will see to it that they study their individual coursework no less than four hours a day. Each afternoon, they will be given one-on-one instruction by their tutors in out of doors exercises. Bed time is eight o’clock on the dot, no exceptions.”

Slightly overwhelmed and confused, I asked, “Excuse me, sir, but when do they play?”

“Ye will do exactly as I say,” He paused with his hand on the doorknob.

“Yes, sir!” I saluted in huff.

His jaw clenched again, but he didn’t respond as he opened the door and stepped thru.

I followed him and found myself in a spacious and immaculately clean classroom. Seven desks sat evenly spaced against one wall, large maps and complicated diagrams lined the opposing. The walls were painted a stark white, making the room seem more like an institution than a place of study.

There wasn’t a piece of childish artwork to be found, except a very detailed still life of a bowl of fruit propped up on the top of one desk. It hardly counted. It was the most boring piece of art I had ever saw in my life, and I had been to many an art museum.

Captain Fraser pulled a small whistle from his pocket and blew a series of sharp, shrill notes. The sound of disorganized footsteps was heard beyond another door, but it quickly settled into a rhythmic marching. The door at the end of the row of desks opened and a single file line of children emerged.

At least, I thought they were children.

Dressed in a uniform outfit of green with white accents and moving in a precision that made the changing of the guard at Buckingham Palace look sloppy, they could very well be a small brigade of the Captain’s military forces.

What on earth have you gotten yourself into, Beauchamp?

Anime that surprised me despite their outward appearance/synopsis (not in any particular order)

Anime that I have misjudged…

1.) Silver Spoon (Gin no Saji) 

aka the show about farming

My thought going into this show: 

Why the fuck would anyone watch an anime about farming?”

“I’m only watching this because the author of FMA created this… but I doubt it’s going to be any good.”

My thoughts after watching: 

“Fucking hilarious. I laughed so hard in this show more than anything I’ve seen in a while.”

“You don’t even need to like agriculture- or know a single thing about it to enjoy this show.”

“The character development and all the characters in general are fantastic”

2.) Welcome to the NHK

aka the 24 episode anime about a NEET-stalker-hikikomori, his otaku kouhai, and a depressed teenage girl

My thought going into this show:

"I’ll watch it later- seems boring”

My thoughts after watching:

“This show has some of the best dark humor- seriously- a masterpiece. ”

“T an adventure that seems like an epic journey to those who seem to live in a small world, removed from society. ”

“Conspiracy. Conspiracy. Conspiracy.”


3.) Ping Pong: The Animation

aka… the show… about pingpong with the weird art

My thought going into this show:

“Why ping pong out of all the sports- ping pong is like the least interesting sport”

"Strange art. I can’t get used to watching this”

(I pushed this show off for like about a year now)

My thoughts after watching: 

“If you haven’t watched this you’re missing out- this show barley has anything to do with ping pong. Just watch this amv and you’ll see > https://www.youtube.com/watch?v=UYzk0YjOZ0w

"The visuals are fantastic. I like how this studio took the risk to stand out like this. They made a good choice in making the art this way- it seems a bit more realistic and ‘closer to home’”

4.) Free! 

aka the gay swimming anime/ fan-service crap

My thought going into this show:

"As a girl… I like this kind of stuff but I’m not sure if this is worth the time.”

“Is there even a plot?”

My thoughts after watching:

“It’s more than just a gay swimming anime. It has fanservice- and it does live up to it’s nickname as the ‘gay swimming anime’ -but that’s just the humor in this show-

"Sure this show got more hype than it probably deserved- however- this show is also not all about swimming”

"Good message- deeper plot than first glance”

5.) Nobunaga Concerto

aka one knows this show, that one historic show with the weird art that no one watches

My thought going into this show:

"I’m bored out of my mind- but this will make me even more bored.”

“not interested in Japanese history

My thoughts after watching: 

"It’s not your traditional ‘realistic Japanese history drama’

“I found this show in a corner, the bottom of the stack beneath all of the great shows out this season- and it turned out to be the most interesting/ unique.”

"This is one of the best WRITTEN shows of all time- even in eng subs I can tell that the dialogue was thought out carefully ( but not tooo carefully )”

"It’s funny! The main character is quirky and clumsy.” “The Op/Ed is great- I have it on my ipod”


These five anime are one of the most unique and best shows I’ve ever seen in my whole life.
If there is a lesson gained from this- It’s to never be afraid to try something new

Because you never know… you might just come across a gem and you wouldn’t even know it.

anonymous asked:

ever since i watched the vlive where jk played contrail by moonmoon, i cant stop thinking about him making a cover of it. wouldnt it be amazing?

Jungkook makes every cover not sound like one. This song is truuuly art and my heart and soul melted when he sang it (We truly need a cover):

The original song is soooooo soothing too.The lyrics, the voice, the guitar: 

Thank you for making me recall this song. I love this part of the lyrics the most “The boring bugs called adults, ate my dream bit by bit. I will grow and barely become myself. I will become an adult with horns. I have to laugh even though it might be forceful…”

anonymous asked:

I have a ton of trouble drawing from anything but a frontshot which obviously makes a lot of art boring and limits poses. How do I draw the head from different angles? I have the most trouble with feature placement but also how to actuallydrawthehead

i recommend checking out this link https://line-of-action.com/practice-tools/face-expression-practice/ (faces and heads) and this link https://line-of-action.com/practice-tools/figure-drawing/ (heads on bodies) also think about the structure of the head shown here very eloquently by michael d. hampton 

(buy his book Figure Drawing: design and invention it is so so good) But yeah even looking in the mirror/taking pics of your own head in weird positions and trying to recreate that on paper helps. 

I’ve said it before and I’ll say it again, Mary Sue culture is the worst fucking thing lmao. Like… I’ve legit seen people list “regarding your OCs as your kids rather than writing tools” listed as a “Mary Sue thing.” I’ve seen “wishing you lived your OC’s life” as a Mary Sue thing. I’ve seen “being attracted to your OC” listed as a Mary Sue thing. Even just fucking being friends with preexisting canon characters can have a character be labeled a Mary Sue. They like don’t want you to have fun lmao. Anything that makes a character unique or stand out or LIKABLE to the creator is “a Mary Sue thing” because in these assholes’ minds the only people allowed to make unique characters are published creators I guess, and even THEN they’ll go after (usually) female characters (sometimes those of other marginalized groups though like LGBT characters or nonwhite characters) who they deem “too perfect” or “too unique” (ex. calling Hermione a Mary Sue when Harry Potter exists, calling Leia or Rey a Mary Sue when Han Solo and Anakin exist, calling Amy a Mary Sue when Sonic and Shadow and Silver exist, etc).

Even if someone does make an OC who’s a self insert or who’s friends with or dating canon characters or who is super duper overpowered and out of place….. who cares omg. Who is it hurting. People seem to usually mention kids doing it but even adults should be allowed to have fun with their goddamn characters - I was an adult when I made my self insert OC and he did loads to help with my gender dysphoria and identity (since I have borderline personality disorder and a common symptom is struggling to have a stable sense of self). I don’t care what age someone does it, it’s not… hurting anyone…. There’s nothing wrong with it at all omg. What’s the point of making an OC who isn’t fun. Why make a fan character who has no close relationship to any character you like. Why create someone who doesn’t stand out at least enough that they’re interesting to think and write about. Who is it hurting if someone just plain draws themself smooching their fav. Who cares if someone makes their Harry Potter OC a wildly gifted young sorceress who could create the perfect patronus and turn into their favorite animal by age 13 and is dating Neville like it literally doesn’t hurt you it’s for fun omg.

The only thing this mindset has rly done is make ppl scared of having fun and being unique with their characters! They feel like they’ll be judged or hated if they make their characters stand out or unique or too much like them or too edgy or interact with their favorite characters. I have a friend who does OC Fridays and like…. every single week he gets messages like “omg I know this character is kind of a Mary Sue but…” all apologetically, even when he’s stated before he supports characters like that…. It’s just so sad tbh. And I was victim of it too; I made the most boring fucking OCs when I was a young teen because I was so scared of them standing out too much and being called Mary Sues. They had nothing going for them! Nothing that made them stand out. Nothing I could relate to because “making your OC too much like yourself” is a bad thing. No interaction with any canon characters because that was a Mary Sue thing. I’d like…. defend them as Not Mary Sues At All and go through “how to make your OCs not Mary Sues!” and remove anything that put them at risk and it made the most boring, flat characters who I felt no connection to! I didn’t care about them because I wasn’t having fun!

My most recent OC is a self insert with angel wings (in a world where there aren’t angel wings canonically lmao), and he works for and interacts with my favorite characters. I write about him having sex with my favorite characters. I draw art of him transitioning because I’m trans myself and I wish I could transition already. When I’m upset about something I like to imagine him in the same scenarios but having support and help from my favorite characters and the problem being solved for him. He’s absolutely a Mary Sue but he’s also fucking fun lmfao. Writing about and talking about and drawing him is some of the most fun I’ve had with any OC in ages. And that’s…… what it should be about…….. OCs should be a fun thing that you enjoy, you should be able to do whatever the hell you want (within reason; I’m not condoning anything offensive or bigoted or harmful here) without fear of judgement and criticism. I’ve been writing for years, I know how to make a developed and mature character, I’m an English major lmao, but I also think it’s fun to make a character that’s a complete projection of my wants and interests and things I think would be fun or cool. And honestly? Creating an atmosphere where people feel like they can make whatever they want and just have fun with their creations is 900% more likely to produce unique, interesting, creative, fun characters than if you police and mock and criticize people who create characters that you deem too outlandish or silly. Make Mary Sues.

Preference #16 - Happy Valentine’s Day

A/N: It’s already the 14th where I am! Happy Valentine’s Day, lovers! Whether or not you have a special someone to celebrate it with, I love all of you so much. Thank you for giving me the motivation to do what I love. I hope you’ll enjoy this :)

Keep reading

step-by-step / tutorial thing

I was asked on amino to make a tutorial, but I’m completely self-taught so I’m not too sure what specifics I could teach…. but here’s my progress either way.

Now drawing directly from photos is the most boring thing imaginable, but it was the simplest for demonstration.

I only draw using Firealpaca, but I’m sure similar tools can be found from other art programs.

Naturally, I start out with a sketch from reference(s):

Grids are your friend! Let’s pretend I didn’t laze from this….

Using the pen tool (at 100% opacity) I lay down the colours on different layers so I can change them up easily if some colour clashes.

After I’m happy with the colour scheme I combine the sketch + all colour layers (I lowkey hate working with layers since I always draw on the wrong one):

Then I start blending like no tomorrow using the watercolour brush. I start out from things that lay under other things, like the shadows on the forehead.

I work all over the place at the same time, but I find that picking colours from different parts of the drawing helps to blend it all together much better.

I just keep layering the shading and blending until I’m happy.

Once I’m done with every plausible distraction I finally have to do the hair. Again, working in order from furthest thing to the one closer.

It still looks a bit ehhh but I gave up. Then I started editing, firstly I wanted much warmer colours, so I clipped a coloured layer on top on “multiply” and adjusted the effect.

Lastly I played with the mosaic effect for the background elements.

And done!


a third kind of madness by canarybird

luke/ashton, explicit, au, completed.

Unfortunately for him, he’s never really had the time to sit down and paint Luke properly. He tried before, when they were younger, but Luke had been restless and bratty, never sitting still for very long before he got bored or hungry or horny.

or, in which Ashton makes the most of his time off work by painting his beautiful boyfriend Luke. 

one | two

saltpeter-for-gunpowder  asked:

How do you draw Burn Gorman's face and make it actually look like him? You do it so well and every time I try he just looks like a creep.

This is the greatest compliment I have ever received, because Burn Gorman is a shape-shifter who looks different in every picture and I have no IDEA what his face is doing half the time. Honestly, there are tons of artists who draw him better than I do. Nonetheless: thank you.

I don’t know how to help with the creepy, but in my experience, making someone recognizable is less about getting every detail right and more about figuring out which details to get right. In other words: 1) identify their MOST MEMORABLE features, and 2) exaggerate those features to hell and back. Even a really simple sketch can be recognizable if you reduce to the most distinctive or unusual parts of the person’s face.

Burn’s face, of course, is a trip. Let’s see what we can tell from a quick trace.

The blue lines are just the basic guide I use for every face: a smooth ovoid shape with a couple guides. Comparing that simplified shape to the way Burn’s actual features fall on top of them, the most significant things I see are:

  • CHEEKBONES. Oh, the cheekbones. Regard how nobly they jut beyond the edges of the guide, whereas his jaw falls more or less along the guide but is much more square. Don’t underestimate that jaw.
  • Although his jaw has some heft, however, his chin comes to a sharp point. So overall, I’d say his face has what I often see described as a “shield” or “heart” shape.
  • See that line to the side of his mouth? The line going from cheekbone to chin? What a weird line! INCLUDE IT. Seriously, it’s so recognizable and so good for keeping the facial anatomy lined up.
  • Mouth: wide. Upper lip: flat. More on that in a sec.
  • Crow’s feet and circles beneath his eyes, especially when he smiles (his eyes go very squinty and crinkly when he smiles). It’s not as visible in this pic, alas, but there also tends to be a distinct line/shadow that curves down from the inside corner of each of his eyes toward his cheekbones.

In light of all this, in even my most simple line drawings, I:

  • Push out those cheekbones. Make them sharp enough to kill.
  • Make the line from cheekbone to jaw, then from jaw to chin, slightly concave, so that his jaw juts a bit but his chin hits a point.
  • Slash his mouth across his face in a flat, unrealistically wide line.
  • Mark his cheekbones, the lines beneath his eyes, and, often, the line from cheekbone to chin.

With more finished pieces, it’s really a matter of preserving those essentials while fleshing out additional details. You can also rely more on shading to emphasize his bone structure (e.g., highlight on his cheekbones and shadow in the hollow of his cheeks), though I tend to keep line art as well:

Otherwise, when it comes to fleshing out details, I think the most important one is his mouth. Everyone knows Burn’s mouth is a bit … well, I’ve seen fic describe it as “froggy.” It’s beautiful, but it’s definitely one of his more unusual characteristics.

WOW that is an unsettling closeup. Um. Sorry about that. But what I want you to notice about this pic is that his upper lip:

  • Has a rather broad philtrum (the groove between the points of his lip’s Cupid’s bow) with a shallow, gradual curve.
  • Is pretty much the same thickness near the middle as it is at the outside corners. On some people’s mouths, the lip looks thinner at the outside corners and widest at the points of the philtrum, creating that recurve bow shape. Burn’s lip is pretty even throughout.

His smile is a whole nother can of worms, with a shape that I struggle to capture and to describe, but you can see in this one how I’ve followed the general principles above — a wide and shallow philtrum, with the upper lip still thick when it hits the outside edge of his mouth:

Of course, Burn is a shape-shifting alien man, so a lot changes from angle to angle. Front views emphasize the squareness of his jaw, while three-quarter views soften the jaw and emphasize the point of his chin instead, making his face seem longer and narrower overall. In profile, you can see that his whole jaw / mouth / chin area sort of of juts forward — which can also make his mouth look pushed forward in three-quarter views (as in the photo below) — and that his nose is short, triangular, and slightly upturned.

Note that I totally screwed up Burn’s nose in that drawing with Bucephalus, by the way. I mean, I screw up his nose in new and fascinating ways every time, but this one is really something. The bridge is way too convex.

Honestly: I mess up Burn’s face so much. I never draw his eyebrows the same way twice, his nose is different in literally every drawing pictured here, and I didn’t even bother tracing his eyes earlier because I usually go pretty stylized on those. But for me, that’s the point. I’m not trying to be photorealistic. What I’m trying to do is to make a caricature of the features people notice most about him — the ones we go on about in fanfic: the Cheekbones from Heaven; the froggy mouth. That way, my hope is that the end result will capture something so quintessentially Burn that viewers think, “Oh, Burn Gorman!” when they see it … Even if so many other details are wrong.

I could probably spend forever dissecting this guy’s face, but I reckon I should stop before I get any more boring and/or creepier. I hope this is at all helpful to you in your art! ❤