i was bored and had photoshop

digital drawing of alec lightwood and magnus bane in 206 “iron sisters
I don’t draw freehand much, because I feel like I’m not as good as so many others but I saw this sneak peek and I was inspired. this was drawn freehand in photoshop *which was a bitch because I don’t have a drawing tablet anymore, so I had to do it with my laptops trackpad. I decided to share it with you guys, please don’t judge too harshly, I haven’t drawn anything in YEARS! and apologies for the lack of background, I know it’s boring boo!

I Just Wanna // Lee Taeyong


the prompt: I would like to request/suggest two song based scenarios, the 1st one based on “I just wanna make love to you” with Taeyong.

words: 1195

category: fluffy fluff

author note: i realize the chorus is kinda angst so i cut the entire chorus bc i wanted to write a husband!taeyong fluff. also i’m a pure bean so there is no love making in this. rather, it’s about the little things that make love so attractive to us :)

- destinee

Originally posted by haechanz

i am so very soft for this boy

Keep reading


So, I thought my friend, Xane, would look like a really great Moana, and after some convincing, I finally got her to go out in cosplay! She literally watched the entire movie in cosplay! except for the skirt, of course.

The costume is made by me, and the pictures were also taken by me. Since the costume was based more so off of my own measurements rather than hers, and I’m a few inches taller, the costume was a little longer than it should have been. But even so, our local Hot Topic thought it was good enough to be posted on Instagram!


A page from Donut’s sappy scrapbook that he definitely has somewhere, probably.

i got bored of my homework and made this in photoshop instead thanks bye

under the cut are 60 90x90 icons of LILY JAMES as ELIZABETH BENNET in PRIDE AND PREJUDICE AND ZOMBIES TRAILERS. all of these icons were made by me so do not redistribute or claim as your own. if you edit these in any way i require that you give me credit somewhere on your blog. psd credit ( xlike/reblog if you take.

Keep reading

anonymous asked:

Hi! First off, your art is literally eye candy. Love your various styles and vibrant colours. Second, speaking of colour, I've always stuck to classic black-and-white but recently began experimenting with colour on Photoshop. The outcome of my works however, generally end up flat & boring. I understand colour theory & such, but the issue is applying colours. So my question, how do you get colours to 'harmonize' with/without lineart, and just how to colour really haha. Thank you!

First: shucks. Thank you ^_^


OKAY. okay. I’m not nervous, who’s nervous? Talking about color is easy. You’re nervous.
I’ve had this question a few times and each time I get tied in knots trying to think of how to explain color.
More than almost anything it’s the sort of thing you have to show, and the sort of thing you have to practice over time yourself.
But there are a few tips I think I can offer.
First off, you’re working in black and white, great! That’s the first and most important step to good color. Pretty color is another matter, but good color relies on the structure of a piece or design and contributes to its clarity- it tells parts of the story that only color can. But it serves a goal- and more often than not that goal is clarity- and clarity comes from value structure.
Setting up strong black and white contrast- learning to direct the eye with light and shadow, figuring out how to use greys to emphasize or wash out portions of your composition- all of those are the key foundation of good color. Always keep the focus in your mind, especially when using bright and exciting colors- otherwise you’ll combine colors that fight the structure and the viewer won’t be able to make sense of what they’re looking at or where the important parts are.

If you know about color theory, you know that the most important principle is complimentary color contrast- it’s the most basic building block. Practice using basic pairings like blue/orange, red/green, and yellow/purple to understand how to direct the eye with color, the same way you already do with black and white.
Try exercises where you limit your palette with swatches or you mix actual paint to try and get the colors you want from only a few limited tubes. Trying to paint from life like this will teach you an enormous amount about the underlying structure of color before you move on to wild neon.

Commit to a period of time where you avoid pure black- look for dark, saturated complimentary colors to create shadows that won’t deaden the sense of volume the way adding pure black or grey will. Keep value structure in mind.
When I want to create a glowing warm orange light, I use blue and blue-purples in the shadows of the piece to create color contrast that punches the lights I eventually add.

Work dark to light (and try working light to dark as well, with a medium like watercolor). With dark to light you spend time first creating a “mud”- a value structure reliant first layer of the painting where you focus on the colors of the shadows, the fluctuations between warm and cold shadow- the local colors as they appear when they are outside of the light- make your mud interesting but not eye catching or very saturated. You are setting the table, here.
Build from that point- create bright points of focus with saturated and complimentary highlights on top of the “mud” (if the mud is a purple mud, mix yellows and golds into the highlights). This way of painting is really satisfying- putting controlled highlights on at the end can be the most fun part. We used to joke about it all the time in art school- it’s dinner time; the ecstatic moment you put the little bitty white shine on at the very end and everyone goes “ooOooh”
The satisfaction of that “ooOooh” moment will depend proportionally on how well you set the table with your complex, nuanced “mud” beforehand!

Most of my process revolves around paying attention first to the mud of a design- trying to pick colors that are harmonious (which is largely practiced intuition- but also has to do with grouping similar saturation levels and popping with calculated moments of complimentary contrast where I want to draw attention)- still, at the start nothing stands out especially- I’m putting down dishes before I serve up the turkey ;) Then I build in brightness and saturation to the areas of emphasis in the piece or on the character.

With my brighter, more candy-colored work, the process is different but the principles are similar- the “mud” of the piece is brighter, more saturated- the shadows often grouped in a low-ish saturation range of purples, blues and pinks- the highlights often coming in with warm golds. These pieces usually rely more on pure color contrast and slightly less on value structure for their oomph- but it’s all still there, under the surface.
After a while you’ll move past the simple complimentary color pairings and on to more subtle relationships of color, cooler light courses, bounce light and ambient occlusion, you’ll tell different stories with color based on insights you’ve gleaned from observation.
Sometimes it comes down to simply “I like that photo/painting/feeling/obscure memory from my childhood, and I’m going to try to copy it until I get it right.” You learn a lot along the way through copying- and there’s a huge complicated world of color out there with masterful luminaries and great fun to be had.

You can learn from the outside-in by copying and color picking from the masters, or from the inside-out by practicing exercises that will help build your skill. My advice?

Do both.

The biggest trick is just practice and time- if you set your mind to it, you will improve and eventually it will be second nature. I super duper hope this is helpful to you and to anyone else struggling (as I did, and I do) with color in their art! Be well :)



Completed inspirational/gift headshots of Nix, Ghatz and Rumm for @x-men-headcannons, @saberghatz, and @awesome-reading-bitch ~

Got bored during my free lab day in MGD in college/AVP so I had a few ideas and went with it and just got these done today during choir practice~ Also wanted to mess around with a few new tools I found on Art Studio since it’s becoming more like Photoshop in some ways~ I will message each of ya, your character’s headshot without my name and with it as well~ Along with better quality since my iPad quality didn’t come out that well with trying to resize it and crop each picture but I’m working on it~ 

Anyway hope ya’ll enjoy them~ I had fun doing these and doing more in the future~

IF I get my online card or whatever to help get me cash online, I will most likely take commissions over the summer since I’m almost on Summer Break~ 

Characters - @x-men-headcannons, @saberghatz, and @awesome-reading-bitch

Art - Me


Smooth Gif Tutorial by Hanxbi! (With Photos) 

Hello everyone! 

I finally had some time to make this gif tutorial and let me not waste your time with a boring ass intro so let’s get started! 

What You Need: 

  • Photoshop CC (preferably) 
  • Basic Knowledge of Photoshop controls (espcially opacity & filters)
  • PSDs
  • Clipconverter (or 4K downloader) 

Keep reading

Coloring/Shading Tutorial

I got an ask, so I guess I’ll go ahead and make a more in-depth tutorial!

I actually just use the default round brush that Photoshop has, but make sure Transfer is on. That’s what gives you transparency in your strokes. If you know how to use it, boring default brushes will do the job just great!

Besides learning how to layer strokes to make them blend well, it’s important to know which thickness of brush you should use. As you can see, the hair was shaded with a small diameter (emulates hair texture and strands) while the clothes had a bigger diameter (like clothing folds). As you keep practicing, you’ll get a feel for what works and what doesn’t. Hope this helps!

This is a portrait I did back in college (2010) as a class exercise. I remember my teacher not approving my use of cheap colored pencils, specially when I chose colors that don’t resemble the human flesh. Sanguine is beautiful, but after the second portrait I got bored. Welcome blue!

I had to scan this drawing 8 times and then assemble all the pieces in photoshop. It is slightly bigger than an A2. You will see that some parts don’t match perfectly because I am lazy, I know…

Good night all!

Let’s talk about Nick Miller.  Let’s talk about him and Jess and this new way I’ve been thinking about their breakup, realizing the genius, twisted irony of it.

While I was writing about broken-up Nick and Jess last week, I spent a lot of time thinking about the two sides of their relationship: the things that work and the things that don’t and why. 

The Mars Landing fight focused on both the past (their relationship so far, arguing all the time, biting things back) and the future, ostensibly about their attitudes toward planning, their worldviews and belief systems.  But there’s another hugely important unspoken layer to that conversation.

When Jess was asking if he imagined a kid they’d have together, talking about a house by the lake and Christmas morning, she was at the same time saying: I’m ready for this; I’m ready for this with you.  Or at least ready to let you know that someday I will be. A future where things are a lot more grown-up; a post-loft world where they’re still together.

And poor Nick Miller, so afraid he’d screw it up from day one, missed the ball coming across the plate.  Didn’t even realize he was up at bat.  

She was saying: I think all the time about spending my whole life with you.  (Even if some of that thinking is with trepidation.)  And he was so afraid of rocking the boat of the universe, afraid of taking a different approach to life and thinking about the future, believing things maybe *will* work out, even if you have to force yourself out of your comfort zone and into something like adulthood — that he said no.  He backed down.  He derailed.  He said, without realizing he was saying it: I won’t imagine with you a real future where we’re together.  Because he doesn’t believe in a world where things work out that way.  Doesn’t really dare to let himself hope beyond what he has now.  Messed up from Caroline and Julia and his family and always always from Walt.

The way his face fell on the roof in Winston’s Birthday when he thought she was slipping away before he even really had her.  The way he forced her to admit she worried he was too messed up, at Cece’s wedding, and then turned tail when faced with things being that real, that potential bad.  Called the whole thing off.  So afraid of how he was going to mess things up.  How bad it was going to hurt.

“I realized something … I’d do anything for ya’, Jess,” he tells her in the bank.  But what he has to do now is even bigger and scarier: he has to do something for himself and for both of them.  It’s being able to say: yes, I see a future with you — which means being brave enough to imagine a future where life is good; where things are okay for ol’ lemonade-into-lemons Nick Miller.  I think that’s the long game for him.

He’s a little broken: that’s what he said when he told her people don’t change.  He didn’t think his dad would; he doesn’t think he can.

Here’s what I want to give Nick: a year like Pam Beesly’s season 3.  Being forced to change and forcing herself.  Signing up for art classes and living alone and running across coals and saying what she means, brave, in front of everyone.  Watch out world, old Pammy is getting what she wants.

I want fancy new Miller like we got fancy new Beesly.  Not some unrecognizable guy in a scarf and Brylcreamed hair; Pam didn’t turn into Karen or Jan, after all.  I want a Nick who’s *himself*, but who’s figured out that he can fight his way forward, through the hedgemaze of insecurity, away from the world that’s pessimistic but safe — and who’s realizing he can be happier for it.

I doubt that’s what we’ll get this season, really, but I think it’s coming.  Maybe in season 5?

But I want to see the look on his face when he realizes: this girl he loves, this girl who’s changed every part of his life, she was telling him, in her own roundabout and mixed up way, that he was it for her.  Wanted to have kids and a house and the whole daydreamed expanse of the future *together*.  Wanted to marry him.

I want him to realize that and then figure out he can make that happen.  She’s the kind of girl a guy would come back for.  

Ohhh well yeah!
Got myself a Surface Tablet couple days ago and of course I had to test out photoshop and illuststudio on it immediately!
I am quite satisfied with the results and it is extremely comfortable to draw on it, as soon as you get used to the glass surface. Rly love it so far.. And finally I was able to try out a bit the colouring technique with the lasso tool since it’s so easy now to switch between tools!
More to come, hopefully, soon.
And I couldn’t care less about if it might be boring to draw the same character all over again and again. I’m having fun here.