I know it’s a completely uncertain possibility but what would happen if Joker found out Harley’s cheating on him?
This is actually a really fascinating topic to think about, in short i agree with you no I don’t think they ever would really cheat on each other but it’s really interesting to speculate. That would be like the ultimate betrayal and Joker above all else really likes values loyalty and is very possessive. This topic came up a bit ago where I sorta ranted because I got so excited over the subject lol if you’d like to check those out herehereherehere to start out, let me know if those answer your question and if you want more don’t hesitate to ask
Do you have any kind of process for picking colors for the backgrounds? They all seem to have really nice uniformity, and I would love to read up on how colors like that are picked (or if it's more intuition based). I do remember you mentioning that you also had help from another color lead before, so I was wondering how much of that they help out vs the colors you chose?
hey, thanks so much! this might get a lil long (as it always does!!) so bear with me.
firstly i want to say, there’s no right or wrong way to pick colors. every artist has their own palette they prefer and i think it’s super delightful to spend time developing your own special sense of color. so even though i’m explaining things in a “this is how you do it” sort of way, it’s not the only way! just my way. the best method to develop your own sense of color is to look at a LOT of art, look at a LOT of the world around you, and practice practice pratice.
at this point in my life i pick colors intuitively just because i think it’s something i’m naturally tuned into, and i’ve been doing it for a few years, so i don’t actively plan my palettes. but here are some things that i think about as i pick colors.
firstly, i want to go over hue, value, and saturation. i’m sure everyone knows these intuitively but i want to explain them in words. hue, value and saturation are what make up a color, and decide how colors differ from each other.
hue: what color the color actually is. red, purple, green, yellow, and everything in between.
value: how light or dark a color is. if you’re painting traditionally, adding more white or more black to a color lowers or raises its value.
saturation: how “pure” the color is vs how much neutral tone is in it.
here’s an example of all three:
this comes into play because a big mistake i see beginners make is that they pick a “just” color, and by that i mean they pick “just blue” or “just yellow”. imagine buying a set of oil paints and only using paints straight from the tube without ever mixing. it would be impossible! so i try to avoid picking “just” colors, except as for a complementary color (more on that in a bit). here are some variations of a red, for example.
so, the biggest thing for me when i pick colors is that i want them all to be friends. i want them all to have something in common so that they get along. i usually lose control of a painting when my colors feel to different from one another. so, i will usually start a painting with one color i know for sure i want, and “subordinate” other colors to it, meaning every other color i pick has to look good with that color. as to how you figure out what looks good and what doesn’t, that just takes time and lots of observation to build a personal opinion :) here’s an example from one of my paintings. in this case, the main color is the trees.
and here’s another from rick & morty, the main color is the sky this time.
now that that’s out of the way, i’m going to give you the Actual Cheat Sheet for color palettes. in color theory, there are 8 basic color schemes that are generally pleasing to look at. here they are.
i usually use an analogous palette or monochrome palette out of preference. the two examples above more or less fall into those categories. however, i also like to use split complementary because the complimentary color adds a LOT of contrast and visual interest. it’s great to use if you have a specific thing in a painting you want to draw attention to. here’s an example:
it doesn’t always have to be a perfect split complementary, just one color that differs from the “family” of colors that take up a majority of the piece.
now! you might be wondering when’s the right time to subordinate a color, or where to put it, or how much of it to use, etc. and the answer is: CONTRAST. there is always visual interest in things that are different. i was rifling through my school notes and found these great types of contrast when working with color.
value: things that are light vs things that are dark.
hue: two colors that look different. I.E. yellow vs blue.
saturation: things that are saturated vs things that are desaturated.
proportion: note the example above. a majority of the painting is orange, so the green stands out because there is proportionally less of it.
temperature: things that are warm vs things that are cool.
complementary: red vs green, blue vs orange, yellow vs purple. when in doubt, these colors always contrast against each other because they have nothing in common (there is no red in green, etc).
simultaneous: this is a little advanced and i’m bad at explaining it, so please read up on it here.
a super helpful exercise is to look at your favorite illustrations, paintings, photographs, designs, etc and assess which one of the 8 color schemes (linked above) it has, and which types (can be more than one) of contrast it has. we did this in school and it REALLY helped me look at color better. here’s part of the assignment i did, the artist is annette marnat.
so! that’s pretty much how i think about color and how i pick my colors! i hope it was somewhat helpful! there’s so so so so much about color theory i can’t even begin to cover, i highly urge you to watch some videos and read some books and articles to further your study. a great starting place would be this series of videos. these are made by my teacher Richard Keyes, i think he had a dvd or something. everything i’ve talked about so far i learned from him and he is an absolute expert in color. these videos are invaluable. if you take anything away from this post, let it be to watch these videos hahaha.
to answer your question about my color leads, every painting was a collaborative effort between the three of us, and sometimes other painters too. it was a very hands-on crew, so i can’t say any of the r&m bgs i did are 100% “mine”. however, i think my personal color sense is waaaay different than jason or phil’s, which made the process very interesting because we usually had 3 very different opinions hahaa. you can check out their work here and here to see what things they brought to the table in relation to my own contributions.
thank you for the ask! again, i hope this was helpful :)
The Veil is what separates our physical realm from the spirit world. By opening it, we’re able to communicate more freely with spirits. Essentially, you’ll be making a door and opening it in order to reach the spirit realm.
Disclaimer: I’m not an expert at this, please don’t take my word as the final say. I just started practicing this technique and was taught by a close friend. Always be safe when you practice because if you’re not careful, you can get into some shit. I’m writing this post by popular demand.
STEP 1:BE SAFE. The picture above is a little preview of the layout I used in my own dorm room. It’s hard to see, but I first drew a chalk circle and sprinkled black salt all along the edges of said circle. I also put four crystals at each end to mark it. Why do I have so much shit everywhere?? Because I don’t want anything to come through the door I created and cause problems. This circle keeps unwanted spirits out. (Granted, you don’t have to use as many things as I did. I find that a physical circle is just easier to visualize.) You can also use candles or anything else that works for you!
STEP 2: MARK THE DOOR. I used sun and moon candle holders with electric candles in them (since I live in a dorm and can’t use real candles). I set them apart from each other, like I was making, well, a door. Then I used some Super-Moon water to draw a line between the two candle holders to amplify my energy. Finally, I also sprinkled a line of black salt to stop unwanted and harmful spirits from coming through the door.
STEP 3: RELAX. Get into the state of mind you need to be in to do witchy stuff. Meditation, grounding, singing–whatever you need to do to access your energy.
STEP 4: STRETCH YOUR ENERGY. Whenever you feel ready, slowly pool energy into you palms. Then push it through the marked entrance where your door is going to be, imagining it as a thread, string, or cord connecting to the spirit realm. This might be difficult, especially if the veil isn’t exactly thin where you’re at. You may feel your energy bounce back, or that you’re hitting a wall. If you do, don’t worry! You can always pull back, gather your energy, and try again.
STEP 5: CREATE A BRIDGE. You’ll know the moment when your energy connects to the spirit realm. It feels different for every person–for me, it’s almost like this tug in my gut and the feeling of a thread connecting my hands and body to something else. Once you feel that, it’s really up to you on how you want to create the bridge! For me, what works best is when I imagine myself walking across the thread of my energy towards the spirit realm. As I walk, my energy begins to create the bridge. There might be another door on the other side once you cross the bridge (it’s really up to how you visualize). If there is, open it.
STEP 6: OPEN THE DOOR. Once you’ve made the bridge, feel and hold on to that connection. Then, imagine a door leading to the bridge through the physical boundaries you created earlier. This door can look however you like–whatever’s easiest for you to imagine! Then, use your energy to pry open the door. After that…
Congrats! You’ve successfully opened a door to the spirit realm! You should be able to feel the difference in energies. It’s kind of hard to explain how it feels–almost like this vast, empty expanse and the chattering of lots of different spirits floating around.
When you’re done…
CLOSE THE DOOR. If you invited any spirits in to chat, say goodbye to the spirit(s) that you communicated with and ask them to leave. Make sure they leave before you close the door. If they refuse to, you might have to force them via your own energy (obviously, this is in the worst of situations. Try not to be rude if possible!). We’ve had to do this before and it’s not the most pleasant thing (haha).
To close the door, pull your energy out from the spirit realm. Imagine that bridge you created crumbling, until you can no longer feel that connection. Once you’re out, close the door, seal it up, and do anything else that feels necessary in order to break the opening. For me, I usually make a breaking motion with my hands to signify the cut-off connection. You can chant or say an incantation if you like as well. This is important, because you definitely don’t want to leave a door open for spirit to come through willy nilly!
PLEASE BE CAREFUL!! If you’re not cautious, some bad spirits might be able to get through and that’s never fun. If possible, try this first with someone else (preferably someone who knows more of what they’re doing). If you can’t, make sure you have multiple backups, wards, and other witchy things to keep bad spirits at bay.
If you want to invite a spirit to chat, it’s probably a good idea to have an offering around, just to be polite. Tarot cards, pendulums, etc. are pretty awesome tools to use if you’re not great at telepathic communication!
Take everything spirits say with a grain of salt. They can lie just like people.
I hope this was helpful to those that asked! If anyone wants to add anything, feel free to. I’m by no means an expert, so if someone wants to add their expertise advise please do! If something doesn’t feel right, go with your gut–never do something you’re not comfortable with.
Is there ever going to be an explicit reason for Adam drowning out everyone else's emotions? Is there a particular reason that you know of?
There’s not an explicit, atypical-related reason for why Adam overwhelms Caleb’s empathy. I know a lot of people have speculated that Adam’s parents have experimented on him and he has some atypical biology or something. Since this will probably never be confirmed or denied on the podcast, I’ll do it here: Adam has not been experimented on. There’s no scientific reason for it. It’s just because he and Caleb click on some basic, subconscious level.
summary: jeongguk always pioneered one household chore: laundry. now why he had such an affinity for it, you had no idea. that is, until you come home and he lost track of time, causing you to stumble upon him in the midst of something strange and yet altogether intriguing.
music: work out - j.cole ; touchin’, lovin’ - trey songz ft. nicki minaj
Tags- Alpha!Sam x Omega!reader, being in heat, dom/sub undertones, smut
Word Count- 2800ish
A/N: For @spnabobingo. The reader is in heat and needs an Alpha to take care of her. Hope you enjoy! XOXO
Everyone is downstairs, trying to catch a glimpse of anything happening inside Mrs. Miller’s apartment. You feel bad, you really do. No one deserves to be murdered, let alone in their own home. And the fact that it seems to be a completely random, nonsensical murder in your apartment building is unsettling.
But you can’t join the rest of your neighbors outside her door, peeking in over the caution tape and straining their ears to hear the police talk. Not when you’re sweating and cramping and curling your toes at a very ill-timed heat.
HOW DID YOU MAKE THAT BRUSH?!?!!! IT'S AMAZING!!!!
Alright so MediBang has a pretty fun brush-creation thing going on! I’ve been using the mobile version, although I’m sure that the desktop version can do this as well?
So you go to make a new brush, right? If you wanna make a brush that has several images built in, like the gummy bear thing, you’ve gotta pick a “multi” brush option
Once you select one of those, it’ll ask you to either use your current canvas or to import from your MediBang gallery or another app
What I did was I made my brush canvas in a separate file, so I imported from the local gallery
On the right there is the file I would choose! Notice how it looks kind of weird, that’s because each image that goes into making the brush has to be its own separate layer. It’s a little weird, but that’s how it works
Essentially that file just looks like this, one bear on each layer! So once you select that, the program pretty much does the rest. Just fiddle with the brush settings until you get exactly what you want
So I’m really not sure how you’d make this brush in literally any other program, but here’s how I managed it! I know this is kinda jarbled and aimless but I hope it helps at least one person, it took me a little bit to figure out how to use the multibrushes