low saturated

I ran into some art block lately and decided to branch out and draw a different Pokémon for once. This isn’t related to @dailyshinyampharos in any way, (but their art is amazing check em out!)

But don’t fear, weavile posts will resume normally! I just wanted to show you guys a colored pencil drawing and not something that’s only pencil like I usually do. :)

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The thing Pidge misses most about Earth isn’t the people or the sky or even the free wifi.  Without music, it feels like part of her soul is missing.

anonymous asked:

Maybe Laf accidentally happening upon Aaron wearing one of his shirts or hoodies or something (of which it is @ least 3x too big )

Sorry for the wait, anon! Hope you don’t mind me writing nonbinary Laf, I haven’t written them in a while. Rest under the readmore


The thing was, Aaron just loved to tease Lafayette over their fashion sense. It was all “I didn’t know that many colours existed,” and “If we have children, you are banned from dressing them.” Sometimes, it was even “If I go blind, I’m sue-ing you.”

All in good fun, of course. If Lafayette didn’t already know Aaron’s teasing tone, they would have known from the way Aaron would lean to his tip-toes to give them an apologetic peck on the cheek.

“At least I don’t wear nothing but blacks and greys,” Lafayette would tease back.

“I resent that, I’ve been known to wear maroon, time to time.” Aaron would answer, clearly referencing his jacket.

Lafayette would grin. “I bought that for you. You were going to go with brown. I finally convinced you to not go with a neutral colour, for once.”

It was a balance. Not an important one, but one Lafayette appreciated all the same. Their boyfriend was just as wonderful in his preferred quiet style as he was in dramatic, eye popping colours. The only thing that mattered was what made him more comfortable, which just so happened to be low saturated purples, browns, and charcoals.

Thus, it was a bit of a surprise when Lafayette came over unannounced one day to see Aaron lounging in their hoodie at the kitchen table, rather than one of Aaron’s own. The soft pastel tie-die pattern mixed with sharp black accents was extremely familiar, and Lafayette found their eyes glued to it.

It was, after all, a very unfamiliar sight on their boyfriend, at least three sizes too big and looking all the more comfy for it.

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Oatmeal Beauty Benefits

Oatmeal, rather than it only being used as a healthy breakfast, actually boasts beauty benefits. You can use oatmeal to help take care of acne, dry skin, irritation, dullness, and more. There are many ways that you can use oatmeal by itself, rather than going out to stores and spending money on products. I, myself, have a box of 100% Natural Whole Grain Quaker Oats. Here are some ways that you can use it.

  • Oatmeal Bath: Pour a cup of plain oatmeal (blended) into your tub as it fills up with warm water. The oatmeal will cleanse your skin, soften, and moisturize your skin, which help lock in moisture and protect skin from exterior irritants. 
  • Face Scrub: Oatmeal contains chemicals known as saponins, characterized by their cleansing properties. Simply grab a quarter sized amount of oatmeal and mix it with warm water in your hand. Once its soggy, squeeze out the oatmeal water onto your other hand and apply that to your face. It would be like a base before you actually start scrubbing the oatmeal onto your face, AND it makes your skin incredibly soft! Then you would scrub the oatmeal onto your face in gentle circular motions. Leave it for 2 minutes then wash off with warm water then cold. Then do your usual night time skincare routine.  

*Here’s a guide by Bubzbeautywww.youtube.com/watch?v=7e5_RVBwNjE

  • Exfoliator: Try blended oatmeal, coconut oil, brown sugar and warm water. You’ll get the same cleansing and buffering properties without all the unnecessary harshness from beauty products or over the counter items. Plus, the coconut oil will give your skin a healthy glow. 
  • Dry Shampoo: Just as oatmeal works at removing excess dirt from the body, it can also help to reduce the appearance of dirty hair. You can brush through a light dusting of finely ground oats throughout your strands to soak up excess oils. This will help relieve an itchy scalp. 

Health Tip: Oatmeal can help reduce cholesterol. 3 grams of soluble fiber from oatmeal daily in a diet, low in saturated fat and cholesterol, may reduce the risk of heart disease. 

kirishimatoukaa  asked:

Hey, can i what color do you use for shading? and how do you pick colors in general?

OK I GET THESE QUESTIONS PRETTY OFTEN so im gonna try and explain it a bit!!! (i wanna say that this “explanation” is probably very badly worded and confusing since 1) english is not my first language and 2) im rly awful at explaining things i do that are based on my own feelings)

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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 ^_^

Second: COLORRRR

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 :)

-n