Yeah so this is kind of a funny story. 1st pic is Lars from the pilot episode of steven universe, around the time og picture two someone said on tumblr that i looked like Lars (this was from 2014 or something). I see that now. Yesterday i dyed my hair pastel pink, and tonight i watched the latest episodes of steven universe from season 5. I cried so many times. Buy especially when Lars turned pink!!! Lars has changed and so have I (lol) but I really can relate. I just had to do a low key cosplay of Lars because we are so similar!!! And lol I also have had Ginger hair like Lars what. Is. It. With. Me. Making. Patterns. Everywhere. Idk I just thought this was cute. And yeah who doesn’t love Steven Universe???
magical tattoos? like tattoos with special properties or they move around on skin or smth?
After turning 18, every kid is required to go to special tattoo parlor
where the town’s resident mage gives them a tattoo. No one knows what
the tattoo will be until it’s done, not even the mage. The tattoo forms
itself into a symbol that will become very important in the person’s
life. On Character A’s 18th birthday, their tattoo forms itself into a
Character A convinces their best friend, Character B, to go get a
tattoo. Not wanting anything big, Character B gets a small flower on
their back. The next morning, Character A gasps when they see Character
B’s entire back covered in vines and leaves and flowers, and they only
seem to be spreading further.
Everyone gets one tattoo in their life, and that tattoo gives them a
power of their choosing. Character A really wants the power to see
through objects, so they get a pair of eyes. However, after a series of
visions, they come to realize the power that manifested was actually
seeing into the future.
“I’m a mage and have been searching for an apprentice for years by
pushing a little bit of magic into everyone tattoo I give, just to see
if anyone reacts to it. None had, until I gave you yours. The second the
needle touched your skin, ink started flowing into patterns everywhere.
Please stop freaking out” AU
When tattoos start appearing on one’s body overnight, it’s a sign that
they’re meant to join the War of Magic. However, Character A’s parents
are major pacifists and hate the war, so Character A begins their own
struggle as they try to hide the growing tattoos their parents.
“I’ve been told all my life that moving tattoos were normal – a sign of
being healthy. But I don’t think that means the tattoos are supposed to
come off of my skin and fly around? Cause that’s why I’ve been hiding
out in my room all week” AU
Do you still go on iscribble? I think i've watched every speed paint you have up there and they're so mesmerizing. I love how they go from just blobs of colour and value into these epic compositions. I envy your storytelling and would love to know what would be best in terms of giving art more "umph" or feeling? The comic you did with Orianna and Blitz or the one with Kindred and Soraka, they're FULL of emotion and always make me feel something. Love you art to death :)
Hiya! I pop on iS every now and then, but I don’t use it for sketching anymore.. the new HTML shift kinda changed the feel of its response, and I’m just more comfortable working in Photoshop. Glad you like the replays though, it’s a great feature for sure.
There are multiple things that contribute to storytelling in an illustration/comic: Frame composition, shapes within the frame, camera lens, camera position, lighting, colour, props/background. And then there’s the characters themselves with body language, gesture and expression(acting). Alot of this study is closely tied to cinema!
Pushing for emotional impact often rely on camera placement and framing/shot size to ‘put you in the moment’ or ‘in someone’s shoes’. Colour and value(and every other element/principle of art) helps direct your eye and can enhance the emotions even more.
Framed Ink : Drawing and Composition for Visual Storytellers, Marcos Mateu-Mestre
The Visual Story: Creating the Visual Structure of Film, TV and Digital Media, Bruce Block
Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know, Jennifer Van Sijill
What I like to first do when working on a scene is to decide what part of the story/moment appeals to me the most, then work toward selling that scene. It’s a highly subjective process and everyone has their personal way of composing from the same idea, the challenge comes in leaving a strongest impression.
The Blitz/Ori comic was really bare- simple render/lighting, no backgrounds, alot of close-ups. But its simplicity helped immerse you in the scene more, since the characters and their emotion(or lack of) are the focus of the story. (but this doesn’t work all the time, context is very important). The frames lead the viewer’s eye, and you have to be conscious of what visual information you’re putting in(or leaving out).
I left the general palette muted and dull to synergize with the mood, and let the colour blue be the contrast colour of the light(life). I’m not always aware of what I’m doing, but the more you understand what you need, the more you can design your work to be successful.
I can’t tell you how to UMPH a piece of art in the best way- there are only multiple variations with different focuses. Build your own visual library of artwork like illustrations or screenshots from film/comics that you find interesting. Learn the conventions that artists use by breaking down an image to its elements. You’ll start seeing patterns everywhere. And if that’s difficult, just look around online for blogs/tutorials/studies where smart people explain the thing for you.
Good luck! Practice alot! And constantly ask friends/people for feedback. They don’t have to offer fullblown critique- they’re just as valuable for telling you that ‘they don’t understand what something is’ or ‘something feels off’ or if their response is opposite of what you hoped to achieve.
You looked around the long path ahead of you, with your best friend Peter walking alongside. The long dirt road was filled with shades of red and browns, yellows and oranges; it enchanted you. You couldn’t help but smile. Everything seemed so perfect, from the crisp air to the oversized sweater you were wearing - it was so damn beautiful.
While you were in your own head, Peter couldn’t pay attention the the colors, or the trees. He was, in his opinion, very obnoxiously staring at you. He couldn’t take his eyes off you - why was this obnoxious? Because friends don’t stare at their friends like all they want to do is kiss them, friends don’t want to hold each others hand forever, friends don’t consider what you two were doing as a date, friends don’t think of what he thinks of when around you. He liked you, he liked you so much, and he couldn’t admit it, because how much danger would you be in if he did? He wouldn’t be the one to hurt you, he wouldn’t be the cause of that.
But he couldn’t keep his eyes off you. Partly because it was that time of day, where the sun shines through the tree leaves, scattering patterns everywhere. And partly because your eyes wandered with so much awe, the kind of look a kid gets when they see something new. But you had seen fall so many times, and you still had that amazement, that joy. Peter didn’t keep his eyes off of you, because he was mesmerized by the way you walked, with confidence and grace; the way you paused to exhale, just to see your own breath; the way your lips moved to a tune in your head. everything.
“You okay, Peter?” you asked, turning around to walk backwards, a small hop in your step. You were gleaming, truly. It was as if you were the sun itself.
“The leaves are the color of your hair,” Peter muttered, his gaze falling to the ground very quickly, “Sorry, that’s a weird thing to say. I just thought that they looked so beautiful, you looked so beautiful, and with the light…I’m going to shut up now,”
You stopped in your tracks, making him panic immediately. He was going to apologize again when you started talking in the most calming tone he’d ever heard.
“No, thank you,” you said, laughing lightly. In one swift move, you learned in to kiss his cheek, eyelashes slightly pressing against his skin. “Thank you.”
[L]ater you still entertained, at least as hypothesis, the notion of a not impossible love, requited passion; or resolved modestly to learn some craft, various languages. And all those sparks of future winked out behind you, forgettable. So— the present. Its blessings many today: the fresh, ornate blossoms of the simplest trees a sudden irregular pattern everywhere, audacious white, flamingo pink in a haze of early warmth. But perversely it’s not what you crave. You want the past. Oh, not your own, no reliving of anything—no, what you hanker after is a compost, a forest floor, thick, saturate, fathoms deep, palimpsestuous, its surface a mosaic of infinitely fragile, lacy, tenacious skeleton leaves. When you put your ear to that odorous ground you can catch the unmusical, undefeated belling note, as of a wounded stag escaped triumphant, of lives long gone.
Denise Levertov, from “The Past III,” Sands of the Well (New Directions, 1996)
Look, man. I was raised differently to you, okay? I wasn’t raised in a house with a supportive family, encouraging me to share my feelings. And in your case, every feeling. The McGarrett men are a different breed.
Claire: You know, one of those things I used to try and remember lying in my cot was the sound of my husband’s laugh. Couldn’t conjure it no matter what I did. Couldn’t hear it even though I’d heard it a million times before. It was the strangest thing.
Frank: I know. I used to um… I used to sketch this.
Claire: My hand?
Frank: Well, the lines really. Why exactly I’m not sure but I had a very clear memory of this… this pattern. Made little doodles everywhere.
How many times have I watched this episode? And this is the first time I’m realizing that Claire is telling Frank about how she couldn’t conjure that small memory of him no matter how hard she tried while he is telling her about how he couldn’t escape the memory of that bit of her…
Wonderfully subtle inversion that shows both how hard they’re trying to relate to one another here before everything happens and also how they don’t quite manage, how it’s not quite right. It’s close… but their meanings miss each other going in opposite directions.
Note: This is for one of my bestest friends. I hope she enjoys it! @amarvelouswritings This will feature Sebastian Stan and OFC Lexi. This is a drabble/short chapter series. Beta’d by the perfect @like-a-bag-of-potatoes
After a year of dating, you two took another camping trip, it was sort of your thing. You didn’t do them too often, so you looked forward to them every time. Chris and you had made a yummy meal over a small campfire before he suggested going out on the lake. The air was warm and perfect, with a full moon and stars sprinkling the sky like twinkling glitter. He helped you into the row boat and he began to row you out to the middle of the lake.
Guide To: Placing Patterns Like a Pro with RAM Editor
If you haven’t thought about placing patterns with the RAM Editor yet, you should. It will make your life a whole lot easier in terms of placing patterns – and I’m even here to teach you a little trick to make it twice as easy.
This guide assumes you already know how to DUMP and INJECT your RAM files, and have used the RAM editor before.
Let’s take a look at the RAM Editor and its Pattern options:
In the red box I’ve highlighted, you can see that there is a Pattern option in the Current Item list. There is only one pattern option here.
To the right of that, you see another dropdown menu labeled Flag. This is where you can manually select which QR pattern you want to use. You can select from all four player characters’ patterns.
Going back and forth between the Flag menu and the map to lay down patterns can be a bit tedious, especially when you need to alternate patterns a lot – thankfully, there is a quicker way.
Load your ACNL game with the player character that has the patterns you want to use.
Find an easy spot to lay down ONE OF EACH of your player’s patterns on the ground.If you look above at the picture, you’ll see I laid mine out in two rows of five by the train station in the black box I have highlighted.
Now that you have one of each pattern laid out on the ground in an easy-to-remember order, save and DUMP your RAM file.
Open your RAM file in the RAM Editor.
You will see your patterns laid out on the ground as little gray squares, as shown above in the black box I have highlighted. They will all be gray, regardless of what pattern they are.
To select a pattern for use, RIGHT click on it. Right-clicking on an item in the RAM editor copies that item. So if you want to use pattern #4 to lay down some paths, right click on gray square #4 in the RAM Editor.
Now, you can LEFT click anywhere in the RAM Editor to place that pattern down. Everywhere you left click, you will place pattern #4 down.
To switch to a different pattern, simply right click on that pattern in your handy “pattern template” you laid out. (Demonstrated in black box above.) So if you want to switch to pattern #7, right click on gray square #7. You have now switched. Voila! You can now left click to place pattern #7 down anywhere you want.
Once you are done laying down your patterns, SAVE the new RAM file.
Copy the new RAM file to your SD card and INJECT it into your game once your game is loaded.
Enter and exit the nearest building.
All of your patterns should now appear on the ground! Congratulations, you are done. Unless you are not, in which case, get back to work.
Remember to save and quit to keep your changes.
Note: To DELETE a pattern you have placed, right-click on an empty square somewhere, and then left click on the pattern you want to delete. :)
(That’s setting aside the other way it’s dangerous: once you start to see these patterns, you see them everywhere and become much harder to surprise as a reader/viewer. Can’t help you with that one. Welcome to Media Studies, kids.)
That said, you don’t have to learn the site inside and out to find it useful. Here are a few tricks that can help you get in and out and back to your writing.
You know how they tell you never to go grocery shopping hungry because you’ll just wander and toss a bunch of stuff in your cart you don’t actually want or need? Same concept applies here. This, beyond anything else, is the golden rule for research, especially on TV Tropes. We’re gonna be referring to this a lot.
Are you writing a film paper and just can’t remember in which movie James Bond has a nice dinner with the bad guy so you can reference it properly? Are you starting to dip a toe in a new genre and want an idea of some of its prominent works? Are you trying to determine if there’s a historical basis for a certain trope? Set a goal before going in, even if that goal is just, “I have an hour to kill and want to read something interesting.”
When researching, you have to continually ask yourself, “This is fascinating, but is it relevant?” If the answer is no, set it aside.
A few site-specific techniques for doing just that:
-> Don’t read the examples. I recently directed an asker to the page on The Masquerade (where there’s a magical world hidden within the mundane one). The description and discussion of the trope is about 850 words. The entire text of the page including examples is 20,000 words. Obviously this represents a very different level of time investment! The first section of a trope page will usually give you a pretty good grasp of the concept and how it relates to other tropes. If you do need examples, observe the Golden Rule. The examples are organized by medium and collapsed under headers, so only open up the headers relevant to you. For instance, if you want to find a real world example of a trope, just click the Real Life header and leave the rest alone.
-> Set a timer. This is critical for if you’re just poking around, because it is appallingly easy to look up and discover that about eight hours have passed. But even if you’re going in on a mission, still determine how long you’re willing to give yourself on a session and set some sort of reminder to bump you out when it’s done.
-> Be wary of tabbed browsing. I’m not saying I’ve crashed my computer with the combination of TV Tropes and “Open link in new tab”, but I’m not not saying that, either. Here’s my trick: I open up the site in a separate window, so it’s easier to tell which tabs are TV Tropes and which aren’t. Then, if I still have tabs I haven’t hit by the end of my session (or if my tabs have just spiraled out of control), I’ll go to Bookmarks > Bookmark open pages… (this is for Chrome, other browsers likely have similar functionality). This lets me create a new folder in which I can dump all those tabs, and then I can close that window without fear of losing something potentially important. Along those lines…
-> Use bookmarks. I find bookmark folders extraordinarily robust for organizing information for later reference, especially if I’m juggling a couple of different projects. It’s particularly helpful for all those “fascinating, but not relevant” chestnuts, so you can peruse them at your leisure when you’re not on a mission.
-> Look for definitions. So you’re reading up on a trope that’s relevant to you, and it references some other trope you’re not familiar with and you don’t quite understand the point they’re making without that knowledge. Congratulations, you’ve just rolled out the red carpet to the entrance of the rabbit hole. If all you need is a quick definition and want to avoid tangent temptation, look for a bubble at the top of the page that says Laconic. This provides a 1-2 sentence description, which may be all you need. If that bubble’s not there, the first paragraph or two usually provide a general overview, so you can read those and bounce back to what you were doing without getting into greater detail. If you’re brand new to the site, I’d recommend looking over the Tropes of Legend page, which provides brief definitions for many of the most commonly referenced tropes. Otherwise you might find yourself making a whole lot of detours just to be able to finish one sentence in an article!
Assorted other tricks
Individual works usually have their own pages! The level of detail can vary (because wiki), but popular ones usually have a plot synopsis and a listing of tropes used in the work. This can serve as a sort of reverse lookup for trope names; if you don’t know what a trope is called but can think of an example, you can check the page for that movie/show/game/what-have-you and see if you can find the trope listed there. (You can also try the You Know That Show… link in the sidebar to get help from other site users.)
Many pages have a bubble at the top that says PlayingWith. This leads to a page that discusses variations on a trope: the different ways it can be subverted, invoked, deconstructed, reconstructed, and more. Can be very helpful in getting the creative gears going.
Like many other wikis, pages usually belong to various indexes, which are listed at the bottom. Indexes provide a bare-bones listing of related tropes without additional descriptions, so they can be useful for trying to navigate quickly.
Finally, if you create an account on the site, you can utilize the default display options in the sidebar. I’m particularly fond of night vision, especially if you find yourself in the rabbit hole at 3am.
There we have it! Now you can go forth and explore with confidence and pride. If you need further advice/help on using TV Tropes, feel free to drop me an ask on my personal blog. Happy troping!