shapes and lines are so fun

anonymous asked:

Oh almighty napkin arm with googly eyes, I humble peregrin dare come forth with a request... could you make some character design breakdowns for some more realistic characters? Like your power ranger fanart? I tried to break them down on my own, but I'm not sure I did it that well... it's incredibly useful and interesting... Keep being awesome, and thanks for how you already helped me anyway!

Thanks for the patience, had to mull this one over. The more complex a design gets, the more difficult it is to break down. Basic character design tips may not be enough…so let’s delve into:

Character Design Tips Part 2!

Before we start, it’ll help to read my last character design post, where I laid out four concepts: shapes, silhouettes, colors, and inspiration. In this post, I aim to build on and rephrase these in a way that hopefully makes it easier to apply them. I’ll be drawing examples from my Power Rangers (2017) fanart to illustrate my points.

(Disclaimers:)

  • (Ideally, you should already be comfortable with drawing people. If not, look into figure drawing, gesture drawing, etc.)
  • (Whereas my previous tips were more tried and true, the tips here are more my own thoughts, so they may be half-formed.)
  • (Again, these are not rules. They’re just tips to add to your toolbox; the more tools you have, the more versatile you’ll become.)

Without further ado, let’s start!

Based off what we know about shapes, silhouettes, colors and inspiration, I want to cover: lines and angles, external and internal silhouettes, values, and references.

1. Shapes => Lines and Angles

Last time, I laid out three basic shapes:round, box, and triangle.

Problem: limiting yourself to these 3 shapes can be useful and fun for simpler designs, but they may be too simple or look out of place on more complex designs.

Solution: let’s go to the next level! Instead of shapes, shift your thinking to lines and angles!

Lines can be curved, straight, or diagonal.
Angles can range from obtuse to acute angles.
Follow your intuition: what feeling do you get from each line or angle?
If I follow my own intuition, I see that:

  • curved lines = natural, soft
  • straight lines = balanced, grounded
  • diagonal lines = off-balance, in motion
  • obtuse angles = broad, relaxed
  • right angles = rigid, unnatural
  • acute angles = slim, dynamic

If this sounds familiar, you’re right! It’s just the shapes all over again: 

  • curved lines make round shapes
  • straight lines with obtuse/right angles make boxy shapes
  • diagonal lines with acute angles make triangular shapes

But lo! Since we broke the shapes into their smaller components, it’s much more flexible! Now we can use lines and angles for more complex designs:

2. Silhouette => External and Internal Silhouettes

Last time, I explained the silhouette test: if you black out the figure, it should still be readable.

Problem: blacking out the figure only tests the outline of the design, i.e. the external silhouette. But what about the inside of the design?

Solution: block in the figure and test for the internal silhouette! 

If you want not just an interesting outline, but an interesting costume, block in the major components of your design to see if it has a readable internal silhouette. This test can help you avoid boring or cluttered costumes and makes your design stand out. If your internal silhouette is too empty, try adding props or designs. If it’s too busy, simplify it.


3. Colors => Values

Last time, I talked about the 60-30-10 and 70-30 rules for color.

Problem: those rules work on the assumption that you’re only using 2 to 3 colors. But what if I want to use more colors?

Solution: good news! The same idea applies if you split your palette into 3 major values: shadows, midtones, and highlights.

Balance your palette by converting your colors to grayscale and applying the 60-30-10 rule to the values. This is related to the idea of silhouettes; if you get a nice internal silhouette, you’ll probably end up with a nicely balanced set of palette values, and vice versa.

(Fun fact! You can split your palette in different ways. In a watercolor tutorial, Miyazaki splits the palette into bright, dark, black, green 1, green 2, blue 1, and blue 2.)

4. Inspiration => References

“Good artists copy, great artists steal!” -Picasso

Problem: Coming up with something 100% original is tedious and doesn’t always give great results. It saps the inspiration right out of you!

Solution: It’s a lot easier to steal ideas from references!

Note: don’t just copy, steal! Cherry-pick/massage the aspects of the reference you find the most appealing and work them into your design. Ditch anything that you don’t care about. Make it your own! Make it something you can put your own name on! Below is the reference image I used for my designs:

And below is my fanart:

That’s it for now! Thanks for reading! If you guys want to see any other topics, feel free to ask and I can try my hand at it.

If you want to see my previous character design tips, click here.
If you want to see the full-size Power Rangers fanart lineup, click here.
If you want to see other character designs I’ve done, click here.

How to do a sigil

Yes hello I am a Alex and this is a thing of how I do a witchcraft. If you do this a certain way feel free to not listen. If you don’t like the way I do it lit, donut do it this way :3 that is all

What is a sigil?

“an inscribed or painted symbol considered to have magical power.” -google
aka a digital or physical painting/drawing/craving/or anything with a design that is given a certain meaning by the person who made it.

What are sigils used for?

The maker draws a doodle (more or less) and charges it with their intent. 

Can anybody make one?

Anyone :3

How complicated does it have to be/look like?

It shouldn’t be that hard or pretty, as long as it pleases you it is fine

What materials do you gotta use?

Whatever you got. digital or physical. Paper and pencil/pen/blood/wax/anything - Wood drawing things/knife to carve
Literally a n y t h i n g

Do sigils have to be aesthetically pleasing?

Nope :3 just has to have meaning it you/someone you’re making it for

Do you have to be a witch to use sigils?

No you don’t. It’s up to you and your beliefs 

Where can you put sigils?

*cracks knuckles* Shoes, binders, behind phone cases, under tables, under chairs, on your nails with sharpies then put nail polish over it, in your car, in a pillow, draw them on yourself (thighs, stomachs, arms, whatever), clothes tags, out of ketchup on your food, literally anything and everything you can think of

Can I cut out a sigil for a keychain or somethin?

Yes, and you can put them on your alter, hang em in a car, etc 

Can you use sigils in spells?

Yes you can, just like tarot cards and oracle cards

Can you have two different sigils for the same thing?

Yes you can (ex.  if you have one for happiness, but want to make another one for happiness, you can draw a different design) (ex. 2- if you see someone make one to ward off depression and want to make one for the same reason, you can make one but with a different design)

How do you “activate” a sigil?

As soon as you draw it, it’s activated. However if you want to give it a little umph, you can bury them, burn them, submerge it in water, etc. If burning you can wafe (is that even a word) an object through the smoke to charge it with your intent

Are sigils used for cursing/hexing too?

Sure can be, up to you and your beliefs/craft

What all can you use sigils for?

Everything. happiness, good luck, help to study, anti*illness*, help your plants grow, help your phone battery last longer, help Kendall to not be a bitch, the list is endless

And finally, how do you a sigil?

  1. Understand what you want the sigil for, I would suggest a simple one at first so I’m going to explain how to do it for happiness
  2. Gather your resources, again I’m doing a easy one so I am going to “use” a pencil and paper
  3. Get in the mindset of the intent you are going for, so this one is happy. Maybe do some stretching before and clear your mind
  4. Now that you’re all razzle dazzled in a happy mood, close you eyes and thing, what shape in happiness to you right in that moment. Do you thing it’s a bunch of lines or even as simple as a heart? Thing about it
  5. Now if you have trouble with step 4 (like I do, ADHD is a lil bitch) play some music that makes you happy or a movie. Does Frozen make you happy? Maybe draw a lil snowflake
  6. Now as fun as it is to draw an elaborate sigil, remember, this can go into your Grimoire or BoS for you to copy onto other things 

The most important thing now,

Magic requires consent

Please don’t put “Make Justin love me”

Instead you can put “Attract someone who would love me that has the same traits as Justin”


Stay safe beans and happy sigiling!

(is that a word)

Learning Graphic Design On Your Own

A Quick Note…

Everyone learns differently. Some people like to ask questions in class, others like to watch videos that they can pause and replay, and even more people could prefer to just tinker and see what happens (I’m personally a tinkerer). The first thing you should do when learning on your own (so probably online or through books) is to do some research and know how you like to learn.

So, let’s start with… what even is “Graphic Design”?

Let’s get this straight… graphic designers aren’t fine artists. They are problem solvers, visual communicators, and sometimes curators of information in an aesthetically pleasing way. We organize information and try to make the world an easier-to-understand and more beautiful place. Of course, there are other fields like advertising where we communicate to customers why they should buy certain products. Or there are User Interface/Experience designers that will develop websites and video game interfaces and design how you interact with it. Look into graphic design and see what field you want to be in. What do you want to do with graphic design?

Fun fact, the google definition says: “the art or skill of combining text and pictures in advertisements, magazines, or books.” and to that, I’d like to say we do SO MUCH MORE.

Now that you know what you’re doing…Here’s the VERY BRIEF process!
(I may make individual posts for each step later on)

  1. Learn the basics
    1. Typography, how to use the basic principles of line, shape, color, and so on is usually for everyone no matter your field.
    2. Basics like composition are also very important. If you’re into editorial then typographic spreads will be more of your focus. If you’re in web design then seeing how websites are typically laid out will be a thing to look into. Basic typography, color theory, and principles still apply!
    3. Basics and principles are a google search (or a book) away! Everyone talks about these things ALL the time.
  2. Look up inspiration and develop an “eye” for design
    1. Follow design blogs! Follow other designers! On all of your social media! (There are so many Tumblr blogs and Instagram accounts solely dedicated to graphic design curation).
  3. Look into the big names of the industry
    1. Why were they remembered? Everyone else in the field probably remembers them for that, too.
    2. What was so great about them? Apply what you learn to your own work!
    3. If they’re well known, they probably have at least decent work to get inspired from!
  4. Research is done… time to do some work!
    1. If you’re just starting out, there are some things you’re probably not used to. Doing things by hand with sharpie markers on paper will definitely help train your eye and mind to think more about communication, not pretty things. 
    2. Abstract things down into simple shapes. Then try communicating that same object with fewer shapes. Maybe only lines? Geometric style? Play around with communication! This is key when you get into icons, logos, and other visuals that require a more minimal look. 
    3. Remember, you make information more easily accessible. The best logos are easy to remember because they are simple and effective. Your work may one day need that kind of punch!
  5. The jump from traditional to digital
    1. It’s time to learn about your program(s) of choice… my biggest piece of advice would be to just mess with it. Learning on your own by trying to make something is one of the best ways to train your mind and body on how to use the programs.
    2. Try every tool. Try making basic shapes. Then make basic objects with those shapes. Then try making a person or something more complicated. Try to test every tool to see what you’d use it for!
    3. Don’t know anything or how to do something? Google it! If you’re asking there’s probably 5+ different YouTube videos, 3+ articles, and 100+ tutorials on how to do it.
  6. Let’s work on projects!
    1. Now that you’re familiar with the history, principles, other designers, and the programs… just keep on making stuff!
    2. Making your own projects (make your own website, business cards, a flyer for a club, a T-Shirt, and so on…) is my biggest recommendation on how to learn graphic design. Actually applying everything you’ve learned will make you think in a problem-solving way! Also sharing things that you’ve made that actually matter is way more fun than sharing a fancy circle you made with no context. (You can say “look at this T-Shirt I made!” instead of “look at this weird circle I made!”)
  7. Get feedback from designers and non-designers
    1. Once you’ve made stuff… ask everyone! Non-designers will give you a client’s perspective of your work. A designer’s perspective will help you grow as a designer and they may see things that you and your average person wouldn’t have noticed. (you’re always free to ask me if you’d like!)
    2. Please remember to not take feedback personally (unless they’re being rude, then just ignore them). You’re learning and growing and there’s always room for improvement. A lot of feedback is not a bad thing!
  8. Stay determined!
    1. Being a designer isn’t easy. That T-Shirt you made that took you a couple days? Someone could say they don’t get it. Other designers could say there was a better way to execute your idea. Another person may even say it looks like something else!
    2. When you design you have to expect to make revisions, rethinking, and making more revisions until it’s at a good enough place to publish. But no matter what, you have to remember that it’s not about PERFECTION. It’s about getting it DONE and learning to grow. No one is perfect, and it’s mostly subjective, so just take the criticism you agree with and don’t apply what you disagree with. As a designer, you should know what’s right, wrong, or what you should consider bringing up to other designers.
    3. KEEP MAKING MORE STUFF! You can even remake older stuff as you go on! Just keep going!

That’s my super brief process!

Now honestly, I could’ve gotten down into the nitty gritty details of each step, but this is basically how I’d suggest going about it if you want to get a head start before getting into college, or you want to just learn on your own.

If you guys have any additional questions or want me to go more in-depth about anything, feel free to let me know! :)

francesofsuburbia  asked:

Hi Hiller- when I was younger I loved to draw. I'm an adult now and for some reason when I sit down in front of a piece of paper I don't know what to do. What advice do you have for a grown up who forgot how to draw?

Oooh that’s a tricky one. Sitting in front of a blank piece of paper is probably the most intimidating thing and has always been kind of scary for me. I’ve come up with a list of things for you to try to make drawing a bit easier.

A. Work on old paper/materials. End papers from discarded books, craft pads from second hand stores, a notepad from grandma’s junk drawer, a cool piece of wood you find in a dumpster, stuff like that. It takes away the pressure of having to create a perfect thing if the material you’re working on is already flawed or smells weird.

B. Draw a lot. It doesn’t matter if it’s good or bad. Only a small fraction of things I draw end up being shared, maybe every one out of twenty things will be decent. What people don’t see is the heap of not-so-great things I create in the process of making that one thing. If you’re drawing different ideas all the time, and thinking of how to make those ideas better when you’re not drawing, eventually you will get better and the good ideas will come more easily and more frequently.

C. It’s incredibly hard to draw when you are overly prepared to draw. Sitting down with the intent to create a perfect drawing adds a terrible amount of pressure and is the thing that trips so many people up and makes it hard to even start creating in the first place. Draw informally, when you’re watching television or listening to music. Watch a movie and draw a picture of something you hear that would be interesting when taken out of context. Try to not think too much about it. Approach drawing from an angle, not head on, if that makes sense.

D. Finding your subject matter can also be difficult and may be what you’re actually talking about here. A few things influence the content of my drawings:

  1. Inspiration from the world around me. Other artists’ work, books I read, music, conversations I have while waiting to buy groceries, things like this.
  2. My feelings and internal dialogue, what I’m thinking about or am moved by or want to express to others. Daydreams, real dreams, imagined conversations are all good sources for drawing material as they are things that no one else would ever know about unless you expressed them.
  3. My ability as an artist. I am less of an M. C. Escher and more of a David Shrigley. You have to find the right spot on the infinitely wide spectrum of art in which you can create work that you like and you think is good. I like drawing amorphous shapes and faces and fun things, so that is where I’m currently situated. Agnes Martin drew lines and dots and is well known because she was super good at it.

Hopefully, at some point, 1, 2, and 3 will come together and allow you to create something that you consider great or good or even okay will do sometimes.

I think those are four good things to think about. The very beginning is the hardest part when it comes to making art, I wish we could all just skip it. Hopefully this will help you, and maybe others, get started again.

Mashima Hiro interview by WebNewtype (2/5/17)

Quick translation so that I can get this up before the movie airs. Please correct me if you spot any errors.

Article ©WebNewtype
Translated by thefairystales | DO NOT EDIT OR REMOVE SOURCE
Please credit by linking back when using. (usage rules)

You not only drew the key visual and designed original characters for Fairy Tail Dragon Cry, but also worked on a storyboard close to 200 pages in length. What made you so involved in the production of the movie?

All I did was to start drawing after the request came (laugh). The request to make a movie came in just when the manga was entering its final part, and I had many ideas floating around in my head. Nothing would begin if no one does anything, and I wanted to give my best since I was asked to be involved in it.

When did talk about writing an original storyboard start?

There was interest expressed in making another movie right after the first movie (Fairy Tail the Movie: Phoenix Priestess) was released. I was also interested, and since I had amassed many ideas that I was not able to use in the manga, I tried to come up with a story leading to a new climax. I was hoping that the release of the movie could coincide with the climax of the manga, even though I did not specifically aim for it to happen.

When the PV of the movie was released, there was also a comment posted of you saying “I want to make a movie that is focused on entertainment.” Which parts of the movie contribute to that?

I came up with the story of Phoenix Priestess while thinking “I want to make all the fans cry”. However, Dragon Cry turned out to be a simple story with its highlight being the intense battles and flashy action scenes. I thought that it would be nice to make a movie that the audience can enjoy without having to think too much while watching. I also drew the key visual, and I wanted the scene where half of Natsu’s body is dragonized to be the focus.

You also commented that there are surprises in the movie.

A certain character’s past, which has not been touched on in the manga, is revealed in the movie. Please watch attentively “to the end”! In addition, there are various references made in the movie, even though many of them have unfortunately been cut… You can see what has been cut by comparing the movie with the original storyboard. The storyboard is merely a draft, and it’s embarrassing to show it to everyone.

I’ve seen both the original storyboard and the film, and I feel that the original characters Swan, Doll and Gapri are even more charming in the movie as compared to the original draft.

I made additional suggestions after submitting the original storyboard, and also received suggestions from the anime staff. There were many parts of the movie which were touched up after we integrated our ideas. Of the 3 characters mentioned, Swan became an especially good character after that. I have yet to watch the completed film, but I think that it’s an enjoyable movie.

We can also see new settings that have yet to appear in the manga.

Most of these, including the “surprise” that I’ve mentioned earlier, are things that wouldn’t be included in the manga and drawn only for the movie. In that sense, the movie complements the manga and I hope everyone will enjoy it.

You have also worked on the storyboard for the original animation DVDs (OAD) that were bundled with the manga volumes. Were there aspects of that experience that you made use of when you worked on the original storyboard for this movie?

The original storyboard is also a draft proposal, drawn with the expectation that the anime staff would adjust its contents accordingly. I drew it with the same feeling as I would draw the manga. However, doing the anime storyboard was difficult, and I had a tough time! I drew it while timing the seconds with a stopwatch in one hand, and also repeatedly grappled with trying to understand terms that I had just learned while working on it.

You handled the writing of the original storyboard in a similar manner as the manga.

When it comes to the weekly serialization of the manga, there have been times when I was absolutely stuck and and just decided that “I’ll just drag things on till the next chapter for now, and wager on myself (when I work on the chapter for) next week!” (laugh). That wouldn’t work when it comes to the draft of the anime, and I made sure that I handled the story composition and development properly, recalling the days when I was still a rookie.

Please tell us about yourself as well. What are the kinds of things that interest or appeal to you when you come into contact with a piece of work?

I think a good piece of work is one that surprises the audience, and I tend to like those that contain an unexpected twist right at the end. I keep in mind the joy of trying to surprise my readers when I am drawing as well. When I’m developing my story, I don’t foreshadow one event after another, but instead often adopt a pattern where I’ll add in some foreshadowing at parts that I can potentially expand on, and revise it when I expand on the event subsequently. I’ve become good at this since I’ve been doing it for a long time, but there have also been times when sharp readers have pointed out something that had been retconned. I want to work towards being able to draw my manga in such a way that nothing appears to be retconned even if I had revised something retrospectively. RAVE was my debut manga, and I drew it with all the developments firmly set in place. However, serialization of Fairy Tail began with me casually deciding that the story is more or less about wizards going on jobs. It was fun coming up with stories about the various situations they encounter, and I think this style is one that suits me.

Two chapters of Fairy Tail will be concurrently released on 26 April in the combined issue 21.22 of Weekly Shonen Magazine. You are known as someone who works quickly; What is the secret behind that?

I’m not fast at all! It just appears to be that way! I’m happy that people think that way, but my pace of work cannot be considered fast if you were to leap in and see the manga circle from the inside. I have to accelerate my schedule little by little many months before so that I can stock up, and only release 2 chapters at one go when I have a surplus of one full chapter of content. I don’t draw 2 chapters worth of content all of a sudden (laugh).

You also post illustrations of Fairy Tail on Twitter even though you’re busy.

I started it as a form of fan service, and also partly as a hobby because it was a fun. I’m also glad that I get to personally experience the support of many foreign fans through the replies I receive. I’ve heard about having foreign fans from the editorial department, but I thought that they were just paying me lip service (laugh). I worked on the manga with an awareness of the foreign market after that. For example, I try to ensure that the shape of the speech bubbles are more circular rather than elliptical so that it would be easier to fit the English-translated lines. I also take into consideration the difficulties of translation, and stopped including puns that play on the Japanese language.

Fairy Tail has been serialized for 10 years, and next year marks 20 years of your professional debut as a manga artist. Please tell us your feelings about your journey.

This 10 years passed in the blink of an eye. It feels like only so little time has passed, yet at the same time, it has already been 10 years. I was a high school student when I started seriously aiming to be a manga artist, and looking back, I think I was really lucky. I was also aided by the trend of the times. There were hardly any fantasy manga in Weekly Shonen Magazine at the time of my debut, and filling that niche has allowed me to come this far.

Lastly, please leave a message for the fans.

If you enjoyed watching Dragon Cry, that is because of the effort put in by the anime staff. Please convey your comments to them. The Fairy Tail manga is also heading towards its climax. I would be glad if you continue reading till the end!

Late Nights (Harry Styles)

Originally posted by harrysgolden

You smiled softly to yourself as you watched your daughter close her eyes in her crib. It was hard not to watch her as she slept. She was quiet and looked at peace, like all of the things that had happen previously throughout the day didn’t even matter. They slipped away as she slipped into her dream state. And, to you, for some strange reason found that so intriguing. Your baby girl had been a quiet one ever since she was born and it was something both your husband and yourself had learned to truly appreciate it. A non-hassling baby was something of a necessity when it came to your careers.

You reached up to light mounted onto the wall and switched it off with the clasp of your fingers but not before turning on the small moon night light that rested on nightstand. It illuminated the room just enough to the point where she could sleep in content. Harry had gotten it from one of his trips to Italy, mentioning that when he saw it he instantly thought of Everly.

Nodding to yourself and brushing a finger over her cheek you exited the room with silent footsteps and closed the door to a rather large crack.


The overly large abode had now fallen silent. All of the workers were gone and your two German Shepherds were sleeping downstairs in their beds.

You didn’t like it.

Sure having a peaceful and quiet house to come home to after a long day at work was fantastic but their were other reasons behind your distaste. Firstly, the house was so large.

With the positions you and your husband had in your separate industries it made sense to have such a large estate with hallways that went on forever and too many rooms to count, but that didn’t mean you wanted it. 

There were times though, when you would step back and look around; It was too much space and the only time it felt full was during the day when everyone was here and awake, bustling about on the French oak wood flooring or the Aurora marble of the kitchen. It made the place feel slightly more alive than its normal ‘soft talking and classical music background’ vibes (Harry was set on only playing it since it was “Important for Everly’s growth and development).

But the second part was that Harry wasn’t here.

He was on a business trip in Greece, meeting with some new possible partners that could only help to expand and endorse his company. He had another two or three days until he would be back in your’s and your daughter’s presence.

It still felt strange though, not physically having him here with you. Maybe it was the postpartum depression you were experiencing since it had only been a few weeks to a month after having little Everly Ryn. Or maybe it was just the fact that you were over protective of your husband and it made you feel 10 times lonelier than you let on. Whatever it was it nearly distracted you from the sound of an incoming Skype call on your laptop downstairs. 


Collecting your thoughts you darted down the stairs as silently but as haste as possible. The dogs (Hendrix and Iver) raised their heads at your quick movement, watching as your pink silk gown swiped the rooms. In seconds your eyes focused in on your Mac resting on the kitchen island, screen still open and a loud pinging emitting from it’s speakers.

You carried yourself past the living room and onto the cold floor before standing right in front of the laptop.

Harry’s name popped up the screen waiting patiently for you to finally press the button. A small smile filled your face at the sight of his name. Running a hand through your hair you cleared your throat and pressed the button.


There’s that beautiful face.” Warmth spread over your cheeks.

“Well hello to you too.” You laughed shaking your head at the brunette on the screen. Your eyes raised and you stared at him for a moment, getting a good look at his exterior. His face read as “Drained” seeming a little bit more pale than usual, his green eyes with a grey haze over them and the bags under his eyes were more defined than usual. You furrowed your eyebrows together and went to speak.

“You look tired.” Surprisingly those words didn’t come from your mouth but from Harry’s. His head was turned slightly to the left like he was trying to examine you from a different angel.

“Me?”

“Yeah. Was Evs a hassle?” He asked taking a sip from a coffee cup. You smiled for a second at his nickname for her before quickly shaking your head.

“I mean it took a while for her to finally close her eyes but she’s alright.” You answered truthfully. You didn’t want to give him any reason to worry about anything back here because everything was fine.

“Good..that’s good. Y'know I miss–”


“I was going to say the same thing to you.” Your interjection made him stop mid-sentence his facial expression raising into curiosity once more.

“Say what baby?” He smiled lop-sided, rubbing the sleep out of the corner his eye.

“You look tired Harry. What time is it over there?” Your eyes drifted over to the clock to see it read only 9:25 which was pretty early but he was in Greece.

“Doesn’t matter–”

“Harold.” He flinched at your voice before sighing. You watched through the screen as he stretched from wherever he was sat at to grasp what you assumed what was his phone. He clicked it on and that’s when you heard another sigh.

“4:25.”

“Harry–” You began to drawn on until he stopped you.

“I’m fine Y/N, really. I’ve stayed up much later than this before–”

“Wait you haven’t even gone to sleep yet?” You questioned with wide eyes and furrowed brows. His eyes shut and lips tightened as he probably realized he shouldn’t have mentioned that last part to you. “Babe please get some sleep.” You pleaded. He shook his head and the sound of papers being messily put together sounded between the two of you.

“ ‘ave to finish signing these papers and emailing the other Company. They need certain documents by 12 to help get things up and running so I wanted to get them done now so I didn’t have to worry later–”

“Harry.” His tired moss colored eyes met your pixelated stare, almost looking like a deer caught in headlights. You sucked in a deep breath and took a moment before giving him a soft beam. “I love you.”

It looked like he just melted at your words, his tight shoulders lowering, the worry line in between in his eyebrows disappearing, and his eyes falling and sparking.

“I love you too Y/N.” He grinned. You stayed like that for a while, smiling at each other like you did when you were teenagers. Admiring everything you could physically see at the moment. Harry was still as handsome as you remembered him to be with his pink cheeks and dimples, those eyes you fell head over heals for. Yeah..he was still the Harry you knew and loved.
“Now, tell me how your fashion line is going.” His words interrupted your longing stare but you didn’t mind. You knew he asked because not only did he actually want to know, but because he needed to stay awake.


And yeah those models should be coming in from Spain and Germany next week I believe if Lanny did the scheduling right.” You laughed as you scrolled through the notes on your phone. “This’ll actually be the first time we’ll have any models from Barcelona so I’m pretty excited.”

“ ‘Sounds like it’ll be lots of fun poppet.” Harry chuckled as he signed another document. The both of you had spent this time working, but the chatting seemed to be the best part because it made it feel like neither of you were actually as far away.


“Yeah maybe for my next shoot you could model.” You joked as you texted another employee about details for the sketches on an upcoming fall line.

“With this body? Give me a couple months to get back into shape first, yeah?” You both laughed once more but you shook your head looking up at him.

“Harry you’re only 26,” You giggled, “I think you’ll be fine.”

“ ‘Dunno babe, sitting at a desk 24/7 doesn’t have many health benefits.” He smirked reading another paper.

Just before you were going to turn back to your phone you noticed the brightness starting to illuminate the backboard of Harry’s bed. Glancing at your clock you realized that it was 10:30, which means not only had you talked for two hours, but it was 6 o'clock by Harry.

“Hey….babe?”

“Yes darling?”

“The sun is coming up.” His head shot up, making dead eye contact with you. You pointed behind him with a snicker and watched as he did double take to the window.

“Holy crap.” Both of you broke up in laughter at his shock and slowly he turned back to grin at you.

“Are you going to go to sleep now?” You ask teasingly. He sighs and shakes his head in a heap of chuckles.

“I’ll get a couple hours for your sake.” You cheered silently, extremely happy he finally listened to you. He began to collect the papers surrounding him and piling them into a manila folder. He mumbled a couple things to himself when he glanced over certain papers, separating them from others into a black folder. You watched him from the corner of your eye as you cleaned up your plate of leftovers, placing the dishes in the sink and the containers in the fridge.

You returned to the screen somehow at the same time, both looking equally as tired as the other you assumed. It had been a long day for the both of you.

“Alright, you promise you’re going to sleep?” You inquired with one raised eyebrow. He gave out another soft chuckle but nodded.

“Yes Y/N.” He spoke mocking. You rolled your eyes but flashed his another tired grin.
“Okay…I love you.” You words were quiet but they were too meaningful for him not to hear.

“I love you more baby.” His voice sounded overly sincere. A pang hit your chest..hard. “Tell Evs I love her and that I miss her. Oh give her a kiss for me too.” He beamed.

“I will.” You simpered. He glanced at you once more with a sad “I love you so much I don’t want to hang up” look but you knew it was too late to carry on this conversation.

“I’ll see you soon Y/N.” You nodded to yourself eyes resting on your lap. You hated goodbyes so much, they were awful and gut-wrenching, made your insides twist to the point in which you felt dizzy. It was worse though..having to say goodbye to Harry.

“Hey.” You glanced at him the same smile resonating between his cheeks, “I love you.” A long pause.

“I love you too.”

“Goodnight babe.”

“Goodnight Harry.” With that you hung up and closed your laptop. Your heart felt heavy but you took in a deep breath. Everything was going to be fine, of course, you just needed to relax.



Climbing up the long staircase you took more breaths to yourself. Yes the house felt emptier than usual but you had to remind yourself that Everly was still here to comfort and love. And it would only be a day or so until Harry would be back. Besides it wasn’t like he hadn’t spent longer business trips away from you. During your first year together he once left for a whole month to stay in Japan and that was a test against your relationship.

Luckily this time he had only been gone for two weeks.


You pushed the double doors to your master bedroom open and let out a yawn before stretching your arms above your head. Stripping from the robe and hitting the lights you cross the room to your bed. Pulling the blankets back you crawled beneath the silk sheets and onto the pillows.

Just as you were about to fall asleep a buzzing noise broke you out of the trance. Groaning and reaching to your side you grasp your phone off the bedside table. It was a message.


From Harry.

Stop worrying so hard and go to sleep. I love you ❤️” An overwhelmingly large smile filled your face and you hastily responded to the message.

I love you too. Goodnight 💜




Send Requests! Xx

2

heres a quick body ref. hope it helps you guys in a sorry if its unclear im bad at this stuff.

like usually i never use reference its a bad habit and i usually draw everything the way i picture it in my head. but ref is really handy especially for awkward angles (not so much as these but you get the idea)or even getting use to the character,                                                                                                                  like for cu and krupp are and egg shape but the angles that i drew them here are more pear like mainly because the body is curved as you can see with the blue lines the purple is more of the construction of his body.

i make my own screen cap ref to practice a times and its really fun by doing it in your own style as well. i might post some more of more difficult angles or if you guys want to see anything specific 

anonymous asked:

Is it alright if I ask about your sketching process for your portraits? Like guidlines and how to use them and such? I'm trying to learn realism, and I was wondering about it! If not, thats alright!

Hey Anon!
Of course! :D Happy to talk about it. I just say all this with a grain of salt- Everyone has different ways for constructing faces and starting a piece, and I don’t think there’s any one “right” way better than another. Just how I do it? I even have gotten frustrated with my construction methods in the past, and purposely ground-up re-taught myself a new technique. So it’s always fun to add more things to your repertoire!

I basically start with like a circle + middle vertical line, and then make the overall shape of the skull. Past that I add lines for where the eyes & nose will fall (middle, then middle of the bottom half respectively), and I often use vertical lines for “boundaries” on the sides of the face that double as cheekbones, because I have a tendency to Anime-out and make the face fill up too much of the skull for that realistic look. :B;;;

Here’s a breakdown of a Seb portrait I did where I used those guides to help build in the face, lightened my sketch and bumped up the important parts, then added shading and such.

Here’s the same kinda guidelines broken down really quickly in a profile sketch.

That’s basically what I do! I love starting with shapes: circle and especially boxes- because when it comes to complex angles, simple shapes with these guidelines can really help get all those bits in the right places where your eye can be tricked.

Thanks for the ask! I’m also tickled you find my art style to be realistic, gack, it’s all eye of the beholder! I’m always trying to improve my realism too. Best way to do that: reference! All the reference!! :D hahaha! But just keep drawing, you’ll get there! (and me too)

violetpensive  asked:

Hi there! I just wanted to ask if you often work with multiple layers or just on one? And if you use multiple layers how do you organize them? I love your style, btw!!

Oooh, that is a very interesting question! Unfortunately, the answer may be difficult to explain… 

I work in a way where I am constantly adding and merging together my layers, haha. There is no organization to it really - my day job working in animation is insanely organized so I’m fed up with that at the end of the day. :P

Usually, I start with a sloppy sketch…


Then I create a layer underneath it to fill in flat colors…

After that, I merge the two together layers (not including the background) and continue defining my flat shapes by painting on top of the lines and carving away any parts I don’t like. I know this is an odd process, haha, but I just don’t really enjoy making clean careful line-art. This way is far more fun for me. 

I work at a high dpi, anywhere between 300 and 600, depending on what I’m trying to do. So at this point, I can just magic wand my shapes and fill in low lights as I please. (I usually do this on another layer so it’s easier to carve away and define them.)

Then that usually gets merged together and the madness continues. I just create these top “safety” layers to paint over bits, change colors, play around - and gradually things get merged back together when I’m happy with where the illustration is going. I use the magic wand a lot to control what my brush/eraser can and can’t affect, as well as locking the transparent pixels in the layers menu (mainly if I’m trying to clean up outer edges). 

Usually last, I try to make the background less dumb, haha…

And that’s my crazy-ass process…even if the style or brushes I’m using change, this is still typically how I work. I hope that info was useful. Thank you for that interesting question! And sorry for the long post (or typos), haha. :P

[ One last thing I’d like to say is: experiment guys!! Find a process that is fun for you to do! Whatever gets you working! :) ]

Honestly? I owe a surprising amount to Terry Pratchett
Like not just because he shaped my sense of humour so much but also he gave me characters like Sam Vimes and Maladict and others who are just so important to me
And there are so many quotes that I’d practically forgotten were discworld quotes just because they’re a part of my daily life now, from “ninety percent of most magic is simply knowing one extra fact” and stuff like that which are just fun to things like that one from I think night watch? It’s just the line “you do the job that’s in front of you” and honestly the Depression™ has been so bad lately and that quote has been absolutely essential to me getting through that, like just the idea that yeah, everything is big and scary and confusing and you’re just a guy who’s worn the same boots for so long you can feel the different types of cobblestones under your feet and you can’t fix it all but you can look at the one thing immediately in front of you and go “okay, I can probably handle that” and you just keep doing that until you’re somewhere better than you started and I’m sorry it’s midnight and I’m really fucking emotional about Terry Pratchett right now

6

Some process gifs as an overview of my general approach when it comes to painting. I have made other posts about my process before (which you can access through the #answers tag) but it does seem to be a popular thing to ask about, so here’s another one-size-fits-all kind of answer.

For environments I follow a very loose sketch and move right into blocking out main shapes and overall colour scheme. For things that may require more detail due to proximity (e.g. faces) I will do cleaner lines.

It can be fun to paint messily (see the maidenhair drawing) but in many cases you may want to adopt habits which will speed up your process such as locking down transparency (or use layer masks or both) for things which need it so you won’t be wasting time cleaning up edges later. Natural shapes are more forgiving of lines which are out of perspective; don’t be afraid to use things like polygonal lasso or shapes when drawing buildings. Use large brushes when building up colour scheme; the whole thing will read better without unplanned strokes everywhere.

Sometimes I get comments about detail. My paintings aren’t usually very detailed. I like to draw things from far away, and the further away something is the easier it is to draw. Shapes can be implied. There is no need to draw every petal of a flower or ever branch of a tree or every blade of grass. A few blades of grass can hint at a whole lawn.

For brushes I primarily like to use Photoshop’s default hard/soft circle brushes, occasionally flattened to an oval. The default chalk series is also good. I also often make custom brushes for paintings, especially for different types of foliage. When making or using brushes pay attention to brush settings like Scattering, Brush Tip Shape > Spacing, and Shape Dynamics > Angle Jitter. There is no magical brush which will solve all your painting problems. There are brushes which are better suited for some purposes than others (e.g. a general leaf shape with scattering and angle jitter). Learn how to fish.

After all your fundamentals are there the painting process is really just a matter of defining and rendering until you feel like it’s time to stop. This is the easiest part, although depending on how defined you want your painting to be it can also be the most time consuming.

That’s all for now. :)

When we came to make Zombies, Run!, I deliberately put a line in the very first mission, when you, Runner Five, are just arriving at Abel Township, the tiny, shivering remnant of humanity left after the zombie apocalypse. I had one of the characters say: “If you can move above a slow shamble, we can use you.” Why? Because I am so sick and tired of the best and nicest exercise-based treats being reserved for people who are already in peak physical shape, and I’m sick of the notion that having fun while exercising is something you have to earn; that, until you look a certain way, moving ought to be boring and unpleasant if not outright painful. Your body is there right now. You did not have to earn a thing. It is a gift. You are a hero every time you step out of your front door to do some exercise.
Firefly’s MP100 Fandom Appreciation Post

(Which Nobody Asked For But Y’alls Getting Anyways)

There are too many incredible artists and writers in this fandom, so this is an incomplete list of people based on who I interact with regularly, and whose stuff I silently fangirl over.  Many of them have been supporters of my art, my fics, or the collaborative comics at Kiddy Corner, like On The Subject of Change.


Thank you to everybody, followers and friends alike, for their support!

Keep reading

anonymous asked:

Might I ask on how you draw your chibis uwu? They are just beyond cute and I would love to learn how to draw them as you do.

I’m glad you think they’re cute~ While I will post a tiny tutorial below I want people to know that this is just one way of drawing chibis and that experimenting and doing what you like the most is the best way to find what works for you so have fun~<3 

Step 1: circle

Step 2: face guidelines 

Step 3: rough sketch for the body 

Step 4: basic facial features (shaping the head) 

Step 5: Adding more details to the head (character traits) 

Step 6: clothes 

Step 7: just line the sketch to make it more clearer 

- AND you’re DONE~<3 Now you know how I draw chibis (and how to draw me too lol)

Character Design

Some tips to make your designs better!

One of the most important things about making fiction is having characters. Your audience needs something to relate to so you must give them a cast that they can love or hate. For those not working with live action, creating appealing character designs is necessary. Character designs can be the line where someone decides not to look at your content.

Which movie would you rather see if you didn’t know anything about the two? personality, color, and shapes are important for you and your audience when looking at fiction.

[Under the cut will be more information]

Keep reading

wing tutorial thing!

i know wings are pretty hard to draw for a lot of people so heres a little help with drawing these pesky things!

STEP ONE! SIMPLE SHAPE

1. start with a simple line shape. this is pretty important! it helps you figure out how its going to move and look with the main body (the main body can be anything! for this i used a person haha)
STEP 2! CONNECTION 

first connect the tip to the start of the line you drew before

then from the main body, make a line to about ¼th in the wing. this can be any size but ¼th usually works for most shapes!

STEP 3! DETAILS

 for leathery wings its pretty easy, you can start the lines about anywhere and use any number and just connect them! 

for feathers it can be kinda tricky, but just remember they layer and they get longer the farther you go!

all it is from then is to practice! Ive been drawing wings since i started drawing so i have quite a lot of practice and time to work on drawing them fast! 

this doesn’t work for everyone but it sure helps me so im sure someone else can get some use from this!

wings are super fun and i hope you can draw some cool wings soon!

atthattime768  asked:

Hi. Unfortunately I never had the good fortune of seeing you stream live. How did you master hatching? Your control over it is unique and extraordinary.

Hey, well I wanna start streaming again so maybe you’ll happen upon it in the near future.  I wouldn’t say I’ve mastered it, but it’s the technique I’m most comfortable with for sure.  I’ve always liked good line-art, and I started mostly drawing with pen in order to force a sort of standard on myself, so on top of trying to learn how to have cleaner lines I also had to learn how to render with ink.  I also wanted to understand forms better, and hatching is a great way to learn how light & shadow interacts with the planes of an object, the build-up of tone is also much faster than with pencil too so it’s a lot of fun.  

I like to focus more on rhythm/flow in the lines when I can, I like the way it looks and it feels more natural to me.  It’s not that I don’t like the traditional cross-hatching (on the right), I actually alternate between the two, I just prefer gesture drawing-like lines.  At the end of the day, it’s just designing shadow-shapes.

anonymous asked:

Hi.. I'm new to Pristin! Do you think you can help me learn who is who? So far I only know Kyla and Rena 😓 Thank you!!

Roa

  • aka Kim Minkyeong (or however you or Pledis decide to spell it)
  • Fun fact: she has been said to look similar to Joshua from Seventeen due to their eye shape
  • Pristin’s lead vocal

Eunwoo

  • Is main vocal quality
  • Pristin’s mood maker and reaction queen

Kyulkyung

  • Also known as Pinky or Jieqiong
  • From China
  • Is a former member of IOI
  • Has amazing pipa playing skills

Nayoung

  • Pristin’s leader + oldest in Pristin
  • Rap line
  • Former IOI member

Yehana

  • THE SMILIEST SUNSHINE
  • Something is wrong if she doesn’t smile
  • An amazing main vocal - pls listen to her

Kyla

  • The maknae of Pristin
  • Is half Korean/ half American
  • Is a total cutie and needs all the support that she can get!

Yuha

  • aka golden ratio body proportion Kyungwon
  • She is literally girlfriend goals because every picture of her is aesthetic/10

Rena

  • aka one of the hottest members of Pristin
  • her raps are always on fire

Xiyeon

  • Pledis’s golden girl - she’s been in Pledis for over 7 years
  • Is a triple threat - visuals/ vocal/ rap
  • Will probably be one of South Korea’s ‘it’ girls one day

Sungyeon

  • Aka Shannon
  • Originally from US
  • Dolphin high notes + VOCAL POWERHOUSE!!! - Pristin’s strongest main vocal