still working out how to draw them


( adm: hey guys!! This is a little something I did to thank you so much for your support!!! When I reached 600 followers a while back, I gave Loup a new design and promised to upload Iggy’s and Igor’s new designs too, but I never got to do it. Now that I don’t have my laptop with me for the time being, I can’t do my work. Since all I can do is wait for it to get fixed, I got some free time so I decided to finally draw new designs for the three of them! I took the opportunity to change Loup’s look again, and while it didn’t turn out exactly how I expected it to, I still see potential to perfect it.

This new look of theirs isn’t just for show, though!! These are the outfits they will be using in the sequel!! I’d also like to say that America, China, the Axis, Canada, Prussia and a few other characters have already got their own 2P design now! I’ve been working pretty hard on the story and character designs for some time, and everything is progressing really well. I’m almost done planning out the entire step by step of the game. All I need is to have time to do the coding, mapping and art. This is not confirmed yet, but depending on how things go, I might try to add animated scenes in the game as well!! I still haven’t decided on a name for it yet, but Please look forward to the sequel!!)

the thing with art is… 

You look online and you see all these people drawing amazingly, in different styles, with different materials and different techniques and they all make some absolutely amazing works! And then you look at your own stuff in just looks… pale in comparison. 

So you’re going to have this moment of “I can’t be here. I can’t put this shit up there with all these amazing people.” and in the worst case “I should stop now” 

And some people do. They stop. Completely.

But you shouldn’t.

You need to think about these things rationally, first of all. 

Look at that favorite artist of yours. His art is amazing isn’t it? Do you know how long it took them to get to that point though? Do you have any idea how may papers they ripped out of frustration because nothing came out right, how many pencils they used up, how may hours they spent at their desk working and working and trying to improve? 

Art isn’t something you can just master in a week. It takes years. 

And do you want to know a secret? That artist you love is probably still not 100% satisfied. Artists never are. 

What artists are, however, are content. 

They’re happy with the pace they’re improving at, with the way their drawings have been looking recently. They love this style they finally managed to work out for themselves after trying for so many years. they’re content with not rushing and they’re content with showing the world their work and their progress.

So don’t be discouraged because it’s taking too long.

Talent isn’t what makes a good artists.

Practice and perseverance is.

I was talking to Nina about ADD and I just realized how to describe it. So let me put it here.

Focus is something you hear from a young age, focus on this, focus on that, why don’t you remember these things. And you don’t think it’s abnormal, because people forget things, they’re people. And maybe you forget to tie your shoes and people make fun of you for it, but you don’t mind cus it’s a quirk, you’re just forgetful that’s all, and in children that is fine.

Then you enter school. Your teachers ask you to sit still in chairs, or to be quiet, or to stop drawing, or to pay attention or combos of them all. And it’s hard, it’s so hard to do those things and when you can’t manage it, you’re misbehaving. Maybe your grades start to drop because everything seems to slip by, the board in front of you might as well be covered in fog for how well you can focus on it. Or maybe you skate by because the work is easy, you might not be able to focus on the lessons entirely but you can force yourself to tune in for just enough to stitch it together. 

It doesn’t matter which one you are, or if you’re another. Eventually, at some point, you come to a conclusion. Because people won’t let you forget it, how easy it should be to remember to eat lunch, how easy it should be to study by reading over notes, how easy it should be, how easy-

Focusing is natural for everyone else. They don’t have to think about it like you do. They struggle sometimes, for sure, but often clicking in is just natural. Focus is a choice. 

Focus is not a choice for you. It’s an effort. It’s the hardest work you ever do when you’re not interested in something and someone wants you to watch a board and listen to them talk work for word. It’s like keeping eye contact for a straight hour without blinking. When you can keep focus, it tires you, takes everything you have, and you hate that it’s so easy for everyone else. And when you can’t, when you catch the first five minutes and a thought drifts your way and suddenly the lesson is over, you look at your empty page of notes and wonder why you keep fucking it up.

You start to feel stupid. Maybe your grades reflect it. Maybe they don’t. Either way it starts to stick, how everyone else can do this so easy and you can’t. Like you’re supposed to be able to do it. People get frustrated with you, why don’t you remember this conversation, why can’t you study, god if you only tried-

You want to scream you try. You try your heart out. But everyone seems to certain you don’t. The things that help you focus better, chipping nailpolish off, drawing, tapping your leg, are all signs you’re not giving it your all. They’re signs you’re lazy. You wonder if your trying isn’t enough. Maybe you’re supposed to give everything. You stop your drawing, your movements and your grades slip and it’s not supposed to be like this, you’re stupid, why are you so stupid-

Maybe one day, you realize you’re not stupid. It’s brain chemistry. Maybe they give you drugs that help and suddenly the world is a little clearer, and focusing is easy and was it supposed to be this easy, is that why no one got it? Because they never knew what it was like to cling off the edge of an icy ledge and have no purchase? Or maybe drugs don’t work and you find other ways to work, move lectures to hands on assignments, study by writing yourself practice exams and filling them out yourself, drawing problems to see them rather than to focus on an abstract. Maybe it helps some days. Maybe it doesn’t. But you know it’s not you and that’s what counts. 

You still feel stupid though, some days. When you forget your keys, or laugh too loud, or forget fragments of conversation. Because it’s supposed to be easy and you can’t quit that thought no matter how hard you try. Except-

Sometimes, with some things, things you really care about, focus isn’t a problem. Maybe it’s a tv show you like, maybe it’s a hobby you enjoy, maybe it’s a subject you can’t learn enough about. It’s something that matters, something that you love. There you can focus. You can do more than focus: you can tune out the rest of the world like it’s nothing. The world centers to you and the thing, and until you pull yourself out, it remains that way. In this world, you’re never stupid. You’re just you, and you can see everything in front of you crystal clear. 20/20.

You put the thing you love away. The real world awaits.  When you get up, you forget to bring your empty mug of tea with you.

And for a moment, just a moment, that’s okay. 

tbh “the barn of new crystal gems” isn’t actually an awful concept if done right… like just. imagine peridot, bismuth, the rubies and jasper all living under one roof with lapis bunking there occasionally on her trips around the world. the barn just gets more and more added onto it until it is an absolute chaotic mess and everyone loves it.

  • peridot sticks the water silo into the wall and declares it to be her room. she even puts a keep out sign on it with a drawing of her gem on the door like the temple door. inside is ten screens all showing camp pining hearts, the alien doll, and a bunch of other bits of junk peridot has acquired. it looks like a mess but there’s a system to it. only peridot and amethyst understand The System.
  • eyeball suggests they build a training area to keep their skills sharp. her true motivation is to be buff and attract girls. jasper thinks it’s a fantastic idea and praises eyeball for her pragmatism. eyeball didn’t expect her plan to work so quickly but she’s sure as hell not complaining.
  • lapis’s room is the truck. it’s sticking out of the roof and has a tarp over it. there’s loads of meep morps in there. no one is allowed in. especially jasper and peridot.
  • navy has a greenhouse. except it’s a redhouse because she doesn’t get why it’s called a greenhouse if it’s not green and since she’s red she’s going to call it a redhouse. steven gave her cuttings from rose’s gardens to help her get started. one day she will probably go all little shop of horrors on the others.
  • the ruby ship got cannibalised for parts, but it’s still bigger on the inside and is now doc’s room. very serious things happen in this room. mostly viewings of baseball games so that doc and army can figure out how that game actually works.
  • leggy starts trying to figure out how the universe works and ends up making a library for them all to use. peridot, leggy, bismuth and navy start a romance book club. it meets in bismuth’s room because the silo is a disaster, the library isn’t private enough, and the greenhouse is full of weird plants. they draw fusions of their preferred couples. it’s all over the library. jasper’s eye twitches every time she sees it.
  • bismuth was put in charge of the warp pad because she needs to get to her forge. she upgraded everyone’s weapons. every week or so she’ll go to the others with “so i had this idea for improving our gear…” and if the person she talks to is peridot then the results are spectacular. once they tried to make limb enhancers for all of the rubies. including garnet-ruby because they didn’t want her to feel left out. garnet kinda BSOD’d when she saw them because on the one hand EMBARASSING, on the other ADORABLE, on the other OH NO SAPPHY THINKS IT’S CUTE…
  • jasper’s room is completely metal. she made it out of bits of the beta kindergarten. there’s metal bars and random things with spikes on everywhere. and a bunch of mirrors which she can flex at and practise looking awesome. eyeball joins her sometimes.
  • (i have accidentally made the ship of eyeball/jasper. idk it’d be cute???)
  • army insisted on having an actual baseball field set up. she still doesn’t understand the rules but she HAS branched out into other sports. sometimes when the others are being loud a football or hockey stick or something will come flying out of army’s room and hit someone on the head. her aim is impressive. bismuth is very proud.
  • camp pining hearts is a running gag with all of them. they are all SUPER into it for varying reasons. they had to write a treaty to stop the ship wars because the last one saw two rubies, bismuth and peridot all get poofed and that was REALLY awkward to explain to the main crystal gems.
  • centipeetle gets healed and joins them. she introduces them all to chaaaaaaaaps.

Moana Visual Development, Part 1.

Here are some of the very first drawings I did for Moana (Minus the last one, which was done later in the vis-dev stage). I was fortunate enough to work on the film in its very early stage thanks to the graciousness of Ron & Jon. Working with them alongside Jennifer Lee and Fawn Veerasunthorn is one of my fondest memories at Disney.

I have lots of Moana artwork that I want to post here, and am still trying to figure out exactly how to group them. Stay tuned! (For more work, you can also check out my instagram: @minkyu_lee_animating)

Moana is out in theaters now! 


So @oolongearlgrey‘s doing this cool thing where you can submit a garbage MS Paint drawing of a succubus and he’ll redraw it being all nice and shiny. I got out MS Paint and drew this sneering succubus with my touchpad and submitted it but I liked her design so much that I got excited and did my own redraw before he even got to mine heheh. I tried to keep her looking like she’d fit in Oolong’s world. 


Rhack doodles I did since May (2016), from oldest (top) to newest (bottom)

There’s no consistency in style or anything else cuz I couldn’t figure out how to draw them (I still can’t. These idiots are strangely hard to draw). I wanted to post these before the end of the year- otherwise, they will be forever forgotten in my folder.

harvestmoonpeoples  asked:

Hinata being just fine in the heat and kags dying but not wanting to admit it lol. I think that would be fun at least

Kags is internally screaming and wishing Hinata would KEEP STILL AND STOP RUNNING AROUND SO MUCH. Because just watching him is exhausting and making him sweat more. What is this child on?? If he’s not careful he’s gonna pass out.


They’re family now, that’s how it works.

Playing around with some new brushes I just bought. :3 That’s why there’s some weirdness with the coloring, sorry! STill some others I need to play with too.
Originally I had some dialogue in mind but after I finished sketching it out I realized it wasn’t really needed to follow.
For the record, that’s a tin foil bunny hat.

Edit: Made some sequels I tohught of when first drawing this one. Didn’t have time to color them.
Part 2:
Part 3:

achoicewithsomeregrets  asked:

So, I'm impressed with quite a lot about your writing, but one of the things I'm impressed with the most is how you do characters. The characters are just really /Real/ and alive and vivid. My characters are round and have flaws and motivations and everything that smart people say good characters need to have, but. They're still just not as /Real/ as yours. So if you have time, could you give some tips for developing characters? Thanks!

Dear protecterwinsmith,

Let’s say someone asked you to draw a person. 

If you’d never drawn a person before or thought you didn’t have much time, you might do one of these guys:

Example A: stick dude. A stick dude is recognizable as a person because it follows the baseline, easiest rules of personhood. It’s got a head, a torso, a familiar arrangement of limbs. You don’t need more to get the concept of “person” across. 

Now, if you had a bit of experience drawing people or thought you had more time, you might do something more like

Example B: Cartoon Dude. Cartoon Dude is even easier to recognize as a human. He follows the rules of personhood even more: he’s got facial features, ears, hair, clothing, shoes. You can tell one cartoon dude from another cartoon dude. You can populate an entire series with cartoon dudes and the storytelling would work, because they would effectively follow the baseline rules of human anatomy as well as being unique enough to tell apart. 

Now let’s say you had a bit more time or you had some more experience drawing people and someone asked you to draw a human realistically. Depending on how much you’d done it, you might get

Example C: 3-D dude without reference. A 3-D dude drawn without reference is even more recognizable as human. He can hold all sorts of nuance in his expression because he follows the baseline rules of personhood even better than the previous two. More nuance means more empathy from the viewer, and more empathy usually means more emotional resonance.

And finally, let’s say someone asks you to draw a human but gives you an actual person to look at. In the same amount of time given, you might end up with

Example D: Portrait with reference. This guy (one of my brothers, in fact) follows the rules of personhood, their effectiveness limited only by my ability to capture them in the time given or by my level of experience. He’s recognizable as both a person and an individual because of the specificity of his facial features, and moreover, he is unlikely to look like any other person I would draw using this method because of my close adherence to his, you know, actual face.

If you think about this in terms of characters, you could build a novel with any one of these sorts of character.

Example A: A novel built with stick man characters would be incredibly stylized. Fairy tales are often stick figure characters. Instead of being fully-fleshed individuals, they’re types. This is the stick figure woodsman (we can tell it’s him, he’s drawn with an ax). This is the princess (we can tell it’s her, she’s got a crown and some long hair added to the stick figure). This is the knight (we can tell it’s him, he’s got a sword and a stick horse). People don’t actually look like stick figures, but as long as the characters are all stick figures, the narrative still works at some level, because it tells you the rules and follows them, even if they aren’t the rules of reality. The moment you draw one character as something more than a stick figure, though, the viewer suddenly realizes how the others are merely made of straight lines. 

Example B: When I first began to write, I used to write novels with accidental cartoon characters. I knew I couldn’t populate a novel with stick figures, so I tried to flesh them out. What makes a human a human? I asked myself desperately. Specifics! I made character worksheets and dutifully filled them out with attributes. Height, hair color, eye color, hobbies, place of residence, parental occupation, etc. etc. I ended up with characters who followed the rules of being human, and they could carry a story, but they still didn’t feel real. 

I’m skipping Example C for now, because it’s a byproduct, for me, of failing to remember the lessons of Example D.

Example D: Example D is how I build characters now. I begin by studying real people instead of by creating lists of traits. I end up with shadows I forgot to draw in my cartoon version, hair that looks like actual hair instead of what I sort of remember what hair looks like, and feet that have all the toes drawn in because with a reference, I can remember how to accurately draw a pinkie toe. Real people are complicated and surprising. If I were building a character with a fear of water without looking at a real person, I might give them the phobia because they’d nearly drowned once: the easiest and most logical answer. It wouldn’t necessarily be wrong — it would follow rules that a reader would understand. But if I looked at a real person with a fear of water, I might discover that their fear developed because of an obsession with quantifying the abstract, and trying to understand the concept of an infinite body of water made them anxious. A much more complicated answer, but more specific and more real because of it. If I populate a book with characters built like this, I’m going to end up with a nuanced story that should have more emotional resonance. Moreover, the more I study real humans and build characters from them, the less I have to lean on real humans to make secondary characters. As I learn the more subtle rules of how people’s personalities are made, I can start to build new humans who don’t exist — who nonetheless appear as if they could. 

Example C: I’m returning to example C because it’s a cautionary tale for me. Even though I feel that I’m worlds better than that old version of me writing cartoony people who could only exist in a two-dimensional place, if I get lazy with my character development, or if I try to create a sort of person I’ve never met in real life from scratch, I can still end up with one of these weird cartoon-realistic hybrids. A character who nearly looks real but lacks the subtle, observed nuances that I can only get from keeping an eye on real life. These characters follow the rules, and they have back stories and hobbies and nuance, but they’re still lacking the surprising, non-linear subtleties of a real person, or they’re lacking the specificity that comes from studying a real-life elbow and carefully transcribing the shape of it.  

There are particular sorts of things I look for in real people when I’m stealing bits and bobs, but that is a topic for another blog post. For now, I’m going to go figure out why I still can’t draw feet.



As promised. Not as short or snappy as the first one.

His name is Mantra, and the first thing he says is that he didn’t invent them.

He’s very insistent on that point.

The second thing he says is that his lessons are freely given. He owes a debt, apparently, to the one who taught him. Passing the knowledge on is how he pays it back. He’s not got many students - just two at the moment - but he says that’s enough.

“Making a mantra is a bit like Pavlovian conditioning for the universe,” he jokes. “And a bit like being one of Them. You pick something that resonates with you. An association, or a metaphor, or something. You make it a part of you. And you get back what you put in.”

You pay up-front, he says. Accept limits on your behaviour. Train yourself to link two things so hard that belief becomes reality. He uses “hope in my hands” as an example and says it’s not his. You’d start off small. Never write anything that isn’t hopeful or positive. Never do anything with your hands that you associate with hopelessness or cynicism. Use them for things that bring hope; build it, until the world accepts the line as truth. If it doesn’t fit you, it won’t work. If you can’t hold to it, it’ll shatter. If the lines don’t work with each other, it’ll tear itself apart.

When it starts to hurt to think about breaking your mantra, you’re ready to use it.

“This seems slow,” I say to him one day. “Isn’t there a quicker way?” He flinches.

“There’s a fast way and a right way,” he tells me. “You want to pick the right way. Trust me.”

I haven’t made one of my own yet, and I’m not writing down any ideas until I’m sure, but here’s his:

Freedom in water,
Courage in earth,
Strength in sunlight.

They do have drawbacks. He tells us how he feels trapped and stifled unless he goes swimming every day, how he’s scared of heights now and vulnerable in the dark. When I ask why he picked something so limiting, he just shrugs.

“I did it the fast way,” he says. “I had to work with what I had, and I didn’t have much. Trees and blood, mostly. I chose trees.” He gives his sister a guilty look - she’s two years older, and doesn’t dabble in mantras herself, but she’s always there when he teaches.

The last thing he says - and fair’s fair, he tells you before you try to choose your lines and makes you think about it for a day or a week or a month before giving you any more lessons - is that by using a mantra, you make an Enemy. He doesn’t say much about it, but he lets a few things slip - and They certainly know which of Them he means. Here’s what I’ve put together or traded for.

- The Enemy lives deep, deep Underhill and doesn’t come out much. It can’t take people Away anymore - not because that power was won or tricked or stolen from it, but because it was taken, by force and by fire.
- It hates mantra-users with a passion that’s beyond reason even by Their standards, and hates Mantra himself even more than that.
- It has really horrific burns all down one side of it - which side varies - and They call it the Burned One like they call him Little Tree Boy. Its eye on the burned side is not the original. It’s grey, and human, and sometimes it cries all on its own.

That much along with campus rumour is for me to put a few pieces together and draw conclusions, but I’m not going to write them down. Mantra’s a nice guy, and if I’m right it would be cruel to ask him.

I’m pretty sure They can tell if you’re learning from him. Maybe like recognises like. He told me to think, long and hard, about whether I want to go forward with it - I can still turn back from where I am now. I’m meant to give him an answer by tonight.

I’ve made my decision, I think.

Now I need to work out how to live with it.


Super quick centaur/horse body tutorial!

You’ve asked me a lot for a centaur tutorial but I absolutely suck at doing stuff like that because I rely so much on my own eye measuring and I almost never do sketches like this, so bear with me.

1: The horse body!

I managed to break down the body into lots of triangles and lines and what have you, in a way that I find easy and accurate to use.
This is the body of Dan, (an english full blood) but it’s really easy to alter between breeds!
For example, I used this when doing the lineup, take two of the most altered ones:

2: Put some meat on it

Keep in mind that if you have no idea how to draw then you probably should just drop this because as you can see I’m skipping ahead assuming you know how to meat a stick figure, and also have a ground feeling of what a horse really should look like.
But it’s starting to take shape, doesn’t it?
The tip of the withers should be around the tip of the hip.

3: Legs and hooves

Make sure you don’t make the knees and hocks too defined
(if you want to draw a full grown horse will say. It works on younger horses and foals though!) And also not like noodles. Watch out for making the hind legs too curved or too straight when standing properly.
You want your hooves to be balanced, keep that in mind!

4: Add the human body

You’ve got a nice red line there to keep track of the spine. Dan’s human part is slim and a bit smaller, which adds to his rather big but slender breed.
Now of course I’m still assuming that you know how to draw humans as well. That’s what it’s about, draw loads of humans and loads of horses and mash them together in a way that you see fit!

I prefer to use colours that the actual breed can have, and to match their hair with their tail. A paint is a difference though, as it might have different pigments in skull and tail root.

This has been a quick and confusing tutorial in which I also claim that I am in no way an expert on this, thank you good night

anonymous asked:

Anyway you could write the elevator sick fic with Lance? Love your blog btw!

Let’s see what I can whip up here, and thank you! I’m glad you like it :)

“Why are you still following me, Keith?” Lance spit out as the red paladin followed him into the elevator. He just wanted to be alone– he hadn’t been feeling well all day, and he just wanted to go back to his room to sleep whatever he had off. His head was throbbing, and his face was burning despite his bones feeling as if they were made of ice. He wasn’t sure if it was even possible to get sick in space, but he sure as hell felt sick. 

“I wanted to go rest in my room for a bit before I pick back up with training,” Keith answered, ignoring the bite to Lance’s tone. 

Lance groaned loudly, smashing the button to the third floor where all the rooms were located with more force than necessary. He was one hundred percent done with this day, and it was taking every ounce of what little will power he had remaining to not snap at Keith, who had pushed him to the brink during training. 

“What’s your problem, Lance?” Keith spit out, leaning against the wall and crossing his arms. 

Lance wanted to reply; he wanted to tell Keith that he felt horrible, but he didn’t. “Nothing,” Lance opted to say just as the elevator started moving. 

“You’ve been too moody today,” Keith muttered, prompting Lance to roll his eyes in response. 

Lance stared hard at the numbers above the elevator door– it was only going up two floors, but it was taking longer than usual. He was just about to say something about it aloud when the lights flickered out and the elevator jolted to halt. 

Gripping the wall to keep from toppling over, Lance blinked rapidly, willing his eyes to adjust to the darkness. He could feel a deep pit of panic settling deep within his stomach, but the faint sound of Keith’s calm breathing had him forcing his breaths to come out slow and casual. 

Keith stumbled forward until he reached the panel beside the door where all of the buttons were. 

“K-Keith?” Lance questioned, mentally cursing how shaky his voice sounded. 

“I’m going to see if the elevator comms still work.” Keith said while pressing certain buttons and calling out different names as he did. 

Lance slid to the floor, drawing his knees to his chest and wrapping his arms around them in an attempt to get warm as strong shivers started to wrack his body. He mentally kicked himself for leaving his jacket in the training room. 

“I think we are stuck for now,” Keith said after trying every button. “Power must be out in the whole castle.” 

“Great,” Lance replied weakly, pressing his forehead to his knees. He listened as Keith sat down against the other side of the wall. 

“I’m sure it won’t take Coran long to fix this. With Pidge and Hunk’s help, we should be out of here soon, and you will be free from me,” Keith said with a bite to his tone. 

Lance breathed out a shaky sigh. He knew he should say something to reassure Keith that he wasn’t actually mad at him. He was stuck in an elevator with him– the last thing they needed to do was fight. But, he found that he couldn’t muster up the energy. He was just so tired– so cold and so, very tired. 

The pair fell into a strained silence; however, it didn’t last long. Despite his best efforts, Lance just could not seem to get warm, and soon enough, his teeth began to chatter. He tried to stop– he really did, but it was as if he lost control of his body. He just couldn’t stop shivering. He felt terrible, and he just wanted to sleep– preferably in his own warm bed and not on a cold elevator floor. 



“Are you cold?” 

Obviously, Lance thought to himself. It was basically an ice box in this damn elevator. “Of c-course,” Lance said, trying to ignore how pitiful he sounded. “It’s f-freezing in here.” Lance heard Keith moving around, and seconds later, he felt a strong, warm hand on his arm. 

“No, it’s really not. It’s hot in here, actually.” 

Lance wanted to laugh, but his throat was too sore. Keith seemed like the type to run hot anyway, so Lance found that he shouldn’t be surprised that Keith was hot despite it being freezing. “Well, I’m c-cold,” he grumbled. He was about to turn his head to face away from Keith but stopped when Keith pressed the back of his hand against Lance’s forehead. 


Lance listened as Keith hopped to his feet and moved back to the door. “W-what?” 

“You’re burning up. I need to get you out of here.” 

Lance looked up, narrowing his eyes to try and see Keith through the darkness. “It’s f-fine. I’m not g-going to d-die.” God, he was so cold, and his head felt as if it were splitting in half. He briefly wondered who he pissed off to deserve this. 

“No, Lance. It’s so hot in here that I’m sweating.” 

Lance frowned, pressing the back of his hand against his own forehead. He could feel the heat, but it didn’t seem too concerning to him. If anything, it felt amazing against his freezing hands. 

“Keith,” Lance started, voice barely an audible rasp. “H-how are you going to get us out?” 

“I’m sorry for this,” Keith said right before he started banging his fists against the door, shouting at the top of his lungs for help. 

This went on for a solid three minutes, and Lance was about to beg Keith to stop before his head exploded, but his words got caught in his throat when someone responded from outside the elevator. 

“Keith, are you alright?” 

Lance breathed out a sigh of relief– bless Shiro for always appearing at the right time. 

“Shiro, hey, we need to get out of here.” Keith said, voice frantic. 

“We? Is Lance with you?” 

Lance craned his neck to cough harshly into the crook of his arm. Well, he thought to himself, that was new. 

“Yeah, Shiro, he’s really sick. How long til you guys can get us out of here?” 

“Just a few more minutes, hopefully. What’s wrong with Lance?”

Lance wanted to reply– he wanted to assure Shiro that he would be fine, but his chest tightened, and he turned his head, pressing his fist to his mouth as a strong coughing fit wracked his body. 

“Shit, is that Lance? He sounds terrible!”

“Yeah, and he’s got a really bad fever. It’s boiling in here, but he says he’s cold.” 

Lance struggled to catch his breath as his eyes welled with tears. “I,” he called out weakly in between coughs. “I’m fine.” 

“Shiro, please hurry,” Keith said before returning to Lance’s side. He grabbed Lance’s hand and pressed it against his chest. “Try to breathe with me, okay?” 

Lance focused on the rise and fall of his hand against Keith’s chest, and after a couple of minutes, he was able to breathe well enough. Now that breathing wasn’t an issue, Lance had time to focus on how hot he suddenly got– it felt as if fire was prickling against his skin. And, the floor beneath him felt as if it were tilting. Shit. He was going to pass out– he was going to die. He was going to keel over in an elevator with Mullet being the one person to witness his dying breath. The panic he had been pushing back was starting to take hold. 

“Lance? Hey, Lance? Stay with me, okay?” Keith cursed as he brushed his hand against Lance’s cheek. The heat was almost unbearable against his hand, and he could only imagine how Lance was feeling. 

Lance was just about to succumb to the darkness tugging at him when the lights flickered on, and the elevator jolted to life. 

“Thank fucking God,” Keith muttered, studying Lance now that he could see. 

Lance could cry from relief. The elevator moving was doing nothing to ease the dizziness that has taken hold of his head, but the sooner he got off this death trap, the better. 

The elevator dinged, and the doors slid open, revealing Shiro and Allura looking in with wide, worried eyes. Shiro stepped in first, rapidly closing the distance between he and Lance. 

Lance watched with blurred vision, and he briefly thought that Shiro looked like God approaching him. “See,” he whispered, voice too wrecked to talk any louder. “I’m fine.” 

Shiro breathed out a small laugh despite his furrowed brows. “Okay, buddy,” he paused, lifting Lance up bridal style. “We will make sure you are fine once we get you to Med Bay.” 

Lance wanted to ask why he couldn’t just go into a pod, but Shiro’s arms were so warm, and he struggled to keep his eyes open. “Kay,” he breathed out, putting all his trust into his friends as sleep took hold. 

anonymous asked:

Help for drawing the same character many times?

Hello! This is something I myself struggle with a lot, especially when I find my preferred drawing style constantly changing and adapting. There isn’t really an easy trick or be all end all answer to this question, as much as it might suck the biggest help in this situation is just practice! Practicing drawing the character again and again!

To go a little more into depth with this, besides just practicing drawing the same character, studying can also help.

For example: If you’re drawing your own character, what kind of face shape does your character have? What is their jaw line? Sharp cheek bones? Small chin, angular chin? Once you have this figured out, keep it in mind for when you’re drawing. If you have the free time, practice drawing these specific details or face shapes a few times. If you have real life face claim for your character, find some pictures of this person and study them.  The same goes for a character from a series or show, find pictures, use reference! There is absolutely nothing wrong with using reference, its one of the best ways to get better!

On another note, if you don’t have a specific face claim for a character, use multiple pictures. Open up sai or photoshop or paint or anything you have, and make a sort of reference sheet. Does a specific model or celebrity have the lips of your character? Get a few pictures, put them together (preferably different pictures at different angles), and note that these pictures are reference for the lips. Is there a picture of a random person you have seen on your dash and their hair was just like your character? Add it to your reference sheet. Gather up as much as you can if you have to take bits and pieces of different features, get them all together, and then DRAW! I promise it is the best way to improve and learn how to draw the character the same way every time.

I am sure there are people out there who maybe have small tricks that work for them, but the trick might not work for you. The guaranteed answer is to practice! I know that can be frustrating to hear, its something I still struggle with myself, but it does work!

Another piece of advise I can offer is to draw a picture of the person, head on, neutral expression, as a start. Then draw the same face (maybe different angles) with various ranges of emotions and ranging in severity. You can find many tables and charts across the internet for this. Try searching for ‘emotion chart’ or ‘feelings chart’, they’ll look something like this

I have plenty of tutorials archived for things like face shape, noses, eyes, mouths, ears, etc, practicing drawing those things for your characters will help and help you get the hang of it so that you will be be capable of drawing, for example, a characters nose in the same shape each time!

Remember as well: your art style will change and it will adapt, and as this happens, even if you have practiced drawing the character the same way, the character will still look different, and that’s not a bad thing! It just means your style is changing, adapting, and that you’re improving! I wish you the best of luck with this, its still something I am working on as well!

If any one has something to add, feel free to reply, reblog this post, or submit!


I’m not scared a nothin’, I’ll go pound for pound
I keep Death on my mind like a heavy crown 

Digital painting is still hard but this is a step forward. Been working on this in the evenings to wind down for the past two weeks, really pleased with how it’s come out!! I really want more Adelaide scenes, she’s!! So good!! Come on Austin, wall to wall deity shipping is the way to go!!


Wip for @thelastpilot ot4. (I don’t know how to link this to the original post… 😭Im sorry if I annoy you by tagging you.) I just can’t get this out from my mind. I need to draw them!
Nino being the sole caretaker of the house, while the Trio super hero busy working and superheroing.
He tried so hard, but his friends were so busy, his effort goes unnoticed.
Again, sorry for the messy sketches, grammar mistakes and any incorrect anatomy (still learning how to draw male body, shirt and hats here…)

i don’t usually blog about my actual life, mostly it’s just snippets you can see on twitter and even those i tend to delete after a few days because sharing things about my life always feels embarrassing so i can’t guarantee that i won’t delete this once i get up in the morning but right now i’m having a feeling so please bear with me for a moment

Keep reading

anonymous asked:

Looking back at when you first opened commissions, is there anything you would have done differently? Your prices were very low, for example. Was this deliberate or part nerves about doing commission work? Any advice for artists who want to start commission work?


Hmm. I don’t know if I would’ve done anything differently. My prices were indeed low, but I felt like I needed to grind it a little bit before I could raise them. I think that the quality of your work + how fast you can work on them is a big factor, but your popularity also determines just how much people are willing to pay for a commission from you (for better or worse, that’s just how it is). So, in short, I think charging low prices back then was the right thing to do because I was a fucking nobody. That said, a couple pointers when you start doing commissions:

• If you’re seriously considering leaving your day job to dedicate yourself to commission work, please consider either having enough saved for rent/living expenses for about two or three months, or grind it and work both your day job and a few commission slots a month. When you gain enough notoriety and you get commissions often and consistently, it’s time to leave your day job. I did neither and just left my office job after my first rpg gig and it was an excercise in stoicism, to put it in generous terms. Don’t do that unless you think you can handle it mentally and you really want to do this for a living. Again, this is very much up to what you think works best for you.

• Make a good-looking price sheet and include examples of each type of commission, be sure to cover the most basic info as well as your e-mail, and just reblog it everytime you open until you decide it’s time for a change in options and/or pricing. 

• That bit about starting charging low prices? There’s a limit to that. IMO if you need to make a million commissions just to make ends meet, you need to increase prices. You should consider things like rent, utilities, and food as the basic things you should cover first, and how to cover them doing the least amount of commissions at the best of your ability without burning out. 

• Always add one or two days to your delivery timeframes. Don’t get me wrong, you should still try to deliver at the timeframe you set for yourself. Those extra days are just in case something happens. Maybe you hurt yourself, or you get sick. Maybe your cat goes missing or one of the pipes in the bathroom breaks, and one day’s worth of work just went down the fucking drain. Cover your ass. 

• Always find some time to draw for yourself. On paper drawing for a living sounds amazing, right? Well, the second you start getting paid for it, it becomes a job. So you treat it like a job. You set a daily schedule, and you do what you gotta do. This will take some joy out of it, I guarantee it. And the only way you can recover that joy is always doing something for yourself. Draw shit for your D&D campaign, or start a webcomic, anything. Have a passion project, ‘cause if you only draw what other people tell you to draw for a living, you’re gonna be burnt out and dead inside in no time. 

For fuck’s sake, rest on the weekends. Go outside. Draw whatever you want, get together with friends who also like to draw and draw for fun. Run a marathon. Play rpg’s. Watch a movie, read a book, get high as fuck, have sex like a rabbit. Play as hard as you work.

I think that covers the important bits. This is very general, so if you have more specific questions about commissions, shoot me an ask and I’ll reply as soon as I can.