So i’ve been reading some REALLY GOOD FANFICTION and it sort of rekindled all my love for otp and jumpstarted my long-lost creative drive so I dug this old picture up because I still really like it, and finally finished it.
So. team switch. Please consider…White Knight Sena…Devil linebacker Shin…2nd year sena vs 1st year shin. Sena inspiring Shin this time around…THe possibilities r ENDLESS!!
Holy moly everyting about you is just so inspirational? You have the most cleanest line and mixed colors well, You draw so many challenging things that I would never be able too? You are really kind and loving toward the followers out there, I have known you for a little bit now! Overall you are improving so much and I adore you and how much you have never given up no matter what anyone has said in this world. Thank you for being someone who inspired me from time to time <33 I love you so much
hey, how big are your traditional pieces? I mean, how big is your graphite work (the ones you scan and edit)? It must be very big to get such good detail and not smudge the graphite..
They’re usually 11″ x 17″ or 11″ x 14″. For anyone who has seen my color prints in person, I actually work at size, which means the print of my work is the same size (or sometimes larger) than the original. Because I do this, I need to make sure my lines are super duper extra clean, or else it will look sloppy and messy.
I usually make sure to have a piece of smooth, toothless scrap paper under my drawing hand so that I don’t smudge the piece! That goes a long way, and it’s a really simple fix.
With my preliminary sketches, I tend to do a bunch of ridiculous gesture drawings on cheap computer paper back to back to back, using a lightbox to refine them and retrace them as I go. I usually go through at least 2-3 rounds of sketches for each illustration (sometimes more like 20-30 if I’m feeling extra nit-picky.) By the time I arrive at my favorite gesture drawing, it’s usually clean enough to where I only need to draw the most necessary contour lines onto the final sheet of Paris paper. This means I’m not erasing too much on my final draft of the illustration- it’s treated more like inking, with lots of pressing heavy with the pencil to ‘seal’ it to the paper, and with minimal erasing so as not to smudge anything.
Also! Pay attention to how your eraser reacts to the kind of paper you are using. A stretchy gum eraser will be better for certain papers, often toothier ones. Rubber erasers are often better for smoother papers, only if the eraser is very fresh (1-5 months old.) Rubber erasers tend to dry out, and after they dry out, they’ll wreck up your drawing instead of erasing. I’ve found latex erasers are best for smooth paper, as they erase very cleanly.
Do keep in mind as well that if you are drawing lightly, darker graphite (B-6B) are actually easier to erase than lighter graphite (H-9H.) I almost always work with B lead in a .07 drafting pencil (the metal kind, so you can apply lots of pressure.) Don’t forget that the surface under your drawing (i.e. your desk) will also affect your line quality. I usually draw on top of hard, very smooth plexiglass to get the cleanest lines possible. Other things you can try drawing on that produce interesting effects are self-healing cutting mats, a stack of computer paper under your drawing (to cushion if you press too hard,) or laminated particle board. All are slightly different.
And finally, patience. Ungodly patience and good podcasts can get you through anything.
Working out a costume change coming up in the @feynites Looking Glass comic (trekking through the mountains and meeting the dwarves)! The tricky thing is, all clothing had to be distinctive for each character, suited to their personality, colorful when in bright light, and still very visible in darkness (they are going into the Deep Roads, after all). And, of course I needed to know all of the layers they could put on and off as the need arose, like sleeping. This doesn’t even show their underwear layer!
Lavellan - Her armor is described as being simple, by ancient elven standards. It’s a great excuse to have the easiest, cleanest lines for her since I’ll be drawing her the most often. Keeping with the red and gold color scheme for her, with more gold armor pieces so she shows up better in darkness.
Pride - Okay, I was basically just working out how to draw his Trespasser armor in my style. He’s going to stick out like a sore thumb in the Deep Roads with those colors, further emphasizing how foreign it is to him and easily drawing the reader’s (and Lavellan’s) attention.
Haninan - If anyone is the rogue, it’s Haninan. At the very least, he picks locks better than Zevran! So I wanted to have his hands free, with little armor in darker colors. As an older elf, he would probably have less fancy-just-to-be-fancy going on.
Curiosity - The one with the least training, so she her armor had to be very light. Blue everything, because it’s Curiosity. Added the feathers on the helm to make her more bird-like. Why do I get the feeling that she would LOVE fancy Orlesian hats?
Amazingly detailed and with some of the cleanest lines we’ve ever seen, Philippines-based illustrator Kerby Rosanes is proof of the artistry you can achieve with just a 0.05 ink pen. He doesn’t limit his mediums to paper either. Instead of doodling in a notebook, try a leaf, or an egg instead.
Sean Villanueva O’Driscoll deciphers the puzzle of Fire In The Belly
(8a+, 5.13c): One finger razor blade edge with right hand to bad sloper with left. Tsaranoro Atsimo, Madagascar. Photo: Siebe Vanhee
Make Your Own Rainbow Pride Shirt in 10 Easy Steps
It’s pride season! That means parades, picnics, community, celebration, and DIY crafts for all your pride gear needs (that’s what we all do… right?). Making a tie-dye rainbow flag shirt can be a fun Saturday craft to get you ready for your June festivities.
Rit Liquid Dye. You’ll only need the three primary colors (rather than the entire rainbow), and you can get these for about four dollars a bottle at any craft store (and some grocery stores).
We used Cherry Red, Lemon Yellow, and Royal Blue. The cherry red turns out a bit magenta, but it works well for creating a fun, bright shirt. The yellow is really bright and perfect for this, but the blue is a bit dark. Feel free to experiment with other shades of the primaries!
A bucket for each color, a metal or plastic rod to stir with, a sheet to cover the floor, nylon thread, a rag to wipe your hands (or gloves), and scissors
Of course, we used a plain white shirt for this, but anything that is longer than it is wide will work. Rainbow tank tops, rainbow shorts, rainbow sheets… the possibilities are endless!
Dying Your Shirt
Preparing your shirt
Lay your shirt flat on the ground (as shown above).
Fold the sleeves of your shirt in so that your shirt is a straight rectangle.
Loosely roll your shirt so that it is long and skinny.
It is important that you fold your shirt loosely; if you fold it tightly, the dye will not reach the center of the shirt.
Use long pieces of nylon thread to section off the shirt into area for the three primary colors.
The top section will be for red, the middle section for yellow, and the last section for blue. Because we will get the secondary colors by mixing the other dyes, it is important that yellow gets the biggest section; it should be enough for three bands of colors (orange, yellow, and green). The section for blue should be large enough for two bands of colors (blue and purple).
Tightly tie the nylon thread where you had sectioned the colors off and cut the excess thread off.
(Blurry photo, and my toes! Sorry about that)
The tighter you tie the thread, the less likely it is that the colors will mix unevenly or mix where you don’t want the to mix. Ideally, the places where there is not nylon will be very loose and flow-y, but it will be cinched tight where you have tied it. As you can see in the second photo, I looped my thread around multiple times and double knotted it to ensure that it was securely tied.
Dying your Shirt
Prepare the dye as instructed on the bottle. Make sure that the yellow and red are very concentrated.
Carefully dip the middle section into the yellow dye.
As shown in the picture, dip right up to the thread, but no higher. This ensures the cleanest cut line possible for tie-dye. Also, make sure that you dip the shirt multiple time so that you have a strong, bold color.
Wring the shirt out and lay it out on the sheet. Cut off the nylon thread that separates the yellow and red sections (the top one)
Unroll this part of the shirt.
By unrolling it and rerolling it, you ensure that the color is evenly spread.
Reroll the top part of the shirt and tie it again, but about an inch and a half to two inches into the yellow, depending on how much orange you want in your shirt.
Dip the entire top section into the red dye. Just like before, go just up to the thread, but no further.
However, one or two dips will give you the orange you need; any more, and you will just have blood orange. ( ;) ) It is still important to make sure that you let the red section soak thoroughly. Tip: Be wary of letting your shirt rest on the side of the bucket; the dye of whatever color is in the bucket will splash on the side and potentially get that color in a section you did not want it.
Wring your shirt out and lay it on the sheet. You do not have to cut the top nylon thread (in fact, leaving it on there will prevent unwanted bleeding between yellow and orange).
Repeat the steps in number four to create your section for green and blue.
Repeat the steps in number five for dipping the shirt into the blue bucket. The end result will look something like this:
Starting to look like a rainbow! :)
Just like in the picture above, section off the area you want purple in by tying it off from the rest of the blue.
Carefully dip this final section into the red dye until you have the shade of purple you want.
Unroll your completed shirt and let it dry outside!
Do you have any experience with acrylics, and if so, why do you preffer gouache over it?
acrylic is plasticky-looking and dries very quickly and doesn’t give me as clean lines or work as well at small sizes or play well with watercolor and is used with stiffer brushes and i don’t particularly like anything about it. i use a gouache with an acrylic binder (holbein acryla) which sort of takes acrylic’s best qualities to remedy what is a headache about gouache (so you can layer with it, better color consistency between wet and dry, etc) while maintaining what is great about gouache (cleanest lines imaginable, can be used in watercolor-like washes, dries flat and opaque with no detectable brush marks, etc)
(i should add, acrylic can be a great medium if it works with your style!! it just is not at all right for accomplishing what i personally want my work to look like.)