Genderbent Yami Yuugi fashion sense.
Answer all these questions and you should have a fully-developed character for your audience to connect with.
A strong character can carry a weak plot; but a strong plot can’t carry weak characters
however i just woke up so sorry and i didnt really know how to do this step by step cuz i use such low opacity brushes it hardly looks like i did anything until after the 200th stroke but idk maybe this can help. play with it.
YESSSSS THANK YOU SO MUCH ILU
In my experience, RPers and Writers alike enjoy one thing: Making characters suffer. This little guide is supposed to help you with keeping injuries and the First Aid - in case you want to patch your character back together - realistic.
I am no medical professional, but I dare say I picked up a thing or two during my First Aider training ;)
Under read more for length! Also, trigger warnings for blood, I suppose?
- Absent-minded - Preoccupied to the extent of being unaware of one’s immediate surroundings. Abstracted, daydreaming, inattentive, oblivious, forgetful.
- Abusive - Characterized by improper infliction of physical or psychological maltreatment towards another.
- Addict - One who is addicted to a compulsive activity. Examples: gambling, drugs, sex.
- Aimless - Devoid of direction or purpose.
- Alcoholic - A person who drinks alcoholic substances habitually and to excess.
- Anxious - Full of mental distress or uneasiness because of fear of danger or misfortune; greatly worried; solicitous.
- Arrogant - Having or displaying a sense of overbearing self-worth or self-importance. Inclined to social exclusiveness and who rebuff the advances of people considered inferior. Snobbish.
- Audacious - Recklessly bold in defiance of convention, propriety, law, or the like; insolent; braze, disobedient.
- Bad Habit - A revolting personal habit. Examples: picks nose, spits tobacco, drools, bad body odour.
- Bigmouth - A loud-mouthed or gossipy person.
- Bigot - One who is strongly partial to one’s own group, religion, race, or politics and is intolerant of those who differ.
- Blunt - Characterized by directness in manner or speech; without subtlety or evasion. Frank, callous, insensitive, brusque.
- Bold - In a bad sense, too forward; taking undue liberties; over assuming or confident; lacking proper modesty or restraint; rude; impudent. Abrupt, brazen, cheeky, brassy, audacious.
- Callous - They are hardened to emotions, rarely showing any form of it in expression. Unfeeling. Cold.
- Childish - Marked by or indicating a lack of maturity; puerile.
- Complex - An exaggerated or obsessive concern or fear. (List specific complex.)
- Cruel - Mean to anyone or anything, without care or regard to consequences and feelings.
- Cursed - A person who has befallen a prayer for evil or misfortune, placed under a spell, or borne into an evil circumstance, and suffers for it. Damned.
- Dependent - Unable to exist, sustain oneself, or act appropriately or normally without the assistance or direction of another.
- Deranged - Mentally decayed. Insane. Crazy. Mad. Psychotic.
anon asked me how do I draw different sized boobs so I whipped up a tutorial (I draw slow, sorry) I am not a good expert at boobies soo sorry x2! weh haha
basically flat = pointy-ish, as boobs size increase the lower half gets rounder, then the top half. boobies are floppy towards the sides due to gravity
shape/perspective of boobs
all the oppais!
even though I am still not really good at drawing boobs at all sigh… i hope you find this useful even for a bit hahaa……..;;
tribby is the oppai master
I once had an Anon asking me for the same request…! So whoever you are I think this tutorial/guide does an excellent job outlining different sizes/angles, hopefully this helps you :)!
WATERCOLOUR CHEAT CODES
I made really quick tutorials full of swatches to send my mom who wants to take up watercolour painting for a hobby. I’ll share them here as I find time to type what I wrote her.
The first two pictures illustrate discoveries in mixing skin-tones. I try to find paints that make it faster/easier to mix skin colours - even if you’re adept at making these tones out of other colours, the right combo of purple and yellow can cut out a lot of time and money. The one I have most success with is “violet gray”, then “permanent magenta” for darker and wider ranges, and “purple lake” when I was cheap and it was on sale.
Mix these (sparingly) with raw sienna. The darker the purple the less you’ll need to add to your yellow (yellow ochre works as well). Ultimately, watercolour is tricky to mix so if you’re not confident right away make sure to paint swatches before putting a loaded brush to paper, otherwise be ready to mix with water on the paper.
For a lighter, paler, redder skin tone, raw sienna + brown madder is what I prefer, although as you can see in the first image (about half-way down the page on the left), “cadmium yellow pale hue” and “cadmium red deep hue” work just as well, and might be cheaper on you. With that combo, however, it’s easier to get stuck mixing a ton of orange.
Back to permanent magenta, it’s great with browns to get darker tones, not just for darker skin but for shading. I keep three browns on my “skin” palette (last pic), “burnt umber”, “burnt sienna”, and “vandyke brown”. Mix it with some skin-tone, even just a little, to keep it from looking straight-out-of-the-tube.
So mix your skin tones, make a few test swatches to figure out how much water you need (every brush behaves differently), and lay down some washes.
In the middle of the first piece of paper is a gradation in a skin tone (violet gray + raw sienna) from really warm (“brown madder”) to really cool (“turquoise”). This was done wet in wet, to show what kinds of tones you get from adding warm and cool colours.
To the left on the bottom are a couple light washes of colours painted over a skin tone (same ol’ raw sienna + violet gray) to show how different colours look on this mix when applied dry on dry. Blue (I used turquoise again) is great for some shadows, implied stubble, and veins close to the skin, reds and most browns for warmer shading, yellow for jaundice or boogers… you get it.
On the bottom right is an example of really warm vs. really cool shading on the same skin tone mix (just guess). The initial skin tone wash is a bit warm for the cool side, but the contrast makes the shadows really evident. Different colours in shading will have different effects that way. The only surprise here is the use of dark blue “indigo” which is great for coming close to black when mixed with other colours.
On the second page are two more noses, different skin tones, and just three extra passes with skin tone washes - although difficult to tell because I was lazy and didn’t wait long enough for them to dry after the 2nd pass. The extra passes aren’t particularly warm or cold leaning, but simply draw off of the initial tone I placed.
IMPORTANT: These little quick studies serve to be as economical as possible, using few colours but still not looking just like an awkward mix of red and yellow or brown and yellow. For a more detailed or accurate representation of skin tones, a ton more colours might be added - for instance the darker skin tone on the right would have more pinks, and of course different parts of the body appear to be tinted differently. Also never forget no matter what colour or how dark skin is, skin is shiny. Be mindful of even diffused light. At the same time - perfect representation of skin is hardly necessary. More expressive colour treatment rules.
But ultimately - colour in skin - who cares! Just play around with colours you like, build a base that’s easy for you to mix quickly for wet on wet or however you prefer to work. Play with colours on different planes or surfaces of the body, with light, and take everything I say as a tips - not rules - ‘cause watercolour is really unpredictable and that is often the best part.
Another note: I use pencil tins for palettes, it keeps things portable, easy to mix, minimal paint waste, and I can rearrange paints easily to make mixing easier. I usually have three but you could get away with one or two. If you try it out, keep the paints and empty space clean with jut a bit of water and the wipe of a cloth/kleenex.
The third picture shows a really quick, easy, natural black mix I make. It’s simply “Hooker’s Green, Dark” and “Dioxazine Violet” at almost equal quantities. You can mix it with a blue or red or yellow for a warmer or cooler black, depending on which you need. I included some gradation and overlapping swatches. Just keep in mind black can be very powerful in watercolour, or any opaque application of the paint, so use it sparingly and with a plan in mind.
Despite my shitty watercolour sketches up here, I spent a huge amount of being a child working at a cooperative gallery with some contemporary and purist watercolour painters alike so I picked up a lot. If anyone wants me to be more specific about something, or maybe produce a more specific guide or sketch for a problem you have, let me know and I can try to help out.
These were things my mum asked for and that I produced with her knowledge of the medium in mind, so if it really did interest you but you’re stuck on something, or found something I said vague and confusing, let me know.
Being remembered only when you are needed is not a good thing.
There is no upside to being involved in an unhealthy and unequal relationship in which someone seeks you out only as a means to coping with their own problems.
Using someone as an emotional crutch is a terrible thing to do and will eventually cause the relationship to deteriorate from the inside out.
Form positive and reciprocal relationships guys. Be smart. Don’t use others and don’t let yourself be used.
Oh no it’s a COLOURING WALKTHROUGH
The last time I did one of these I felt it was inadequate because all I did was flip through the layers of a completed piece. So this time I took screenshots as I drew!
- This is only my method for fast colouring; if I had, say, metallic objects, or fur to colour I would likely paint it with none of the shadows layer masking business, which seems to work best on objects that aren’t particularly shiny.
- If you look at the timestamps, apparently I took about an hour an a half to colour this.
- Smoothing out the shadows was done with a hard round brush with flow and opacity controls turned on. (it’s a default brush.)
- Your flat colours are the most important part of this process - the layer adjustments trick will save you from having to pick a second round of colours for shadows manually, but if your flats aren’t up to scratch the whole piece will suffer. Make sure your colour scheme works here before moving to shading.
Finished product can be found here. I hope this is helpful!
Someone asked that this be rebloggable so HURR YOU GO
Some patterns are really dumb in telling you to finish the body of an outfit, then finish the sleeve, then attach a circle to a circle. It’s possible to do, and once in a while it’s necessary, don’t get me wrong, but unless you have a lot of experience it’s sometimes very aggravating trying to evenly distribute the sleeve around the “hole” cut out for it and match up the seams under the armpit!
(Please note…some patterns, especially to achieve tailored looks, require you to do it the traditional way. Don’t use this method for fashion school assignments or super-complex garments as it will probably screw up the way it ends up fitting in the end. This is mostly for the use of cosplayers to make their job a little easier.)
EDIT:// thevvioletprince, a fashion student, says she’s been taught this method in school so HAVE FUN, NEVER MIND
EDIT DEUX:// If you are doing a traditional garment of some kind, for instance, something that has a multi-piece sleeve or that requires gathers, you may need to do it the “old-fashioned way”!
ANYWAY SO THIS IS WHAT I DO.
PLEASE DO NOT REMOVE SOURCE OR REPOST, THANK YOU