the temptation to make stargate rings to go on my wheelchair wheels for Basingstoke is so high rn....

Apparently much-needed reminder that reposting artists' art (by saving the images or screenshotting them and reuploading them yourself) on other platforms without the artists' expressed permission and without credit is theft and an insult to their passion and craft. You are profiting (in views, in attention, in feedback) from someone else's work and ideas, who do not get that feedback for sharing their creation.

If you are an art reposter, you are a thief and I have no respect for you.

His palms are sweaty, knees weak, arms are heavy.

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Hmmm i dont think i have any lingerie in this colour.... A tragedy. 🥺

Treat me ~ Tip Me ~ More of me

weird guy. peculiar creature even.

Magic Wonho ✰

HAPPY BORTH TO @paintedkinzy-88!! It be a double driller strike! 💛❤️

Textless version under the cut:

guys what do we think !

Hello I am back with more Viva Piñata doodles! Turns out if you think enough about fluffy piñatas you can force your way through art block (at least for a while)

The typical Viva Piñata experience, I love you Pretztail but why are you like this I drew so many Pretztail as a "do over" of my first Viva Piñata drawing from 2018

that's when it all started

rough art tips to learn and then break at your leisure.

the distance between your eyes is roughly one eye. the corners of your mouth dont extend past the middle of each eye. ears are roughly in the middle of the tip of the nose and the eyebrow. the eyes are in the very centre of the head. the neck is just a Little slimmer than the width of the head (varies with fat distribution, but fat tends to build up under the chin). hair is easier to draw when you plot out the hairline and then where it parts. leaving appropriate distance on the side of the face (cheekbone area and back to ear) contributes to making characters look more realistic/hot as hell. i dont know specific tips for that so use reference. an amazing reference/study site is lineofaction.com . if you think of the face in planes it makes it easier to construct (look up tutorials). if you draw a spiral like a tornado it can help you figure out awkward perspective for extended limbs (look up foreshortening coil technique). tangent lines are when two lines intersect and cause visual confusion (when it looks like a line that defines an arm is part of the line that defines a building, for example) and avoiding them makes your art way easier to comprehend. quick trick to good composition: choose a focal point (where you want your viewer to focus), detail that area the most, and make sure various elements of the piece are pointing to that focal point. you can use colours to contrast hue, saturation, and brightness and make certain elements of your drawing stand out. drawing in greyscale can help you figure out values. using black in a piece isn't illegal but you should know what you're doing when you do use it- it desaturates a piece and if used as a shading colour can desaturate and dull whatever youre shading too. if you use almost-black lineart and then add black to darken the very darkest areas it will do a lot to add some nice depth. the tip of your thumb ends just above the start of your index finger- your thumb also has two knuckles and all your other fingers have three. if you see an artist doing something you like (the way they draw noses or eyes or hair or anything else) you can try to copy that and see if you want to incorporate it in your style <- this is ENCOURAGED and how a lot of us learned and developed our styles. there are ways to add wrinkles to faces and bodies without making the character look a million years old, you just have to keep experimenting with it. The smile wrinkles around your muzzle dont connect to your mouth or to your nose; there should be a small space in between smile or nose and the wrinkle line. eyes when viewed in profile are like < aka a little triangle shape. think of the pupil like a disk and apply foreshortening to it (it looks like a line when seen from the side instead of a full round dot). subtle gradients can add a LOT to a piece. texture can also add a LOT. look up Tommy Arnold's work (his murderbot pieces are some of my FAVOURITE) and zoom in. find those random little circles he added and try to figure out why he added them there. light bounces. there's lots of way light bounces. sometimes it even spreads through the skin. i do not know these light tricks yet but i want you to know that they exist. draw a circle to indicate hand placement, draw a straight line between that circle and the shoulder, and then (normally at a right angle) draw a straight line on top of that line to find the placement of the elbow. elbows are normally placed Just above the hip when standing and your arm is at rest. there are no bad colour combos if you're brave enough about it, just fuck with the saturation and brightness until it works. keep playing. try new things. add your own tips to this post if you want or even expand on some ive mentioned here. good luck go ham etc

Button Gauge

Do you have a project that you have no button guidelines? Or perhaps you need to change the number of buttons or their placement? Are you bad at math? The button gauge is the tool for you!

All the button points are equidistant from each other, and when you open it the points REMAIN equidistant. It's like magic. I already have the top and bottom my button placements marked beneath the button gauge with pins.

My gauge has little gaps for you to draw your buttonhole guides with a chalk pencil. I went back and drew a 1 in. guide from the edge of my garment to ensure everything would be lined up.

Then I just installed the buttonholes with the buttonhole foot that came with my machine. It's a nifty little tool that makes the task of button placement super easy! You do need to be gentle with it. Mine is cheap and flimsy, so it gets "out of sorts" if I open it too quickly and the top and bottom most points become unaligned. This is easy to fix by just closing and reopening the gauge.

#106

“[Villain].”

The villain lets out an audible groan that inevitably raises their manager’s eyebrow. A short ball of fury, basically straight out of college. Not too unlike the villain. “Is it in my contract that I’m allowed to ignore you?”

“It’s not.” He gives them a moment where he clearly expects them to turn around. They don’t. “I need you to train up the new guy.”

“Do I have to?”

Their manager nudges someone forward as they turn. “‘Fraid so. You’ve been here the longest.”

No, that’s you, the villain’s about to say. But then their eyes fall on the new hire, who looks like she’s already regretting every life decision she’s ever made. What the hell is a hero doing in a burger joint?

“Okay,” the manager adds after a long moment, “staring is rude, [Villain]. Let’s dial it back.”

Their name jolts them out of their stupor. “I– yeah, sorry. I just, uh, recognise her from, uh…” The hero waits expectantly. Their manager tips his head curiously. “… high school.”

“Oh! Old acquaintances.” The manager claps his hands like this solves everything. “Lots of catching up to do, huh? I’ll leave you guys here then—and [Villain], please, for the love of god, train her up at least a bit amidst the chatting.”

The manager gives the hero a friendly pat on the back before throwing the villain a quick smile and disappearing around the door again.

The hero stares blankly at the villain. The villain stares equally blankly straight back. “Do you work here?” the hero asks eventually.

The villain doesn’t feel too inclined to answer that. “Do you?” they shoot back.

The hero clicks her tongue, shuffling on her feet. “Why don’t you show me how the fryers work before I have to kill you for getting too personal?”

“Ah, yes, the fryers.” The villain turns to the bubbling pot of oil next to them. “Hot enough to cook chips and to dissolve a body in.”

The hero’s face scrunches up seemingly on instinct, and the villain can’t help but laugh. “Don’t worry,” they say with forced friendliness, “I change the oil before I cook food in it.”

“Okay,” the hero says like she’s three seconds from throwing up. “Is there someone else here who can show me stuff?”

“You wish,” the villain jeers. “Manager’s busy, you saw him. Only other guy here only works on Thursdays and Sundays.”

“It’s Thursday today.”

“Exactly. Not what I’d call reliable. I, however” — the villain does a twirl for dramatic effect — “am here… more often than I am willing to tell you.”

“Well.” The hero smirks, the kind of expression no one wants to see on a hero’s face. “I’m sure I’ll figure out when you’re here if I stop by enough. What, is it full time? Does villainy pay peanuts?”

The villain refrains from the urge to punch her. “Does the agency?”

The hero’s mocking expression turns flat. “I’m here undercover,” she says plainly.

“I recognised you immediately.”

“Well, I’m not here for you.” The hero pushes past them to figure out the fryer on her own. “I’m not telling you any more than that.”

“I better warn my friends you’re here, then.” The villain snorts as the hero fiddles with the knob. “Are you here to give whoever you’re looking for food poisoning?”

“I know how to cook, [Villain].”

“You’re turning the heat too low.”

The hero pointedly pulls the knob back up. “Just show me how the kitchen works, please, and I’ll consider not telling your manager who he’s working with.”

The villain fixes her with a long stare. “I could blow your cover too.” But they roll their eyes and beckon her over to the griddle anyway. “Okay, so, wrong me and I’ll shove your entire face on this.”

The villain shows the hero around the kitchen, each bit of apparatus accompanied with a lovingly detailed description of how the villain intends to use each one against the hero if she pushes her luck. The hero listens with distaste mashed into her expression the whole time.

“Let’s try and keep things civil, okay?” the hero says when she’s clearly had enough of all the different ways the villain has on hand to murder her. “I don’t fancy fighting in a kitchen, and I’m sure you don’t either.”

Oh, god, how wrong the hero is. They’re itching to grab one of those knives off the hook and just—

No. They have to play it safe to begin with, keep it lowkey, make her feel a little too safe. So they just roll their eyes and, with all the authenticity they can muster, simply say “agreed.”

How color theory

Good question ! When it comes to colour I believe the best way to find what works is to have fun and experiment until you find what works best for you!

I've already covered a bit about how I choose and create the colours here (making base colours colourful) and here (working with palettes)!

But in terms of what I know about actual colour theory, I can only offer this:

It's not a lot and it is just the basics so if you already knew this then apologies but it's all I know/ all I think is worth knowing. Please note that colour theory is more of a suggestion then a rule! Different colours look good to different people and you should do what looks good to you!

something i wanna pick up so bad this year is film photography... i love the world i love seeing beauty in it i love taking a picture that would remind me of a certain special moment or a ray of sunshine falling on the sidewalk.. it would be such a perfect hobby for me

a closer look...🕸️💀

Treat me ~ Tip Me ~ More of me

its october:) so i drew silver enjoying some colorful leaves and chilling<33

also his sweater is based on the sweater i made for my ugly bootleg son yesterday<3

silver getting to enjoy nature and leaves and chilly atumn air is. so importrant to me actually