#love the textures and colors and composition ; A ; | Explore Tumblr Posts and Blogs

Visit Blog

Explore Tumblr blogs with no restrictions, modern design and the best experience.

Fun Fact

Tumblr was named as a finalist in Lead411’s New York City Hot 125 in Aug 2010.

#love the textures and colors and composition ; A ;

star-whores69 · 11 months

Text

My bff @rexscanonwife commissioned @reallyhardydraws to draw my version of Gar and Malta from Smuggler's Run!

They look so good ; w ; I've been staring at this for like two days, no cap

What an age we live in where we can just pay people online to draw us some excellent art of characters we want to look at 😌😌

#reallyhardydraws #star wars #ohnaka transport solutions #Gar Faven #Malta Lan #Smuggler's Run #seriously if youve never commissioned reallyhardydraws go do that at your earliest convenience #spend your money on their art #love the textures and colors and composition ; A ;

94 notes · View notes

volivolition · 3 days

Note

I say this in the most loving way possible, how the fuck can you write the most expressive and magical tags ever?? How do you have the mental energy to form words? 50% I can only say "nice post op". You inspire me to spread positivity to everyone but I literally can't be this positive and kind all the time. Just want to send you love and know that I appreciate you <3

HKJGH AW RED!! :'] <3 it does take a lot of energy, i understand :'0 i keep a lot of cool art in my tumblr drafts. the art stays in there until i have energy to type all my thoughts out. a lot of things stay stuck in there… i try to make sure art from my friends get out soon though :0 don't feel bad if you can't type a lot!! anything you can manage is okay! no one can be positive and kind all the time, and that's normal! just do what you can. i promise it's enough. (<- these are things i need to remind myself too <3)

a lot of it is literally just me needing to scream hkjfh, i have a lot of thoughts and i love sharing them always. i love rambling, can you tell? (<- joke) also i have a lot of love to give and i love artists and their creations. like WOW someone made a thing!! and they wanted to share it with the world!! AND I GET TO SEE IT!!! i GOTTA tell them i enjoy it!!!!!

it's also my empathy acting up because im also an artist!! and he's like "hey!! you love people writing nice tags on *your* art!! imagine if you were this artist, wouldn't you be happy to see someone tagging it with nice things? :)!" and im like yeah!! if this makes me happy, i should make other people happy too :3

ANYWAY I APPRECIATE YOU TOO RED YOU'RE DEAR TO ME!! SENDING LOVE BACK!!!! <33

#my conceptualization and my empathy handshake WE GOTTA COMPLIMENT ALL THE ARTISTS IMMEDIATELY!!!#i used to take art classes and we were taught how to do art critiques? so i use a lot of that terminology too but only the compliments part #i don't remember much from those anymore but you'll see a lot of my tags talk about ''wow i love the warm colors you used here!''#''the poses are so dynamic!'' ''what an interesting composition!'' ''really good use of texture!'' <- it's basically habit now #talk about what you notice! talk about details you like! talk about how it made you feel! (<- did you laugh? smile? cry?)#truly sometimes i just write ''this made me feel indescribable emotions'' and thats cool too hkjhg <33 also uh. scream a lot?? :']#''WAAAAUHGKJH!!!'' <- very common in my tags hgkjh <3 i know it's hard a lot of the times though!! words are DIFFICULT... we try our best!!#it helps when its a character i know too lmao you'll see me YELL SO MUCH about a post with volition in it bro i will not shut up jhkjdh <3 #or when theres a lot of things happening in a scene to comment on! like if theres a lot of characters or its a comic!#THAT'S MORE THINGS TO COMPLIMENT BABEY!! B) i just like supporting artists. we're all creating such cool things to show to each other :]!!#my whole fuckin goal on earth is to be kind and silly and loving and earnest so!! im trying my best hkjhg <3 #volta transmissions

2 notes · View notes

vraska-theunseen · 8 months

Note

I like your new pfp! When I saw you changed it I assumed it’d be Jughead

HELP no i just changed it to be some harrowhark nonagesimus art that i like bc i've not been as into jason todd 😭 maybe one day i'll make it jughead lol. u should check out @pygmypouter, my icon is from this piece and they've made a lot of other really cool and beautiful locked tomb art

#im in love with their style and the colors and textures and composition is sooo stunning #but can jughead jones do THIS? (lobotomizes myself to forget the memory of the woman who was my best and only friend and companion since #birth so that i don't absorb her soul into my own because she killed herself so id ascend to godhood) i'll answer that he can't.#alex talks

4 notes · View notes

ruthytwoshakes · 7 months

Text

after 30 hours we’re done!!!

I love little pootis so much, a fantastic series. If you haven’t seen it yet I really recommend it!! I bought one of the plushies for my little siblings for Christmas hehe.

I’ve been wanted to make some fanart for it for a while, but I wanted it to be special! Since it means too much to me and my family :3 so I tried my hand at digital painting again! Here’s my process:

First I started out with the sketch and putting in the values, (that image is the scene I was referencing.) and since I have absolutely no idea how perspective works I just guessed and went “eh good enough.” I also used my radical composition skills to give the whole thing some life! (Golden ratio my beloved.) I should have gotten some reference images, first mistake, but I was way too excited lol.

Then I duplicated the layer and started painting over my sketch using some painting and blending brushes. Unfortunately I forgot to capture any in-betweens of this process so it makes it a little hard to explain. But once I got my values down and my painting rendered to point I wanted it to be, we started coloring!

And oh god! This is why the painting took 30 hours! This was my first time painting using this method, so I was so not ready for the coloring part. I’m in a love-hate relationship with gradient maps so the coloring was mostly done with blending modes, I think I used the linear light mode?

After watching a stupid amount of videos by Marc Brunet I finally got it! Used just one overlay layer and adjusted my colors and values as needed for this one. Used a couple gradients and other techniques to get the snow and the water looking how I wanted, and we’re almost done!

My favorite step! Adding a bunch of textures and sparkly stuff! It’s not for everyone but I really like it. And congratulations we finished our first painting yippee! Thanks for reading :3

little pootis by @quazies

#tf2 #lil pootis #digital painting #tf2 fanart #creative process #daffys drawings #WOOOOO LETS GO BABEY LITTLE POOTIS FANART #also just gotta say I love Blootis so much he is just like me!!#Can’t wait to see what he does next. Love that guy. Oh and pootis too I guess

594 notes · View notes

zaebucca · 5 months

Text

About scale, process, palette and canvas: a few considerations on pixel art as a medium

User moredogproblems answered an interesting and legitimate question by another, DiscountEarly125, regarding my work and canvas size. He also perfectly isolated two central concepts of pixel art, which are scale and process. Canvas size, which was the theme of DiscountEarly125's specific request, is more of a dependent variable to those two aforementioned concepts, rather than a starting point. I hope the following considerations I shared may help or prompt some other ideas, but this is what I could come up with 15-ish years of experience with pixel art (and a few more years of art and media studies). I was quite in the mood of writing down these few thoughts that have been floating for a while. I apologize as this may also result in a confusing wall of text, but it is all part of a my work and research, and I would love to polish all the material, hopefully with some thoughts, insights from other colleagues, as well as pictures and materials!

A. Scale and canvas size It is true that the bigger the canvas, the more distance one may visually create from pixel art, but I personally think this is to be possibly considered a matter of perceiving pixels, rather than a fundative problem of the medium. In fact I concur with the idea of "process makes the medium" rather than identifying pixel art as how (evidently) pixeled the result feels. The general picture, or the sum of pixels, though, is a really important matter to the medium nonetheless! Pixels themselves work in relation one with another, so it's their overall result that gives context and makes the subject recognizable. This relationship between pixels links back to all the art fundamentals that each artist is taught, from color theory to shape and composition - and so on. So, the canvas size debate usually boils down to a matter of scale or necessity of your subjects. As long as the dimension (canvas) of your subject (as in: a drawing of an apple, a character sprite, a mockup environment) allows you to operate, control and keep an eye on the quantity (number/area of pixels together) and quality (color, shaping of multiple pixels, texturing obtained through color and shapes) of isolated single pixels or pixeled areas, you're in the pixel art universe. The other way around to define the matter of scaling: in order to be operating pixel art fundamentals and techniques, your subject has to be on a scale that allows you to apply principles of pixel art within the space of your canvas and your personal style. These very same principles, or basics, can be applied with different results and extent to bigger and smaller canvases alike, each with their own specific difficulties and variables. It is important to adapt your scale when learning, and trying classic canvases per subject like "16x16px" (standard tile or character sprite unit, tied to older consoles and screen ratios, it's a bit complicated there) is always a nice idea - they also tend to be industry benchmarks and necessities so in case you'd like to consider a professional output, that's very useful.

Scale also applies to the array of colors, and there lies the concept of palette: a number of single hexadecimal hues we are using for each single pixel. Any single pixel can have one hexadecimal color only.

Consequentially it is absolutely true that either a huge canvas or a palette too broad may prevent a viewer from perceiving immediately the "nature" of your medium, namely seeing square pixels, recognizing a certain amount of color - or more thoroughly recognizing that you made some choices for each subject on a pixel level. What could possibly happen on a huge canvas (without zooming in) is that you can't really grasp the pixels, but just the "overall picture" - and that may not differ too much from digital, raster art, which is of course also based on pixels. Therein appearently lies a sort of threshold that is really hard to pin down for us pixel artists, as it depends on screen size, visualization methods, distance, filters and lots of other inherently subjective parts.

This kinda is my case sometimes: I make big environments (possibly too big, and too detailed in each part I tell myself) that are a sum of many lesser parts: both tilesets and sprites that relate (but not strictly adhere) to a basic space unit that is 16x16pixels. You can indeed consider scale in a broader sense as a subdivision or magnification issue, much alike squinting your eyes to focus on a picture's overall contrast or, conversely, analyzing its fundamental parts with a magnifying glass, and then a microscope - an analogy as follows:

a. the picture as a whole is like a colorful rock that you can analyze by magnifying its grain. b. the characters, geographical elements and textures, works like the different substances that compose the rock and give its visible characteristics grain and complexity, c. single pixels constitute the very atoms of those previously recognized substances.

I mean "atom" in the traditional, classical meaning of indivisible, fundative object. That's a "quantized" part of information, which for pixel art is ultimately color (or a binary value, like yes/no black/white). If you were, for example, to crop some parts of my work - let's say 160x144 pixels (a gameboy screen resolution in pixels) you would see the substances that are characters and elements of nature, and when you zoom in again, every atom becomes visible as a single entity of color. There are 29 different type of "atoms" in Ruin Valley as in different, singularly hexadecimal colors that work together in different combinations and shapes to create different substances and characters. 18 of them are used for the different qualities of the environment, and 11 more for extra hues for characters and other elements to pop out a bit.

It's really interesting to see how many pixel artists push this "threshold" of pixel art canvases to the extremely small or the extremely big, whereas, notably, palettes are less open to growth: it is indeed my opinion that pixel art tends to quantize color (quality) over than dimension (quantity). Palettes, notably, do not grow exponentially, but tend to a lower, fixed, controlled amount of individual values instead. This usually gives the artist the true possibility and toolkit through which is possible to think about/with pixels. In other words: color (or its absence) is the founding unit and identity of pixel art as a digital medium.

B. Pixels as process or pixels as objective? Pixels themselves (as strange as that may sound!) are not to be considered an objective of pixel art, I think, but the founding matter of its research as a medium instead. I think that making pixel art is not just devoting oneself to show those jagged, squarey areas or blunt edges that we all know and love: this is just one of the possible aesthetics that pixel art conveys or adopts - especially on small canvases. Pixel art is not about denouncing itself as pixels, but, rather, embracing the square, atomic unit to build an ensemble that conveys a content or a style. That's the important part of the discourse that emancipated pixel art into being a medium, and not just an aesthetic choice or style of representation. Again: process makes this medium. Speaking of that, I consider pixel art as part of a broader family of "quantized art", namely media that operate on/with "indivisible, founding bricks and unities" that can assume a certain quality (color, mainly) within a certain quantity (palette, canvas size) and in relation to its surroundings to describe something. This puts pixel art, with its specifics and with a certain degree of semplification, among other mediums such as cross-stitch, bead art, construction sets, textile art (on a warp and weft basis), (micro-)mosaics and others.

A classic threshold example of process vs objective: oekaki art. Oekaki art - which I love and also happen to make from time to time - doesn't really work or "think" specifically on a pixel base: it doesn't place pixels per se, but uses pixel-based areas and textures on bigger canvases with a certain degree of freedom, like one would normally do with brushes on raster digital art programs (adobe ps, gimp, clip studio and so on) in order to convey an aesthetic with fewer colors and a certain line style and texturing. That way, oekaki uses and knows pixels in a deep way, but doesn't see them primarily in a quantized way. As a result the "overall picture" shows pixels to a certain extent, and it's possible to recognize distinct pixels for each part, but the objective is not an analysis and use of pixel and quantized information, but the use of an aesthetic based upon accessibility of resources, their control and a certain rendering style.

A huge part of pixel art is its absolute accessibility: everyone with a fairly outdated computer or screen and a basic drawing program can study the medium. To be fair, it's indeed considering accessiblity that I highly support an inclusive approach to the term "pixel art" and I think traditional oekaki is a close, beautiful relative that builds upon the rules and techniques of pixel art and pixel rendering, yet keeping its identity as its very own medium - somehow like a dress may be built around/upon textile design. Anyway, boundaries are meant to be crossed and I think there definitely are lots of oekaki and pixel-based art that meet traditional pixel art mid-way - or further. I also think the "is it pixel art?" discourse possibly ensuing - and generally speaking any media belonging purist ontology - is a treacherous, slippery terrain leading to excesses, and this is not my focus today, neither am I able to tackle that subject extensively at the moment.

C. Conclusions and a few good exercises Everything above may be farfetched or too complicated as a starting point. I tried to write all down as orderly as possible. The point of this (possibly discouraging) analysis and the reasoning between scale and process is that (pixel) art is about trying different canvases, and reasoning on one's subject and objective, rather than limiting oneself to presets sizes or styles. It's important to choose something that resonates with us and, in doing so, thinking about other, more interesting limitations: that's the discourse about quantity of space and quality in color. Limiting is the best possible exercise and one I wholeheartedly encourage: by doing so we are progressively delving deeper on the basics, as we learn the fundamental relationships between shapes and colors that we can achieve through pixels. A few good exercises that I too implemented in my own workflow come to mind: 1. Trying different canvases (or sizes) for the same subject (sprite, character art, illustration or so on). This helps a lot finding a comfortable size to apply pixel techniques, as well as getting a hold over fundamentals such as aliasing, linework, conventional representation and so on. 2. Trying different palettes for the same subject, both by varying colors themselves (therefore learning about values and contrast and readability, as well as atmosphere and mood!) or singular hues and their components, in order to discover possible relationship between them. Have fun! 3. Reducing the width of the palette progressively for the same subject: reducing the number of singular colors forces a reasoning on shapes, rapresentation. You may go from 1-bit art (just black/white) to 3 colors, 4, 8 and so on. We'll not talk about transparency as a singular color there, but if you happen to be interested in retro art, transparency counts to the palette size. This exercise is very useful in rendering, and possibly tricky. And definitely fun. :') 4. Choosing an objective and usage of our work: for example trying to learn about old pixel art limitations for games, in order to reason within specifics. Get inspired by traditional games (spriters-resource is your best friend here, in case you have a specific retrogame you're thinking of)! I will probably talk about limitations and style on another post. 5. Four eyes (and other multiples) are better than two: try to talk with people and friends and other artists you trust and feel comfortable with to get their point of view. This can be scary, I know, especially at the beginning. You're not forced to, of course, but if you do (in a safespace) there's lots you can learn about concepts such as readability, subject recognition, rendering and composition. Our eyes and brains get accustomed to something, and pixel art being a rather analytic medium made of synergies, subtle changes, limitations and conventions is especially tricky on the artist's eyes on the long term. Either way, the important thing about pixel art is understanding that this medium is about recognizing and enjoying the process rather than the eventual aesthetic and in order to do so the best choice is to start simple, small, with few colors and techniques at a time! Have fun and hit me up with your progress and considerations. :')

#pixelart #art resource #pixelartist #how to #reference #art tips #learning #insights #pixel illustration

336 notes · View notes

loverofpiggies · 11 months

Photo

IT’S POWER, EVERYONE!!!

Check out my etsy shop

If you want to see how I made this piece, check out the extended stuff below!

Okay, the story behind this piece is nuts, but. I’ve known I’ve needed to work on improving my art for a while, so as you can tell from all the newest pieces, I’ve been trying to push myself. It started like this:

This was actually the fourth sketch I made. I knew I wanted Power to be looking down at us (you know, what she does with everyone), and I wanted to have her swinging a blood scythe in one way or another. I set up composition lines, but the more I looked at the sketch, the more frustrated I got. I finally just had to accept my anatomy and my 3d understanding of the body is very much lacking, and If I wanted to improve I had to work on something.

I watched a bunch of tutorial videos, and decided to try out the 3D model in Clip Studio paint. It didn’t take too long to learn how to manipulate the model, and I came up with this:

From here, I decided to do my quick sketch with Power

While I was experimenting with Clip studio’s art stuff, I decided to try playing around with their new “Shade Assist”. I figured it could give me some more ideas to make my shadows feel more ‘real’ or have me look at my art in a different way. Once I finished the lineart, got the color in there, and drew in Meowy, this is what I tried.

I really loved how the ‘evening’ mode of shade assist looked, even after playing around with my own colors, but I liked how it gave her a slightly more ‘yellow’ tone, and how the shadows were actually just lavender and light pink. So I took those colors, and worked on the shadows.

From there, I made the background layer. I used one of the Clip Studio gradient pre-sets, the ‘evening’ one, and painted a texture on top of it to have it match more with the textured painting style I went with. I added blood splatters, and ‘rectangles’ in the background, just to have more things visually going on.

On top of all of that, I added another layer on top of Power herself, with a very slight tone color of the gradient behind her, to make her and the background feel like they’re supposed to be together. And that’s it!!

I’m really happy with this so I wanted to explain my process. Looking around at tutorials on youtube, talking to artist friends who- tbh, are WAY more knowledgeable then me, helped a ton. And using the 3d model helped visualize the body, and different angles, WAY better then anything else I could find.

So uhhh thank you, and enjoy!

#chainsaw man #power #meowy #power and meowy #cqart #fanart

642 notes · View notes

cooketimm · 6 months

Text

Hardboiled #10-25 (1990-98) cover artwork by Bruce Timm

Interview from Cool Stuff Magazine #1 (1995):

Gary Lovisi: Much of your work is characterized by raw, intense energy and action, or beautiful women in stylish, dangerous settings. Some is obviously influenced by the pulps.

Bruce Timm: I’m big pulp fan, have been since the early 70s, when I started reading Doc Savage and Avenger reprints. I can’t really say how they’ve influenced my artwork much, except when doing pulp-homage stuff like the Bob Price books. But I do sometimes wish I was born decades earlier so I could have worked for some of the old pulps, which was why it was so much fun doing the Price stuff, and the «mock 50s» paperback covers for your Gryphon Books.

The hero pulps — Doc Savage, The Spider, The Shadow, etc — did have a big impact on my approach to the Batman cartoons. It’s something I tried to inject into the show from early on, the atmosphere, danger and illicit excitement, and especially that Norvell Page-type feeling of impending doom — the «doomed city» mood. It’s also why I set the sense in a timeless, 40s-styled world of big cars, padded shoulders, gangsters, shadowy streets, etc. I only wish we’d gone farther with it.

For instance, my original version of Batman himself was actually close to the Shadow: rarely seen close-up, speaking in short, clipped phrases, more mysterious, literally. I wanted to play him cold and remote, almost unhuman. But the network and our various story editors would have none of that! «We need to humanize him», «He needs to have a sense of humor», «We need to more about Bruce Wayne, the person», etc! Whereas I could care less about Bruce Wayne! He’s much more fascinating if you don’t know what he’s thinking, or what drives him.

A few «Shadowy» touches did survive. Batman is rarely seen be the public, almost never on TV. Even when dealing with the police, he’s usually off in shadows conferring with Commissioner Gordon only. And when he’s in the Batcave, he’s almost always in costume. My way of saying he’s Batman, not the other guy, not Bruce Wayne. Like Lamon Cranston, his true, «legal» identity is a facade.

I’ d love to do straight-ahead pulp hero adaptation someday. Doc or The Shadow or The Spider, either in comics or animation, without the senseless updating and over-explaining «character development» like in the Alec Baldwin-Shadow-fiasco-film.

Gary Lovisi: Your stunning covers for my Hardboiled mag are very popular with everyone who sees them. What are your feelings on hardboiled crime-related art?

Bruce Timm: It’s hard, actually, to define «crime-fiction» art. There’s pulp crime-fiction art, and digest crime-fiction art, both of which cross over with paperback crime-fiction art. Basically, I’m a fan of good illustration. Period. Regardless of subject matter. Composition, emotionally intensity, color and lighting effects are what I look for. And pretty girls, of course!

My favorite pulp crime artist is H. J. Ward, hands down. Gorgeous gals in twisty curvy poses, painted in luscious, creamy, wet-on-wet oil technique. My favorite paperback artists include Robert McGinnis, Robert Maguire, and Mitchell Hooks, the usual suspects.

My approach to the Hardboiled covers is different from my earlier «homage» work. When the covers were black and white, I used to experiment with different b&w textures, coquille board, zip-a-tone, xeroxed newsprint, whatever worked. Now that I’m doing them in color, I’m trying to make them as exciting and eye-catching as possible, with loud color, sexy gals, exaggerated action, and simple, graphic, almost cartoony styling.

#bruce timm #pulp #cover #cover art #interview

245 notes · View notes

kociamieta · 5 months

Note

Today I offer you old grumpy robot Happy birthday :]

????/!?@#? THE WAY I JUST JUMPED. HELLO . FALLS TO THE GROUND. HELOO. WHAT

I DONT EVEN KNOW WHAT TO SAY MY JAW JUST DROPPED. I LOVE YOUR ART SO MUCH ;.THE COMPOSITION AND COLORS AND TEXTURES OF IT ALL.. .. .. .AHHGGGG. BLINKS. YOU DREW HER SO WELL IM OBSESSED WITH THIS :? WHAT IN THE WORLD

#I LOVE THIS SO MUCH I JUST DONT KNOQW MAN #for me!!!#vastness of silence #ask #aaaghgggggga hhhhh #passes out forver

186 notes · View notes

featheredsnek · 7 days

Note

Hi hiii so I just found this blog o yours and can I just say AAAAAAAAAAAAAAAAA I LOVE IT ITS SO GOOD THE CHARACTERS ARE SO ADORABLE AND FRIEND SHAPED THE ART IS SO GOOD THE SKETCHES ARE SO CONFIDENT THE LINES ARE SO SMOOTH THE MUZZLES ARE SO ADORABLE THE COLORS ARE SO CLEAR AND VIBRANT THE RENDERING AND COMPOSITION GIVES THE TEXTURE SO MUCH MORE LIFE EVERYTHING HERE IS SO AWESOME YOURE AWESOME I HOPE YOU DRINK WATER AND HAVE A GOOD DAY LET'S GOOOOOOO

#dova #coatlask #sketch #coatlart #character art

59 notes · View notes

sanctus-ingenium · 1 year

Note

Do you have any tips for picking colors and choosing the composition for your drawings? Love your art soooo so much btw

picking colours: i know for a fact i already answered an ask like this once but i can't find it, my response is the same though: experience, knowing what looks good with what, practice, etc. sorry i can't be more helpful on that one

composition: for me i try to direct the eye of the viewer and introduce contrast between values and textures. i made this to sort of explain my main approaches

Areas of high detail can include lots of small lines, a grainy texture, halftones, etc. Either way there's a lot of things for your eye to get caught on. These areas naturally draw the attention of a viewer. So what I do is make sure those areas are the important parts of the drawing - these are the areas i want people to spend most time looking at. I use linear elements of the drawing to direct the eye to the detailed areas. But overwhelming detail everywhere I look can be offputting too so I include areas with low detail and no texture, negative space where the eye "rests", and place them in contrast with the highly detailed areas. This way, the important subjects of the drawing stand out more.

For an example of that, check out 'eye of the otherworld' and try to imagine what it would look like if i had added dense hatching/texture on the birds, and left the horse kind of flat and with a uniform texture. the birds would become the subjects of the drawing instead of the horse.

you can use this to subvert expectations too. by drawing the viewers eyes to an area and then leaving it blank where they expect to see something highly detailed, you can add a disorienting atmosphere - i did this in 'centaur of attention' to invoke the sensation of actually staring up at a rack of studio lighting and a presenter whose face you can't see while the cameras are rolling

Contrast in values (light/dark) is really appealing to the eye. In almost every example there I use black or near black right up alongside paler colours. I really really like value contrast so I use it a lot

#is this legible? in my heart is is #info asks

756 notes · View notes

dognonsense · 5 months

Note

Love ur posts. Whats ur no.1 tip for making new patches?

If ur just writing words try get creative about the composition of the piece.

leave enough space on the edge to hem your patch

try different materials- color, texture, thickness! Experiment! Plus itll make for different types of patches on ur clothes

try placing patches sideways make the text read sideways! if all the words are horizontal it all blends together and u turn into a book.

I use diff colors of embroidery floss to add color and interest to my pieces

Add bits of metal, old jewlery chains, Pyramid head spikes safety pins for decor, sew on cant tabs

Make bottle cap pins to decorate, just a bottle cap, can tab, and a safety pin works. Or find a badge u dont like and just paint over it!

if you can knit or crochet you can make smth a knitted flag or patch and sew it on.

those r some silly ideas for u :P

#punk #diy #patches #diy patches #patch pants #crust punk #crust pants #diy punk #asks

145 notes · View notes

bumbleboa · 21 days

Note

Your favorite OP artists 🥺 please 🥺🥺

This is not a full list because I am sure I have forgotten plenty of people but here are a few I really like and why:

@rocketspurs (their One Piece sketchbook is so worth it, I still look at all the time)

@toboldlymuppet (beautiful pieces with bold color choices and impact)

@attyattlaw (came for the Law art, stuck around for the beautiful art in general, I want to eat their textures)

@jakkenpoy (really cool shape language with high appeal)

@avenoirn (I own several of their pins and prints, beautiful work)

@kimpimpam (the energy of their work is just so lovely)

@redbeanp13 (such cool stylizations! Angles! Colors! what's not to love)

@chum-rum (their compositions and colors are so cinematic, it's stunning)

#Anonymous #bee replies #I tend to reblog all the fanart I love on this tumblr #so go and have a look through my one piece tag for more recs!

39 notes · View notes

kingofbodyrolls · 3 months

Text

Sprout | knj | one

| s.masterlist | m.masterlist | next →

Summary: You love your plants, you love your garden, you do not love your new neighbor. You hate him with all your might— he wrecks everything you hold dear so you do the only reasonable thing: retaliate.

Pairing: Namjoon x female reader

AUs: neighbors au, gardening au, non!idol au → strangers to enemies (mostly one sided) to friends to lovers

Genres: slice of life, smut, humor

Rating: mature

Word count: 3.7K

Warnings: Reader is morally grey; she’s being petty and bratty. There’s some immature pranks and vandalism. Yeah, she’s on a warpath. Otherwise this chapter is pretty tame 😛

Disclaimer: I do not own BTS or know them personally and this work of fiction is purely fictional and for entertainment purposes only. The actions and personalities described in the story do not reflect those of BTS— it’s just fiction. Also, if you would kindly read the tags/warnings before reading, that would be lovely: and if you don’t like whatever is described in the tags, just hit return and find something else to read. Thank you 🌸

Author’s note(1): this ended up being a mini series! After I wrote Friendcation I really wanted to write something shorter… So here it is! I really hope you like it 💜

Taglist: @svnbangtansworld

It’s been cross posted to AO3 if you prefer to read there 🙂

Your heart thrives in the lush embrace of your garden, where your love for nurturing life transcends the ordinary.

It's not merely about gardening; it's an intimate rendezvous with nature's heartbeat. The simple act of plunging your hands into the soil becomes a euphoric ritual, a tactile communion that not only exhilarates your senses but also serves as a conduit to a world where each seed, leaf, and root tells a captivating story of growth and vitality.

The intimate dance with the earth, the sheer joy that courses through you as you feel the soil's gritty embrace, transcends mere gardening; it's a symphony of life, a celebration of your role as both creator and nurturer.

Cultivating new life from the humble seed is a profound joy that resonates deeply within you. The enchantment unfolds as you witness the delicate emergence of sprouts, each one a testament to the potential contained within a tiny seed.

It's a captivating journey, from the tentative first leaves unfurling to the triumphant bloom of fruits and vegetables, a tangible manifestation of the joy and sustenance your hands have meticulously cultivated for both you and your roommate to savor.

As the radiant embrace of summer envelops your world, an effusion of life bursts forth, a vibrant bloom unfurling its tendrils both in your garden and within the sanctuary of your greenhouse.

The greenhouse burgeons with a dazzling array of life—a cornucopia of tomatoes, watermelons, peppers, and cucumbers that stretches every inch of its confines. The air is thick with the heady scent of ripening fruit, and the vibrant hues of red, green, and orange create a kaleidoscopic mosaic that beckons exploration.

In your garden, three majestic raised beds stand like regal sentinels, cradling a treasure trove of nature's bounty. Within their elevated embrace, a symphony of flavors and colors converges, boasting a diverse ensemble that includes the earthy allure of onions, the crisp sweetness of carrots, the robust presence of pumpkins, the delicate charm of strawberries, the verdant allure of spinach, and an array of captivating salads.

Each bed is a symphony of flavors and textures, a carefully orchestrated composition that invites both the eye and the palate to revel in the diverse tapestry of life thriving under your attentive care.

Your garden isn't just a source of pride; it's a living masterpiece, a testament to your dedication and nurturing touch. This verdant haven, bathed in the hues of your hard work, transcends mere admiration; it's your sanctuary, a sacred retreat where the stresses of the world dissolve.

Each leaf, every bloom, whispers tales of resilience and growth, creating an intimate haven where you find solace and restoration.

In the embrace of nature's symphony, your garden becomes more than soil and seeds—it's a living, breathing refuge, a space where you not only cultivate plants but also cultivate peace and tranquility for your soul to flourish.

Within the heart of your greenhouse, nestled amidst the thriving foliage, is a cozy sanctuary—an inviting lounge set with a round table and two chairs. This intimate corner is not just a seating arrangement; it's a haven where friendship blossoms. Here, you and your friends can unwind, enveloped by the lush greenery, engaging in heartfelt conversations over steaming cups of tea or coffee.

In the heart of your greenhouse, you stand amidst the verdant symphony, hands adorned with the earth's rich embrace—fertile soil clinging to your fingertips, a testament to the alchemy of growth you orchestrate. Here, amidst the fragrant dance of botanical life, you sow the promise of winter greenery. This isn't your inaugural venture into nurturing winter blooms; it's a sequel to a tale that unfolded with delight last year.

The memory of vibrant winter greens thriving under your care lingers, a testament to the harmony you crafted within these walls. Driven by the echo of past success and an insatiable love for the seasonal metamorphosis, you embark on this green journey once more.

Within the expansive embrace of your bountiful garden, nature's generosity unfolds, providing an abundant harvest of fruits and vegetables that not only sustains you and your roommate but also extends its benevolent reach to your cherished neighbors.

Which makes you think of the dear Kims—Kim Seokjin and his wife—embarking on a journey to a larger home, carving out space for their expanding family, tugs at the strings of your heart. While you understand the practicality of their move, a somber melancholy settles within you, for they have not just been neighbors; they have been the epitome of kindness and warmth.

With an earnest yearning, you cling to the hope that your incoming neighbor will show kindness, sweetness, and warmth akin to the cherished friendship you shared with the departing Kims.

He doesn’t.

The day has arrived when your neighbor, Seokjin, faces the bittersweet necessity of moving. The street is lined with colossal trucks, a tangible representation of the imminent change. As tears trace their silent path down your cheeks, you refuse to let the sorrow eclipse the spirit of friendship.

Despite the weight of emotions, you join forces with Jungkook, your steadfast roommate, to transform the process into a collective effort. Together, you navigate the labyrinth of memories, carrying not just boxes but the shared history of laughter, shared moments, and the neighborly bonds that have woven through the fabric of your days.

As the reality of parting sets in, the ache of missing Seokjin and his pregnant wife becomes a weight on your heart. Determined to express the depth of your sentiment, you envelop them in tight, lingering hugs, the warmth of your embrace carrying unspoken words of friendship and well-wishes. Amidst the bittersweet farewells, you articulate your genuine hopes for their future, weaving a promise of staying connected. With each heartfelt word, you convey that the physical distance won't sever the ties of friendship.

In a world where genuine connections with neighbors are as rare as finding hidden gems, you've recognized the preciousness of Seokjin and his wife. Their sweetness and kindness have forged a bond that transcends the typical neighborly exchanges. Their generosity extends beyond mere pleasantries—during a challenging chapter in your life, when the looming shadows of unemployment threatened your stability, it was their unwavering support that illuminated your path.

Together, you navigated the uncertainty, and Seokjin suggested his friend Jungkook as a roommate to help you financially, and Jungkook has since become an integral part of your life as a steadfast and cherished roommate.

Undoubtedly, the Kims have not just been neighbors but pillars of unwavering support and kindness, surpassing any expectations one might have for ideal neighbors.

In the wake of the Kims' departure, their once-vibrant house now stands silent, a poignant reminder of the cherished moments shared. However, your curiosity, like an invisible magnet, draws you to the window. From your vantage point, you observe with a mix of intrigue and anticipation as a moving truck sidles up next to their now-empty abode. You almost feel like a creep as you watch them unload furniture and boxes.

Whispers in the neighborhood had reached your ears—an intriguing coincidence as a man, bearing the surname 'Kim,' was poised to become your new neighbor. The town's gossip mill hummed with speculation, but you tuned out the rest, your focus fixated on the serendipitous arrival of this mysterious Kim.

Jungkook ambles over, his sudden presence jolting you against the window, prompting an involuntary jump. With a teasing grin, he questions your clandestine observation, his laughter echoing through the room. “Why are you lurking?” he jests, enjoying the playful spectacle of your eye roll in response.

“I’m observing.” You declare with matter-of-fact precision, and in response, Jungkook simply offers a contemplative ‘hm.’

Throughout the day, the elusive presence of the new neighbor has been a captivating enigma, a puzzle you've been diligently attempting to unravel. Despite your earnest efforts, the quest for a mere glimpse has proven elusive.

“I'm just curious to get a read on the new guy,” you confess, drawing out your words with a touch of playful mystery. As you gracefully step away from the window, the allure of the unknown lingering in the air, you head into the kitchen with purpose.

You fetch the kettle and begin to boil some water for tea.

“Just give the guy some space to settle in, and when the time is right, you can whip up those mouthwatering cookies of yours and give him a warm welcome to the neighborhood,” Jungkook suggests, trailing after you into the kitchen. He deftly retrieves two mugs from the overhead cabinets, placing them in anticipation of the soon-to-be-boiling kettle.

Rummaging through the tea stash, you unearth aromatic sachets—one for yourself and another for Jungkook—and delicately place them into the waiting mugs. As the kettle sings its final crescendo, you pour the steaming water into the mugs, initiating the alchemical process that transforms the humble leaves into an elixir of warmth.

The synchronicity between you and Jungkook is seamless, a finely tuned rhythm born out of the years you've spent living together. Perhaps it's the invisible thread of familiarity that binds you, a connection so deep that you can effortlessly complete each other's sentences, the unspoken language of friendship. He’s much more than a roommate; you love him like a brother, an annoying little brother, even though you’re the same age.

“Good idea! The legendary triple chocolate cookies?” you propose, your eyes lighting up with the prospect of sweet indulgence. Holding your tea mug, you savor the warmth of the liquid against your lips, a comforting ritual that transcends seasons—you're an unapologetic tea enthusiast, even in the heat of summer.

“Absolutely! Hell yeah!” Jungkook exclaims, his enthusiasm echoing through the room like a burst of unbridled joy. As he eagerly recalls the memory of the last batch you made, his words become a vivid homage to the culinary masterpiece, the taste still lingering on his tongue like a cherished melody.

Throughout the entire weekend, the symphony of your new neighbor's move has reverberated, a lively crescendo of sound that paints the air with the vibrant hues of laughter and camaraderie. His entourage of friends, a boisterous ensemble, fills the atmosphere with the clatter of unloading boxes and the rhythmic shuffle of furniture being transported from the truck.

Yet, despite the lively spectacle of your new neighbor's move, his actual presence remains an elusive mystery. The air is thick with anticipation as questions swirl within your mind: Is he old? Is he your age? Does he possess the warmth and kindness that endeared Seokjin and his wife to your heart? Your curiosity becomes a cascade of inquiries, a mental carousel that you acknowledge is just you being noisy.

Up to this point, the sole revelation about your new neighbor is his knack for creating quite the noise. The symphony of sounds, though vibrant in its own way, becomes a stark contrast to the familiar warmth and silence that once emanated from Seokjin and his wife's abode.

Damn you miss Seokjin and his wife.

While the awareness of ongoing move-in activities tempers your expectations for noise, an unexplainable discomfort begins to settle in. The amalgamation of unfamiliar sounds, even in the midst of anticipated relocation clamor, manages to irk you.

And you haven’t even met the guy yet.

Several days have elapsed, it appeared that your new neighbor had completed the arduous task of settling in. A glimmer of hope fluttered, suggesting that the relentless clamor would finally recede. Yet, to your dismay, a new auditory storm emerged—his penchant for playing music at an astonishing volume became the unforeseen soundtrack to your days.

“I already hate him, Guk,” you declare with a melodramatic sulk, dramatically flopping down onto the couch beside Jungkook.

He swivels his head in your direction, a mischievous smile playing on his lips before erupting into a hearty laugh. “Come on, it’s just music. How bad can it get?”

After a patient wait, the oven radiates a palpable heat, reaching the optimal temperature to host the transformation of dough into decadence. With a sense of anticipation, you carefully place the trays laden with the promise of triple chocolate cookies into the fiery embrace of the oven.

Despite the less-than-ideal introduction to your new neighbor, marred by his thunderous music and a symphony of questionable sounds that you'd rather not contemplate—, there's a resolute yearning within you to extend an olive branch.

Fueled by the desire for neighborly harmony, you're determined to overcome the initial discord and approach him with a peace offering, a genuine gesture to welcome him into the neighborhood, hoping to mend the dissonant notes that currently define your thoughts about him.

Just as the first tray of cookies begins its enchanting transformation in the oven, your ‘girl boss’ playlist providing a lively backdrop, the symphony is abruptly punctuated by the unmistakable sound of shattering glass echoing from outside.

A sudden chill races down your spine, the shivers intensified by the ominous realization that the shattering sound emanates from the vicinity of your garden. Locking eyes with Jungkook, a silent exchange of concern, you swiftly transition from baking bliss to a sprinting guardian of your sanctuary.

The urgency in your steps amplifies the suspense, as you dash outside, propelled by a blend of curiosity and trepidation, determined to unveil the source of the disruptive crash that disrupted the tranquil rhythm of your day.

Shards of glass glisten like misplaced stars in the grass, guiding your gaze to a seemingly innocent purple ball. However, your eyes transform into metaphorical daggers as they lock onto the source of the havoc, revealing a telltale hole in the once-pristine surface of your beloved greenhouse.

A surge of anger courses through your veins, a visceral reaction to the shattered tranquility mirrored in the glass strewn across the grass. While distant voices from your neighbor try to penetrate your consciousness, your focus remains ensnared by the chaos within the greenhouse—the fractured plants and the disarrayed remnants of what was once a sanctuary.

Navigating the shards with cautious steps, you venture into the greenhouse, the air heavy with a sense of apprehension and loss. As you survey the wreckage, the toll becomes painfully clear—fragments of tomatoes, cucumbers, and watermelons lay strewn, their promise of abundance now reduced to a heartbreaking scene of destruction.

An inferno of rage surges through your veins, akin to liquid fire or molten lava, an elemental force consuming reason and calm. The greenhouse, once a sanctuary, now stands as a testament to the havoc wrought—its structural integrity compromised, and the once-vibrant plants broken and battered.

Your gaze fixes on the offending purple ball, and in a sudden revelation, the realization lands like a forceful blow—it's a sinister gift from your new neighbor. A surge of fury engulfs you, a tempest that ignites within, transforming your blood into a boiling cauldron of rage until the world before your eyes is tainted with a visceral shade of red.

Driven by an uncontrollable wave of anger, you storm outside, seizing the ominous purple ball with a fierce determination. Each step to your new neighbor is punctuated by the rhythmic thud of your stampede, a declaration of intent that resonates with your frustration.

Amidst the clash of emotions, a figure emerges—a man with disheveled silver hair hurtling toward you, hands raised in a gesture of surrender, a young child at his side.

The ball gripped tightly in your hand becomes both a weapon and a question mark as you confront the silver-haired man. The fury in your voice is palpable, a tempest churning within each word as you demand answers. “What is this?” you seethe, elevating the purple sphere as a visual indictment, challenging him to reckon with the consequences of his actions.

“A ball?” he responds with a nervous chuckle, his hand seeking solace through the disheveled landscape of silver hair at the back of his head. Beside him, a little boy, no older than six, clings to his leg with a grip that speaks of both innocence and trepidation.

“You think you’re smart, huh?” you begin, the words laden with a potent mix of frustration and mounting anger. The simmering emotions rise like a tide within you, unleashing a renewed flood of resentment that threatens to engulf your entire being.

“I'm so sorry about the ball. We didn't mean to throw it over the fence—” the man starts to apologize, but your tolerance for explanations dwindles to nothing. You cut him off with an air of absolute dismissal, leaving no room for excuses or justifications.

“You shattered my greenhouse!” you roar in frustration, the anger propelling the ball from your hand towards him. In a deft move, he catches it effortlessly against his chest, the tension in the air palpable.

“I'm so sorry, I didn't mea—” he begins, but you cut through his attempt to explain with a dismissive wave.

“I don't care! You should be mindful of other people's property. I had plants in there that are now broken and useless,” you declare, your voice stern and scolding. The words emerge like a verbal reprimand, each syllable charged with the weight of your anger. As you speak, the intensity manifests physically, your breaths becoming huffs of air, mirroring the turbulent emotions that still churn within you.

You observe the man's persistent attempts at apology, and the child clings even tighter to his sturdy thigh, as if seeking refuge in the face of the storm brewing in front of him.

“Fuck you. Don't let it happen again,” you spit, the words laden with an unrelenting edge. You observe him swiftly cover the child's ears, shielding innocence from the raw exchange. Just as you pivot to leave, a tense silence lingering, he finds his voice once more.

Observing him withdraw his hands from the child's ears, he takes a measured step in your direction. “Look, lady,” he begins, his tone a blend of frustration and assertion, “I already apologized. There's no reason to be so crude, especially not in front of a kid.”

Your gaze swiftly traverses them from head to toe, a brusque assessment. “Like I give a shit,” you retort with a dismissive snort.

“Joon, why is the lady mad?” inquires the boy, casting a curious glance at your neighbor.

“Well, we ruined her greenhouse, which we've already apologized for. Now I'm starting to think she's just stuck up and has a stick up her ass,” your neighbor explains in a composed tone to the child, who simply gapes at the blunt choice of words.

The audacity of his words hits you like an unexpected blow. Stuck up? The incredulity courses through you as you grapple with the absurdity of the accusation. Him, the one who shattered your pride and joy, casting you as the haughty one?

“Well, fuck you!” you scream in frustration, punctuating the sentiment with a defiant middle finger. With a final act of rebellion, you storm away, retreating back into your house, your fury a palpable force propelling your every step.

Gasping for breath, you stumble inside, a disheveled embodiment of raw emotion. Jungkook gazes at you, confusion etched on his face as he questions, “What happened?”

In a huff, you explain, “Piece of shit neighbor broke my greenhouse,” the words tumble out, each syllable a testament to the frustration gripping you. With a perfunctory motion, you snatch the tray from Jungkook, who had kindly retrieved it from the oven when the cookies were ready.

Now, the sweet aroma of accomplishment is tainted, and the once-desired treats feel like a bitter offering. You contemplate discarding them, convinced your neighbor doesn't deserve the indulgence born from your hard work and nurturing care.

“What are you doing?” Jungkook queries with genuine concern, his worry palpable in the furrow of his brows and the earnest tone of his voice. Clutching the tray, you navigate towards the trash can, your actions leaving an air of uncertainty hanging between you two.

“Throwing them out?” you retort, the words a sharp echo in the air as you lock eyes with Jungkook.

“Don't! I'll eat them,” Jungkook pleads, motioning for you to spare the tray from its impending fate in the trash.

A flicker of reluctance dances in your eyes, but the prospect of salvaging the cookies prevails. After all, it would be a shame to let them go to waste merely because your neighbor is a piece of shit

Despite Jungkook's plea for you to set aside your fury and accept the apology from your new neighbor, the ember of resentment within you refuses to be extinguished.

For reasons unknown, a bitter taste lingers within you, refusing to let go. The turmoil is inexplicable, but the remnants of resentment persist. He didn't just break your greenhouse; he shattered a piece of your sanctuary. Now, held together with a temporary tapestry of plastic, the wounded structure serves as a constant reminder, a tangible testament to the disruption that's not easily brushed aside.

Not to mention the plants that withered away that fateful day. Yes, they perished under the weight of the intrusion, and no, you refuse to consider it as mere drama, as Jungkook suggested.

Anger bubbles within you, a volatile force demanding retribution. In the crucible of resentment, a calculated decision takes root: to do the only thing that feels just—sabotage some of his. An eye for an eye, the ancient adage whispers in your mind.

Thus, you find yourself meticulously gluing his mailbox together, rendering it an inoperable shell that denies him the simple act of receiving mail or opening the damn thing!

A sense of self-satisfaction courses through you as you observe him from the vantage point of your living room window, wrestling with his unyielding mailbox, frustration etched across his face.

A laugh of vindication escapes your lips as you revel in his futile struggle. His bewildered gaze sweeps the surroundings, a clear sign that he fails to comprehend what's wrong with his once-functional mailbox. Frustration etches lines on his face before he concedes, retreating back into the confines of his home.

Jungkook sidles up next to you, a quizzical expression on his face. “Is that your handiwork?” he inquires, pointing towards your neighbor's now dysfunctional mailbox.

A chuckle escapes your lips, a mischievous glint in your eyes. “Yeah.”

“You're being childish and mean,” he reproaches, shaking his head in disapproval of your actions. A chuckle escapes him, a teasing glint in his eyes. “I bet you like him,” he remarks with a knowing smile, strolling past you.

You gape at him, disbelief etched across your face. No. No such thing. “I fucking hate him, and he deserves it,” you retort vehemently, the raw intensity in your voice emphasizing the depth of your disdain.

Author’s note(2): Thank you so much for reading! 🌸 I appreciate every like, comment and reblog, and please don’t be afraid to let me know what you think; your kind words makes me extremely happy 💜

| s.masterlist | m.masterlist | next →

55 notes · View notes

eddiediaaz · 1 year

Note

hello. it’s me again who asked for the ripped paper tutorial. i can’t wait to try it out later!! are you able to make a tutorial on how you put the text on the ripped paper? thank you so much ☺️

hello! sure! i'll explain how i made the ripped paper effect from this gifset in more details under the cut 😊 (it’s a different method than what i did on my previous tutorial here)

i apologize in advance for my lack of coherence, i’m not always the best at explaining stuff, especially not in english haha

first things first: make your gif, color it, sharpen it etc etc, and put all of it's layers in a group. i called mine “blended gifs”. oh and make sure you are in timeline mode, not frame animation!

then you want to import the ripped paper texture(s) you want to use onto your canvas and position them the way you want them to be on top of your gif, like this:

(i am using these textures for most of this gifset)

what you want to do next is create a mask of this torn up area so the gif layers only show up around the "hole". to do that, select the texture layer and press "ctrl" while clicking on the texture's thumbnail. this will create a selection of your ripped paper texture (you'll see a flashing dotted line showing your selection).

btw: the ctrl + click method works only if the image/texture has transparency like this texture does.

[if you want yo create your own torn/ripped shape with 2 or more textures, you can place them on top of each other and create a mask by doing ctrl + selecting the thumbnail of the first one, then while still holding ctrl, also hold the shift key and click on the second texture’s thumbnail (and the third, fourth, etc). this will add the shapes to the same selection and then you can create one layer mask with all of the shapes selected together.]

with that selection still active, you want to select your gif's folder you created earlier and click on the add layer mask button.

this will create a mask for the ripped paper edges on your gif, the group layer should look like this:

now disable the torn paper texture (by clicking on the eye next to it, you won’t need that torn paper texture layer again), and your gif should look like this so far:

as you can see, there's a transparency issue, and we're losing the top part of the gif. to fix that, you need to brush some white color onto the mask.

to do that, hit ctrl and select the group's mask thumbnail again, you will see the same selection as earlier show up. with the selection ready, select the brush tool in the color white (and 100% opacity), and go brush/paint some white over the whole layer mask. this should fix the transparency issue and the gif should look like this:

once you're done, hit ctrl + D to make the selection disappear, and still with the layer mask selected on the gif's group, with the brush tool paint some white at the top so we get the top of the image back. it should look like this:

(you can also brush more white or black to add/remove parts to this layer mask if you want to, it’s what i did for the original gif, actually.)

now you should be ready to put whatever you want in that ripped edges “hole” you’ve created.

what i did for this gifset is i found a random paper texture on google and used it as a background for my text. make sure you put this background texture under the gif folder, so it will only show up in the “hole”. (i put my texture in a group i renamed “text” because i love my psd compositions to be tidy lol)

then i just typed the text i wanted and positioned it the way i wanted it to look. the text layer should be over the paper texture but still under the gif folder:

to finalize the look I color corrected the paper to be a bit more bright and added some highlight on the text, here you can do whatever you want to make the text look the way you want it to look.

i also added a bit of dropped shadow on the edges of the ripped paper. to do that I selected the mask (ctrl + click the smart mask thumbnail), created a new color fill layer (the color is not important). this will create a layer with a layer mask of the selection. i then selected the smart mask thumbnail and hit ctrl + i to invert it, so my mask is not only the inside of the “hole”. then i put this layer on top of everything, and the fill at 0%. finally i added an inner shadow in the layer style options (by double clicking on that color fill layer).