#ALSO i was drawing in my sketchbook!!! embrace tradition and all that | Explore Tumblr Posts and Blogs

dingkaigrad604 · 9 months

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20 objects ideas

I plan to do the poster using photographs of the real objects but mixing it with digital illustrations based of my own style as well as researched and inspiring illustrators/designers.

My huge 100 Bill belt buckle - I've worn it almost everyday and to me it represents being able to be obnoxious with expression and art yet conscious and self aware about it.

Headphones - Has helped uplift many aspects of my life and amplifies emotions.

Sketchbook and pen - My main form of expressing my thoughts and feelings through illustrations and journaling

Bamboo house plant - A gift from my dad to give me good luck with my studies.

My metal KFC bucket - A sentimental item from my first job as well as a practical item where I put my accessories

My pen tablet which I use alot to create my digital illustrations.

My smiling sleep mask - I used to wear it alot outside as an accessory. It reminds me now of a period where I first started finding myself and style with my creative thoughts and paths. It also helped me realise I don't always have to make sense of my artwork and just do it for my own enjoyment just as it doesn't make sense to wear a sleeping mask on my forehead all day instead of my eyes.

My other belts and hats - Important forms of expression

Chinese red packets - Has been one of the few traditions keeping me in touch with my relatives that I'm away from.

A half empty wallet - My struggle between prioritising the financial stability of my future or my satisfaction and enjoyment with my life and creative aspects

Super Diaper Baby Book - Helped me learn to embrace stupidity and pure fun when being creative. And to run wild with any idea you have

Acrylic paints and paint brushes - I found out during high school arts that traditional arts is not my strength and that my strong points are in digital image making and illustration. The paint reminds me that as people there will always be things you're not good at and things that you are and that you have to accept yourself for the things you cannot do and appreciate your strengths. Especially as artists, too many people are too in their own heads doubting their own abilities because they can't seperate their good and bad points.

My framed images - I have a framed image of my dad in China on my wall. Underneath is a framed poster of two American rappers and another of a photograph of a fight between Ali and Fraiser. This is a reminder to me about how my cultural knowledge and involvement is diluted as a kiwi Chinese and how it will continue to dilute if I don't do anything about it.

My mini statues of Chinese kids doing kung fu - It's hard to tell when you're actually in touch with your culture or whether you're just using it as decoration trying to seem like you're cultured. Often I feel like I'm just an imposter. These little figurines have no meaning or symbolism behind it, I simply thought it looked cool when I bought it.

The guitar in my room - Reminds me of the importance of commitment and consistency. Because It was something I bought, picked up and learnt the easy parts of guitar and then stopped playing. No skill can be developed easily you must put effort in. Though at the same time I'm happy, the skills I learnt are the parts of guitar I enjoyed playing the most so it's now also a reminder that it's okay to just have fun sometimes and not put so much pressure onto yourself and others.

The plant pot on the balcony - My dad made me draw this plant everyday to try improve sketching skills. During this process I realised this is not something I'm passionate about. It helped me realise I enjoy expression ideas from my head in an illustrative cartoon-like fashion. I really appreciate realism and the art of it but this helped me realise this isn't a path and art form I wanted to pursue.

My high school math books - Where I best expressed my love for doodling and drawing whatever comes to mind. Math classes were definitely the most boring which lead to the most drawings out of my school books.

Video Game Controller - Video games are their own form of art. Every game was created by and individual or a team of creatives who collaborated many creative ideas and refined it and continue to refine the final product. Video games were a huge source of creativity during my childhood. Interesting game concepts, characters, storylines, soundtracks, environments/settings all fuelled my creative drive growing up.

DVD's - A selection of dvd's which content set the tone for my creative ideas of lighthearted, fun and exciting (at least to myself!)

Pack of pens - A specific pack of pens My dad got me when I was younger. I'm grateful my dad has accepted me always and is comfortable with the direction I'm going in life. I've always been stressed and worried that wanting to be an artist would be gut wrenching for my parents but that wasn't the case. This acceptance has freed up so much space in my mind to focus on doing the things I want to do

Chinese Cigarettes - The smell of it reminds me of the smell of being in China. Which reminds me of one of my roles of telling my story as one of the many Kiwi Chinese artists in New Zealand.

Box of chocolates gifted to me that I will never eat - I keep it around as a reminder to how important my friends are to me and how important I am to them. I find that I have a problem where I easily forget they exist sometimes or forget how important it is to maintain connection with them and this gift is a constant reminder to myself that it is important. This in a way also shows the importance of human connection within a creative setting/world.

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floweroflaurelin · 2 years

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hi I just wanted to say your art is the best I've ever seen like the shading and realism and everything is just insane!! I cannot express how long I sit there staring you're simply amazing!

I'm just. In awe. How the actual heckity heck do you do that on just one layer :0 if you have any art tips they'd be much appreciated!

And hope you're doing ok w the whole covid thing, take care of yourself as best you can :D /gen

Ahh thank you so much!!! That’s so nice, I really appreciate that omg 🥰🥰🥰 And thank you so much for this message! I plan on writing up a detailed look into how I craft a portrait painting, so I’ll try and keep this brief, but I make no promises hahaha

So I paint on one layer for a couple of reasons: one, I want the experience of painting to be as transferable as I can get it to traditional media, and two because of spite.

The first reason is admittedly kind of dumb because I don’t paint traditionally anymore, by choice. If I do say so myself I used to paint really lovely acrylic portraits (basically looking like the digital ones but on a canvas) but genuinely? Touching paper and canvas is a sensory nightmare 😖 I can’t use sketchbooks and I have to wear gloves to touch unpainted canvas because the texture activates my fight or flight (ADHD gang rise up!) so now that school isn’t forcing me to work with real canvas, I don’t and I won’t. So why don’t I embrace the experience of drawing digitally? Habit, I guess.

But also, spite. The number of profs who have told me off for painting on one layer is incredible and they get so mad (like, they’re right…) but I’m way too stubborn. It’s referred to as “painting destructively” because you can’t go back and fix things by turning off layers, if you mess up you mess up. My advice is to just not mess up, cause then it’s not a problem.

Wait, that’s terrible advice. Um, my art tip is to not do this! Don’t paint all on one layer. It’s not a great practice for digital art for the reasons my teachers say so. Also, even I won’t be doing it forever—my workplace and I are working together to break me out of this habit because now I’m not the only one touching my paintings! They need to be able to adjust things in a way that isn’t screwed up by my frankly ridiculous workflow 😅

Hahahaha but yeah, all of my fanart paintings that have been on here were painted in one layer with the gold leaf layer on top, just like a real painting. If you’re interested in reading a more coherent in depth look at my painting process, I’ll be working to get that up on my blog sometime next week!

#ask #letters-by-moonlight

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fantasy-anatomy-analyst · 3 years

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(image description: eight sketchbook drawings of characters holding a variety of pride flags, all nude and posed in ways that match some old fine art pieces. The nudity has been censored with cute digital flower stickers. end description.)

Characters:

Dalmar, intersex man. Kouto, nonbinary. Chacha, agender. Parva, nonbinary. Xulic and Kidron, genderqueer. Obeli (or Abuela) Moruga, genderqeer. Olli, demiguy. Sajak, genderqueer.

Genderqueer is kind of my default for "well, biologically and culturally, they already don't have binary sex or gender, so they kinda default to genderqueer." And I know maybe some people will be bothered by that, but it's just part of the worldbuilding I've written around all these non-human and frequently non-mammalian species of people.

The uncensored version is on my Patreon page. I do have one more drawing to add to this series, but since it's four child characters I will not need to worry about adding any censors and keeping the original image only on my patreon, as they will simply be wearing their pride flags as whole outfits.

The previous part of this, my binary trans characters, can be found over here.

detailed character descriptions and explanations of the pose references under the cut

Dalmar Ubora, a black intersex elf man with short black hair. He is holding his arms up as he holds the intersex flag, mimicking the pose of Virgin Mary from Titian's painting "The Assumption of the Virgin". The shading was washed out by the photo, but his belly is still clearly round from pregnancy. Dalmar is an interesting case, in that he was assigned male at birth based on his outward appearance, continues to identify as male throughout his life, but finds during puberty that what was believed to be an undeveloped penis was actually just a non functional body part. Instead, what actually developed to full functionality was his uterus. He still identifies as a straight cis man, and has come to terms with his body. He is married to a medically transitioned trans woman, and he could undergo operations to change his body if he wanted to. Instead, he has embraced his body and even birthed some children who were conceived via sperm donations. This is why I wanted a Mary pose for him, and this painting in particular is about Mary being welcomed into heaven as a blessed holy woman. Dalmar may not be a miraculous holy figure, but there is a reverence in the way he has come to love his body and chosen to bear children, including the surrogate birth of his brother's child.

Kouto Hayashi-Loryck, a slender nonbinary elf with black hair tied into a bun. They are holding the nonbinary flag and standing in the pose of a statue known as "Apollo Belvedere", which is so old no one knows the artist's name. One arm raised, one lowered, legs in the relaxed contrapposto pose. Kouto is an artist and an art model. Apollo is a god of the arts, and regarded as a beautiful and sexual figure. Kouto is bisexual and admittedly a very sexual and flirtatious person. They did settle into a happy marriage though (actually they are Dalmar's in-law and the sperm donor for the aforementioned surrogate birth.) Marriage has not stopped Kouto's flirtations, merely limited their targets to a singular person. It felt right to give him this pose, from a pretty well known portrayal of Apollo. Beauty, art, and sex, all defining traits of Apollo and Kouto alike, all present in a pose where the figure seems to be reaching for something above them.

Chacha Faraji, an agender black elf with short hair. They are facing away from the viewer, seated on a stool that is covered by the draped agender flag. No physical traits that could betray their agab are visible. Chacha is sitting in the pose of Reubens' painting "Venus at the Mirror". The arm closest to the viewer ends at the elbow, while they hold a mirror in front of their face with their one whole arm. Their face is seen reflected, smiling, little wrinkles visible by their eyes. I chose this painting in part because it did allow me to obscure Chacha's agab. They were my first nonbinary character, and I never really settled on an agab. But also, I enjoy putting characters who have unconventional bodies into poses associated with Venus or Aphrodite, the goddess of beauty. Chacha is missing half an arm, they are getting older and it shows in the wrinkles on their face. Chacha is also Aromantic and Asexual, the full queer triple A battery. The mirror pose has become an independence of beauty. "Look but don't touch." Chacha is beautiful, and they do not need to be beautiful for anyone but themself.

Parva Turbatus, a white nonbinary elf with shoulder length curly hair that has been shaved down on the far side of their head. They are holding the nonbinary flag, standing in the slightly closed off pose found in Paul Gariot's painting "Pandora's Box". One hand on their chest, one hand held out to hold the flag. They have top surgery scars on their chest and a c-section scar on their navel, though all of these have unfortunately been hidden by the flower censors. I chose a pandora pose for Parva because they have one of the most intense tragic backstories of any of my characters. Like Pandora opening the box, they have suffered through many things but came out the other side with Hope, and healing.

Xulic Vos and Kidron Engedi, a drow and a lizard person. They are sharing the genderqueer flag. Xulic has long ears and white hair in a braid, with a white monkey-like tail barely visible behind their legs. Kidron looks like a leopard gecko, and their tail is acting as a visual block in fron of Xulic's groin. They are standing together in the central pose of Raphael's "School of Athens" fresco. Xulic is pointing one hand up to the sky, while Kidron holds one hand palm down towards the earth. Xulic's chest is visibly flat, however I have rewritten the drow as a eusocial people, who's biology has made most of the common population infertile and visibly near identical above the waist. Xulic's agab is unknown to anyone but them, and perhaps their reptilian lover Kidron. Both drow and lizard folk have biology and cultures that do not really support a gender binary, so genderqueer suits them both quite well. I chose the School of Athens pose because these characters are scientists in fields that overlap, and they often get into deep discussions on the matter. Xulic is a paleontologist while Kidron is a geologist, and they have another friend (my protagonist) who studies archaeology.

Obeli (or Abuela) Moruga, an elderly goblin with sagging skin and axolotl-like frills on the sides of her head. She grins as she holds the gender queer flag, partly draped over the tall stool she is seated on. Her pose matches that of John Collier's "Priestess of Delphi" painting, which depicts a woman hunched over herself on a stool. Old Obeli Moruga, whose title best translates to "grandmother" is a significant figure in her community, both because of her more practical role as a leader and wise woman, but also because she has gained immortality and become an incarnation of Life Itself, after she was given the offer of such power when she nearly died in the goblin revolution. There are many figures that would suit her. Poses from statues of goddesses, like Athena or Gaia. Perhaps turning away from the theme of greek and roman figures I ended up with for my nonbinary group (dalmar is his own thing) and using the famous painting of Liberty on a battlefield. But now in her old age, all those poses of figures in more active poses, tall and imposing, simply didn't feel right. A wise old woman, hunched on a stool in a pose associated with the idea of an oracle, a priestess, a prophetess, felt much more fitting. (goblin culture does have specific pronouns for leadership, and in the common speech they have decided this translates best to the feminine "she/her")

Olli Moruga, also a goblin with axolotl-like frills, standing with the demiguy flag in his hands. He is in the pose of Michaelangelo's statue of Bacchus, god of wine, merriment, and madness. One hand up as if to salute with a cup, body leaning and perhaps a little unstable. Olli is a gay demiguy, stepping away from the naturally ungendered state of his people to embrace masculinity instead. He is extroverted, loves a good party, and has definitely been a little over his depth with alcohol on many occasions. He knows this is a problem. He used to act rebellious because of it, trying to be cool and aloof, but he has since admitted the truth to himself and now openly seeks help. His trans lover, Zaire (seen in a previous post) has become a great support to him. Even though it may seem odd to use the pose of a god of wine for a character that is trying to overcome an alcohol issue, I still feel like the vibe of Bacchus or Dionysus fits Olli well. He is not only a god of wine, but also of pleasure in general, a concept Olli embraces. Wild joy, perhaps to the point of becoming a little feral, abandoning tradition for personal fulfillment. It is unusual for goblins to embrace a binary gender, even partially. Gendered pronouns do not exist in their tongue, only being used in cases where common speech needs to be used to refer to certain significant figures, such as a leader. It is also unusual for a goblin to take a lover outside their species, since most goblins live in fairly isolated places and all mate together seasonally, depositing their eggs in a communal nursery pool. Olli stands out on purpose.

Lastly, Sajak, an amphibious person with some fish-like features such as their finned ears and a barely visible dorsal fin. They are holding the genderqueer flag as they stand in a commanding pose, one foot on a rock, one arm held out as if pointing to something below them. This pose is taken from the central Poseidon statue in the fountain of Trevi. Their head, arms, and torso are covered in dark tattoos in abstract designs, and they also have a few natural dark stripes along their arms and legs. The obvious connection between Sajak and this statue of Poseidon is that Sajak is a fish person and Poseidon is an ocean god. If I could have thought of a more medical figure, I may have made a different choice in the art reference. Sajak is primarily a doctor, a healer. They are fairly well known and they were an important figure on their home island, though they did leave eventually. Even so, there is a certain vibe to Sajak that suits the image of a powerful and unpredictable oceanic god. They are steady, intelligent, and careful, but they can become fierce when their loved ones are under threat, and the intense focus they show in their work as a doctor can be intimidating to see. There is a feeling of hidden power within Sajak, just as there is in the ocean when it seems calm. Fish folk, whether bipedal and amphibious or fully aquatic, also fit under my category of "non-mammalian people who are just kind of genderqueer by default due to their biology not fitting into a binary".

#figure art #figure drawing #nonbinary #intersex #genderqueer #queer ocs #winks ocs #image description #accessible art #my designs #drow #lizard folk #elves #goblins #merfolk

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beholdme · 3 years

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All the Many Shades of Gerry - Chapter 19

Chapters: 19/19

Fandom: The Magnus Archives (Podcast)

Rating: Teen And Up Audiences

Warnings: No Archive Warnings Apply

Relationships: Martin Blackwood/Gerard Keay/Jonathan “Jon” Sims | The Archivist, Martin Blackwood/Gerard Keay, Martin Blackwood/Jonathan “Jon” Sims | The Archivist, Gerard Keay/Jonathan “Jon” Sims | The Archivist

Characters: Martin Blackwood, Jonathan “Jon” Sims | The Archivist, Gerard Keay, Tim Stoker (The Magnus Archives), Sasha James, Gertrude Robinson, Elias Bouchard

Additional Tags: Alternate Universe, Library AU, Librarian Jon, Artist Gerry, Trans Male Character, Trans Martin Blackwood, Canon Asexual Character, Asexual Jonathan “Jon” Sims | The Archivist, Ace Subtype - Sex Positive, Polyamory, Fluff, Fluff and Angst, Romantic Fluff, Falling In Love, Boys in Skirts, Kissing, Demisexual Gerard Keay, Minor Character Death, Past Character Death, Canon-Typical Child Neglect, Implied/Referenced Child Abuse, Flirting, Minor Jonathan “Jon” Sims | The Archivist/Tim Stoker, Adventures in Hair Dying, Happy Ending, Banter, Gerry has a lot of sass, Gerard Keay is Morticia Adams, Jon is a very grumpy Librarian, Martin adores them anyway.

Summary: In which Gerry is a kaleidoscope and Jon and Martin can’t help falling in love with him.

He happens to love them back.

Find it on Ao3

[1] [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14] [15] [16] [17] [18]

"It’s skew.”

“Come and straighten it, then.”

“I’m spotting, you’re hanging.”

Gerry growls at him. Jon looks rather pleased about it.

Martin, who doesn’t want Gerry to hit their infuriating lover with a hammer, goes over to where he’s hanging the massive painting and tilts it minutely to the left. “Better?”

“Perfect!” Jon pronounces, clapping his hands.

Through some sort of witchcraft, the artist has hung the painting in such a position that it emulates where a window would be in a traditional room. It opens up the space in such a way that it seems less like a store room, and far more like a creative space that someone would actually enjoy spending time in.

The lightning helps too, warm light filtering from the ceiling and corner lamps, and LCD strips illuminating the bookshelves from inside.

All in all, considering this was a utilitarian storage space just a few weeks ago, it seems like a downright miracle.

The three of them lean back against Jon's desk, free of clutter for the first and only time in its life. The bookshelves are empty, and except for his new painting, so are the walls.

The piano occupies one wall, and Gerry hopes to hear it being played often.

Jon reaches out and takes Gerry's hand, drawing them close together affectionately. "How long have you been planning for us to move in?"

"Well, I wasn't planning, per se. Only considering the possibility." Gerry smirks confidently. "I know we're all a little bizarre, but this is the course of most relationships, and we could only spend so much time sleeping over before paying for three flats became superfluous."

"Besides," Martin continues for him. "There's no harm in planning for something you hope will happen eventually. Especially when your new flatmates will be this wildly good looking."

He gestures to himself dramatically, doing a small turn in place. Gerry and Jon laugh with him happily, until he stumbles back into Gerry's side, where he gets wrapped up under an arm.

"So do you like your new space, Jon?" Gerry cuddles around him, twisting the three of them into an odd sort of snuggle pretzel.

"I absolutely adore it." Jon utters happily, sighing in contentment as they all lean there together.

***

At the end of June, Jon hands over his keys and the three of them officially live together.

There's still a lot of settling to be done, even though they've been moving in together for almost six weeks by that point. The boxes are unpacked, but they still need to make it a comfortable home for all of them, a certainty that comes only with time.

Martin and Jon both love their studies, a matching pair that look and feel completely opposite.

Martin opts for a small bedroom, keeping the bed from his old flat, his painting hung opposite. He finds an antique writing desk at a charity store, and installs it for writing poetry or working on his laptop in the evenings.

He adorns the walls with pictures and posters, and random pieces of poetry and music that he loves.

It's a cozy space that he adores, even though he opts to sleep in the master bedroom almost always. The option makes him feel like he has his own breathing room, even if he rarely needs it.

Jon's is more of a true study, with a large desk taking up the majority of the space. His walls are lined with shelves, and he promptly fills them with books and knickknacks. The odd collection includes first edition classics, next to mass market paperbacks and music books, with non-fiction nature and animal books scattered throughout. These are interwoven with seashells, tiny mechanical statues and several flowers preserved in resin, gifts from Martin throughout their relationship.

On the wall above the piano, he hangs framed photos of his parents, himself with Gerry as a teen, and all three of them together as adults. The photo he once took of Martin, Gerry and Tim hangs right in the centre, all his favorite humans in one frame. He hangs the sketch of him and Martin in the park from when they were all courting, as well as the others he has stolen from Gerry over time.

Gerry embraces the chaos and upheaval as if it's all he ever wanted, and really, it is. A home, with the people he loves, noisy and frenetic, loving and comfortable.

In the middle of July, he quits his job at the bar in the middle of a shift, with very little contemplation or preamble.

He smiles at his lovers radiantly when he comes through the door several hours early to find them watching a movie.

"What happened?" Martin queries, clear concern lining his expressive face.

"I quit." Gerry flops down between them, snuggling down immediately.

"But why?" Presses a sleepy Jon, trying to hide a yawn behind his hand.

Gerry shrugs. "I got the job because I was bored, essentially. I wanted to interact with interesting people and I didn't know anyone in London anymore. But tonight I realized how badly I wanted to be right here, with you two." He smiles at them, trying to explain without conveying too many of his sappy emotions. "l honestly couldn't think of one reason to be working at midnight on a Saturday, instead of at home, or out on a date, or literally anything else we could be doing together. So I quit."

"Oh Gerry." Jon whispers, both of them carefully tuned to his moods, regardless of his attempts at seeming unconcerned.

"I don't feel the need to fill my time and chase inspiration anymore. I just want to be with you. Both of you." He kisses first Martin's hand, then Jon's, grinning at them all the way.

"I love you. I'm happy you're home." Jon whispers to him, sleepy and content.

Martin hums an agreement, squeezing his hand and smiling down at him lovingly.

They watch their movie and then go to bed all together, and Gerry knows he's made the best choice of his life.

***

Gerry finds himself with an odd amount of time on his hands while his partners go to work during the day, like normal people.

He decides to take on several art commissions from clients he's actually interested in working for, which thrills Gertrude. He doesn't think it entirely makes up for his boyfriend hitting Peter Lukas in the middle of a showcase, but it's a start.

He also indulges himself and buys a new tattoo machine.

He's not really interested in taking clients again, but… well, he wants it and so he gets it. If it's only to use on himself or the occasional visitor, then that's fine by him.

"You have everything you need to give tattoos now, right?" Martin asks him one early morning.

Gerry is still mostly asleep, clutching a cup of tea and petting Saturn where he perches on his lap. He blinks at Martin, confused.

"I think so. I mean, I haven't used my machine yet, but there's really only one way to test it out." Gerry tilts his head curiously, sunlight glittering in his hair, dyed back to its original black. "Why do you ask?"

"Do you want to give me one?" Martin grins at him a bit shyly.

Gerry sits up straight, instantly wide awake. "Yes. So much."

Martin laughs warmly. "You have the same look on your face that Luna gets when we take out the catnip toys."

Uncaring about how eager he might look, Gerry shoos Saturn to go over and kneel by Martin. "I would be honored to have your tattoo virginity. Do you want me to draw something?"

"Yes," Martin tells him with a grin, "that's exactly what I want. A Gerry Delano original, right on my skin."

"What do you want it to be?" Gerry's teal eyes are bright and slightly manic, and Martin glories in the sensation of producing a new reaction in his lover.

"It's entirely up to you." He responds, pressing a firm kiss to Gerry's mouth. "I want to see what makes you think of me."

"Oh, I like it." He declares, jumping up and going off to find a sketchbook.

Martin sips his tea and smiles to himself, very pleased indeed.

***

"You're just going to let him give you whatever he wants to?" Jon blanches when Martin tells him.

"Relax Jon, it's Gerry, not some evil mastermind. He'll draw something I like. And if I don't, it's not hard, I just tell him no."

Jon, who rather considers that Gerry is an evil mastermind, does not look convinced. "But…"

"Hush, love." Martin tells him firmly.

Gerry, drawing under the window nearby, takes no notice of them. He has a focused frown on his face as he concentrates on the careful lines appearing on his page.

Martin considers it a rare pleasure to just watch him draw, and tries to guess what might be forming on the page before him.

He completely trusts that Gerry knows him exactly well enough to draw him the perfect tattoo. And then he can have his own piece of Gerry, inked right into his skin.

When he sits back down with Jon and Martin a little later, he has a smudge of charcoal above his eyebrow, and Martin gently rubs it away before Gerry has a chance to start talking. He blushes quite uncharacteristically, and Martin knows it means he's been swirling in the frantic rush of his own creativity.

"So I have a proposal for you." Gerry starts, body humming with excitement. "A tattoo in two parts, if you will."

"Yeah?" Martin encourages him, just as interested.

Gerry collects Martin's hand in both of his own, running a thumb over a spot on his wrist. It's the same place that Jon has his own tattoo, which immediately makes Martin pleased. "A small crescent moon, right here. The placement to match with Jon, the symbol for Luna."

Gerry pushes a scrap of paper forward, an elegant crescent moon filling space.

"For the other…" Gerry turns over the larger page, handing it to Martin.

There's an immeasurable beat of silence as Martin contemplates the design before him. A set of waxing and waning moons, connected by a series of dots, lines and more dots making a background of geometric shapes.

He… feels it. He understands now, what Jon had meant, when he described seeing the inspiration for his own tattoo for the first time. It's a representation of some inner part of himself, normally hidden from the world, but carefully unearthed for his lovers, over the course of many months and endless intimacy.

"Martin?" Gerry entreats, leaning minutely closer to him.

"I love it." He whispers, pulling the goth over to kiss him fiercely. They tangle together pleasantly, for several moments, everything else falling away as they get absorbed in each other.

"Not that anyone asked me, but I like it as well." Jon informs them pertly.

"Your opinion is as important to us as ever, baby." Gerry replies, grinning proudly. He turns back to Martin. "Where do you want it?"

Martin considers for a moment, before getting up and pulling off his shirt and jumper, leaving himself bare from the waist up. He still feels a small pang of shyness to be naked in any way, but confidence born of time and perspective drown most of it away now.

He and Gerry stand facing each other. Martin lifts the other man's hand, placing it on his sternum, over his softly pounding heart.

"Right here?" Gerry asks, voice soft.

"Right here." Martin affirms.

***

In the end, Gerry takes them over to Melanie's tattoo shop to work on Martin. He lists a number of reasons, but really, he finds a certain amount of comfort working under the stark lights and amid the buzzing of other machines.

They do the small tattoo first, and Martin sits for it exceptionally well.

Before Gerry starts the sternum piece, an endeavor of several hours, Georgie arrives and drags Jon off to drink coffee and catch up in a nearby coffee shop. Melanie goes into the next room to take another client, and Gerry and Martin are left alone together.

"Ready, love?" Gerry asks as he finishes placing the stencil, bisecting his chest.

"I'm nervous," Martin confesses softly.

Gerry doesn't move his gloved hands, not wanting to contaminate them, but he does press their foreheads together gently, taking a moment to sooth Martin with his companionship.

"Do you want to take a break? You can just sit with the stencil for a while." Gerry leans forward and places a swift kiss on Martin's nose, before retreating from his personal space.

"No, I'm ready." He smiles, biting his lip a little. "I just- I feel like this is a big moment, you know?"

"It is. You're embracing who you really are." Gerry runs a finger along one of Martin's chest scars, considering. "You're choosing to love yourself instead of just tolerating him."

"How can you always tell?" Martin whispers the words, voice heavy with emotion. "How can you put things into words like that, so simply."

"I know you. You think I don't see when you avoid looking in the mirror. You hope I don't notice that you used to hate being naked, even with Jon and I." Gerry pauses, tripping Martin's head up with the tip of a finger, minimizing contact still. "But I see you, Martin. I love you just the way you are. And I want you to love yourself just the same. I'll tell you everyday, show you constantly, if I need to."

Martin is crying for real now, tears streaming down his face. Gerry abandons his sterility, pulling Martin into his arms. He rocks his lover gently, and they are just together for a moment, no need to rush, no distractions. Just them, and the comfort they find in each other.

"I love you too." Martin tells him simply, when they pull apart.

"Good," Gerry grins, kissing him thoroughly, the taste of salty tears on his lips. He stands, pulling off his ruined gloves and going to wash his hands again.

Martin takes a sip of the tea Jon made him before he left, smiling because Jon always makes it with a little more sugar than he allows himself. "I'm ready."

When Jon returns, they're just finished up, the last few moments of buzzing filling the air. He watches them together, artist and canvas, and loves them fiercely.

"How was coffee with Georgie?" Martin queries, taking his offered hand.

Jon relays the details as Gerry finishes, and then cleans up.

Jon and Gerry stand on either side of Martin in the mirror as he looks at it for the first time. Martin nods wildly, when Jon asks if he likes it, and they hug him from either side as he sheds a few more tears.

Jon had once thought that tattoos seemed very boring in comparison to Gerry's normal work, but seeing the design come alive on Martin's skin, full of feeling and depth, he can't help but think of it as the best thing his lover has ever done. Gerry can't help but agree.

"Let's go to the park!" Martin exclaims as they leave, after saying their goodbyes to Georgie and Melanie.

"The park?" Jon asks, laughing. "It's so windy."

"I don't care, I want to feed the ducks and eat ice cream with my boyfriends." He insists, giddy with happiness and adrenaline.

"Okay, but you're picking the flavours this time." Gerry says, taking one of Martin's hands. Jon takes the other.

"Deal."

***

Jon and Gerry find themselves watching Martin once again feed ducks as they sit beneath a tree, more than a year after the very first time.

"Why don't we come to the park more often?" Jon asks from where he reclines between Gerry's long legs.

His arms snake around his waist, and Jon feels very content and comfortable, despite the cutting wind.

"Because," Gerry kisses under an ear softly, "we live in England and it rains more than 100 days a year."

"He looks so happy here." They watch as Martin stoops to offer a piece of bread to a curious toddler. The child is inordinately pleased, and her mother watches on gratefully from nearby as they feed the rowdy birds together.

"Are you happy?" Gerry asks him, unexpectedly serious. "With your life, with me?"

"Gerry! Of course I'm happy with you." Jon sits up, turning in the tangle of Gerry's limbs to face him.

"I'm only checking on you." He runs a gentle finger down Jon's face, then cups his cheek affectionately. "I know how much stress work puts you under and I hate that for you."

Jon looks away from his intent gaze, fiddling with his fingers nervously. "Well, yeah. My job sucks. The worst part is, I love being a librarian! Being surrounded by books, helping people choose something to read or guiding them with their research. But that's so little of my job now, and Elias just finds new and interesting ways to put pressure on me. But I'm not qualified and I know I probably won't get another job in a library, especially not without a glowing recommendation from Elias-"

"And we both know that's never going to happen." Gerry finishes for him.

Jon nods and they just sit together a moment. Gerry lifts one of his hands and kisses each of his fingers and then his palm, until Jon blushes and smiles at him.

"I know you think it's annoying, so you keep your feelings about work inside, a lot of the time. I don't want you to do that anymore, okay? If you have a terrible job, then we all carry that."

"But-"

"Nope, no buts. We are all partners. That means more then dinner dates and living together and sex."

"And punching rich fuckers who hurt our Martin."

Gerry laughs, still reveling in Jon's unexpected protectiveness- and the violent manifestation of it. "Yes, that too. There will be other jobs, for all of us, probably. But our relationship, the three of us. We're forever."

"Like those tattoos that you gave Martin today?" Jon asks, pert glint in his eye.

"Yes, much like that." He smirks brazenly back. "And the one I gave you, and the ones I've given myself, over the years."

Gerry continues, squeezing Jon's hand, "I know that the idea of not being able to provide for yourself scares you, but we're in this together now. You don't have to cling to a job that you hate in case you're left without one at all."

"I-" Jon looks away, uncomfortable to be so well understood. Gerry stits with him, energy easy between them, just holding his hand, loving and supportive.

"I have been considering, that is, maybe becoming a school teacher." The confession is halting, and he offers it with a small shy smile.

"I think that's a wonderful idea." Gerry responds, gentle encouragement colouring his voice.

"I would probably have to go back to school for a year. Get a post-grad in Education. I wouldn't be working for most of that time, and my savings will only go so far, even without having to pay rent." Jon whispers, as if the words will be any less offensive to him if they are quiet.

"You know I can float you, especially for just a year. And Martin too."

"It just doesn't seem fair to burden you with that."

"It's not a burden, it's a part of life. You think you're so old, that you should be settled, but you're barely 30, Jon. You still have time to make new life choices occasionally, and the point of being in a relationship is that you let us support you every now and then." Gerry is earnest and focused, and Jon can't help but believe him, long fingers cupping his face and teal eyes holding his gaze.

Martin arrives then, plonking down next to Jon and giving him a sloppy kiss on the cheek.

"What are we talking about then? Such serious faces."

Gerry nudges Jon, who haltingly offers Martin the same idea he told Gerry.

“Oh, I think that’s a great idea.” He says, eyes alight. “Like, high schoolers, right?”

“Yes, of course. Anyone under 10 is an alien and I don’t want to hear any arguments.”

They laugh at him, their contentment surrounding him warmly.

"You don't have to quit right away." Martin offers. "There are plenty of part time degree programs, and you have to apply first. It all takes time."

"You seem pretty clued up about it." Jon observes, narrowing his eyes at Martin suspiciously.

"Well, if you must know. I've been thinking about getting a business degree."

"Oh my God! Martin, how is this the first we're hearing about this?" Gerry demands, sitting up straight.

"I didn't want it to be a thing until I was sure, and the move was over." He confesses, "It's gonna take a lot of my free time and I wanted to discuss that with you both carefully."

"I'm gonna be living with two thirty year old students." Gerry mutters, shocked. He leans back against the tree again, running his fingers through his long hair.

"I haven't agreed yet-" Jon starts.

Martin speaks up at the same time. "You could get a degree too. We could all be students together."

"No, but thanks anyway." Gerry shudders, grimacing. He perks right back up. "I'll be your sexy study partner though."

"Gerard!" Jon cries, scandalised.

Gerry shakes his head. "As if I've never felt you up while you were trying to study for a test."

"Exactly!" Even Jon struggles to keep up his prim expression at that, and they tumble into pleasant laughter together.

"So," Martin hazards, "are we gonna do this?"

"Well, if you're going to. I suppose we should both get it done at the same time." Jon responds, still hesitant but clearly warming to the idea. "You're really okay with this, Gerry?"

Gerry beams at them both, a soft, special look in his eyes. "I'm more than okay with anything you want to do with your lives. In case you haven't noticed, I'm really very fond of you both."

Jon leans forward in the circle of Gerry's legs, pressing their lips together in a gentle kiss, before turning back to lay against his chest.

Martin shifts around to lean into his side, and Gerry tucks one arm around him, the other around Jon. Jon reaches out to take one of Martin's hands, and the three of them sit wrapped up together.

As ever, their own mutual magnetism draws them forever closer and closer, binding them to one another in an inexplicable tangle of love and affection.

"Do you think it will always be like this, between us?" Martin whispers gently, as the sun begins to set and the landscape sets ablaze before them.

"Probably not," Jon responds, voice warm and content. "Life will keep shifting like a tide, and we'll move with it, but the great thing about us is- we're moored together. Nothing can keep us apart, because what we have is stronger than whatever shifts and eddies might try to take us away."

"The gravity between us is fiercer than any storm, any disaster that might try to shake us." Gerry picks up Jon's train of thought, pulling them both minutely closer.

"Good," Martin says simply, fiercely in love and the happiest he's ever felt.

They watch the sun as it drops below the horizon, sometimes quiet and occasionally sharing some errant thought or another.

They eat ice cream on the way home, holding hands and laughing.

It's warm, and soft and peaceful.

And they're all, finally, home.

#the magnus archives #jonathan sims #martin blackwood #gerry keay #jongerrymartin #fic #also on ao3

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nyxicnymph · 3 years

Text

Horizon and Edge

#3: Different people, different places

Hailey:

I wake up and stare at the ceiling. After apologizing to Edge last night, I definitely feel better.

I roll out of bed and get ready for school. Kaylee said that she and Beth have been planning something for me. And that I’ll get to see--Ooh, shorts over leggings, very nice--I’ll get to see it today.

At school, Beth and Kay are super excited. I wish they would just tell me what’s going on. If I know that there is a surprise, I hate it. I’m also a naturally jumpy person, and hate surprises in general. And people. And social events. And convention, tradition, stereotypes, and all things normal. AGGG! I will never adjust to normal society!

Okay, ignore the diatribe.

I breeze through math, which is unusual. I usually struggle, and there is much throwing of pencils. Then I get lectured for throwing the thirty-cents-worth of pencil.

Science was science. English made me want to scream obscenities in French, and German. Not that I know any swear words in German, but still... AGH! MUFFIN-FUDGING ENGLISH THREE!!!!

Anyway, after school, I’m just sitting on the steps. Beth and Kay come out of the monstrous building that is our school, and tell me to follow them. I do so, wondering what they’re going to show me.

Thirty minutes later, we are standing in front of a... tiny house. It’s a tiny house. AHHAHHAHHAH-HAHHAHHAH!!

“Nice clubhouse,” I remark.

Behind me, I hear Beth ask, “Kaylee, are you all right?”

Kaylee bursts out: “IT’S NOT A CLUBHOUSE! It’s a place for us and our friends to get together and hang out! To play games and do homework and to get to know each other! It’s not a clubhouse!”

“Okay.” I turn to Beth. “So... it’s basically a clubhouse?”

Beth nods. “Yeah, pretty much. She just won’t admit it.”

“OMIGOSH IT’S NOT A FREAKING CLUBHOUSE!!!!” Kaylee explodes.

I laugh, and pat her on the shoulder, then I walk in. I almost run into Rick, who is one of the two guys that the girls introduced me to yesterday. The other guy is really grumpy. His name is Cole.

“Sorry!” I exclaim, trying to get around. He blocks me.

“Nice to see you again. Kaylee brought you here?” He asks.

Agh, why must people speak to me?! “Yes,” I say, then duck underneath his arm. Both thank the cheezits for and curse the muffin-fudging tall people!

I take in the room. Clearly, the tiny clubhouse only has one room. There’s an old couch, some old tables, an old fridge, etc. Clearly, most of this stuff is third- or even fourth-hand furniture. Probably from the Quintants’ parents.

I see Cole. He sees me. He waves at me, and says, “Hi, Persephone.”

PERSPHONE??!!

I clear my throat. “Excuse me, but that’s not my name.”

“All right, Persephone.”

“DON’T CALL ME PERSEPHONE!!!”

“Yes, Persephone.”

I yell in frustration, and walk to the other end of the room. Until I see Erik. Then I stop walking, and just stand there. I feel dumb, but...

1. I don’t like Erik very much.

2. I don’t like boys very much.

3. I don’t know these kids very well.

4. I don’t exactly know why I’m here.

5. I’m not a social person.

6. Bethany and Kaylee are talking to Rick, and I don’t want to talk to him again.

7. Better to feel dumb and not talk to people you don’t want to talk to, then to talk to them and dislike them even more.

8. It’s a small clubhouse, and I don’t have anywhere else to go.

Anyway, I’m not talking.

I glance at one of the tables, and sit down at it. Then I pull out my sketchbook, and some pencils. I might as well do something.

I’m getting along pretty well, drawing my favorite horse, Stella, being tended to by James, our ranch-hand, until I sense someone behind me, watching me. I turn around, and see Rick. He is really close.

“Um...” I can’t say anything else. I can’t talk to boys, except to yell at them for being dumb. Never have. Well, I can do it to Liam, but he’s my brother. Different circumstances.

Rick starts, then turns bright red. His hair is a subdued brown red, so he looks kind of like an upside-down fence post.

“Sorry,” he says, “I was just looking. You draw really well.”

Suddenly, my tongue is loosened. “It’s not star quality.”

He brightens, like he wasn’t expecting me to speak, but now that I have, maybe we can get along.

We’ll see.

“It’s better than mine. I prefer to draw stick figures, and horses never show up. How did you get so good?” He asks. He’s genuinely curious. I suppose I better tell him. Lying’s not my shtick, anyway.

“Well, I’ve lived on a ranch for most of my life. So, besides doing all my chores, and amassing useful skills, I began to draw in my small amounts of free time. Growing up on a ranch gives a good idea of how any kind of body works, so I began to start drawing people and animals. I’m also fairly decent at landscapes, though not at the same level as my people.” I stop for a breath, and to see if he wants to add something to the conversation.

Because that’s how conversation works.

Rick looks at me. “You grew up on a ranch?”

“I did MOST of my growing up on a ranch. I’m finishing my growing up here in the City,” I correct him.

“Right, right, of course. But I guess that explains your ‘different-type-of-girl’ aura.”

“Um, aura?” I question. “You mean how I carry myself, right? Because I don’t believe in magic and stuff like that.” And I don’t glow.

Rick nods. “Yeah, it’s in the way you carry yourself, the way you look at problems and find solutions, the way you interact with people.”

“Cautiously?”

“Um, yeah. Though that’s really an understatement. You are clearly used to non-human companionship.” He laughs. “You actually seem afraid of people.”

I cringe. “That obvious, huh?” I sigh. “It’s more of a fear of... not understanding them. I was raised differently, even from other kids on ranches, and I know it. I’m more afraid of not understanding society, but at the same time, I kind of... embrace it.”

Rick shrugs. “Hey, I understand embracing the unconventional. I’m different, too. Even from my family. But you are like... thirteen times as different.”

I raise an eyebrow. “Thirteen? Really embracing the unconventional, aren’t we?”

He laughs.

**********************************************

Later, I’m out wandering. I told my parents, I have a GPS, and I told them I’d probably be home by ten o’clock. I’m set.

As I turn down a dark street, I see a patch of light that stands out. Naturally. But I mean, it’s different from the other patches, like those from streetlamps.

I step closer, and look at it from a closer distance. It seems more like it’s moving light, or moving light and sound. Or just a really bright flashlight.

I creep a little closer. It doesn’t seem to change. It’s really bright...

I accidentally touch it, and get sucked down into a mess of sound and light distortion. As I land on a hard surface, I hear someone shouting:

“Welcome to the Never-Ending Show!”

Oh, no.

#horizon and edge #h&e #hailey jardin #kaylee quintant #bethany harvord #my story #original story #send me asks #erik quintant #rick todson #cole myenah

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coffeecomicsgalore · 4 years

Text

25 Days of Adrien (+6 of Marinette)

Adrien joins in on the Dupain-Cheng's family tradition of trimming the tree.

Part of the MLHolidays2k19 Prompt

Ao3

Chapter 7 – Christmas Tree

Christmas time is a very busy time of year for the Dupain-Cheng's bakery. Special orders tripled overnight for all the festivities the customers were planning. The amount of catering events Tom and Sabine needed to create treats for were overwhelming. This left little time for the family of three to really sit down and set out the Christmas decorations.

Currently, the only decoration related to Christmas is the fireplace Marinette and Adrien created a week back. She wished that she could set the tree up and decorate the apartment, but it’s a family tradition to do it all together.

Marinette sat at the kitchen table, tapping her fingers in a four-beat fashion as she waited for the kettle to whistle. She was busy thinking of all the presents she still needed to complete before Christmas. Her mind then switches to thinking about the bakery and how her schedule was packed with assisting her family in processing all those orders.

So many thoughts continuously run through her mind on a loop. She was alone to wallow in her own spiral. Adrien was busy at a photo shoot and would come by later in the afternoon. Tikki was sleeping beside a plate of cookies the two were munching on earlier. Her parents were busy catering an event this morning and should be back soon. She was told the event wasn’t too busy or heavy in party attendees, so maybe, just maybe they could finally put the decorations up as long as they weren’t exhausted.

The emptiness of the apartment was jarring. She only veered back to reality when the kettle whistled her awake. She grabs a mug and pours some hot water to the waiting tea bag. A spoonful of sugar was added for sweetness and she was back at the table ready to draw in her sketchbook.

She sips some of her chamomile tea allowing her mind to relax a bit. A text from her parents came through and Marinette squealed in excitement. This promptly woke the sleeping god.

“Tikki, my parents are coming home early! The event ended sooner than expected. Apparently, the hosts had hurt themselves dancing on a table...” She stared at her phone with a perplexed scrunch to her brows. “Hopefully they’re okay. That really puts a damper on a party.”

Another text comes through as if they read her mind, “Yep! My parents say they are okay.”

Marinette gets up and runs to the storage closet.

“Marinette, what are you doing?” Tikki hovers over to her chosen as she watches her dig through the closet.

“If my parents are coming home early, then maybe we can decorate! I’m grabbing everything and putting it all in the living room.”

Another text comes through. Tikki scurries to the phone to see it was Adrien this time.

“Adrien says his photoshoot is ending in a half hour. He is going to get cleaned up and head right on over.” Another ding. “Give him an hour.”

Marinette couldn’t be happier. Both her parents and her boyfriend were coming home early and hopefully she can convince everyone to decorate. She doesn’t think it would take much to convince them, though. Even if she sets everything up herself and just had her parents sit with a hot cup of cocoa until it was time to put up the ornaments, then heck she was going to do just that.

Before long, she got all the decorations out of the closet and into the center of the living room. She ran up to her room to grab her cute Christmas sweater, something Marinette always wore when she decorated. She also grabbed the Santa cap on her table and ran back down the stairs.

As soon as she hit the last step, her front door sprung open with her maman and papa coming in. “Marinette! We’re home cupcake.” Tom said joyously.

“We can see you were busy” Sabine said, gesturing to the decorations.

“I was really hoping we could decorate the house today since you guys are home early. Plus, with it being Sunday, it means that the bakery is closed and you don’t have any other catering events today... I was thinking if you guys weren’t too exhausted, we could maybe decorate?”

Tom looked over to Sabine, a simple smile confirming their decision on the matter. “We can certainly do that.”

“Do you think we could wait for Adrien? He’ll be here within the hour and I thought it would be nice to include him in our traditions since he doesn’t seem to have any of his own.”

Sabine placed a hand on Marinette’s shoulder, “Of course, dear. He’s family to us. It would be wonderful for him to join us.”

-----xoxox-----

Adrien quickly cleaned up from the photo shoot and sprinted towards Marinette’s home. Luckily, the photoshoot wasn’t too far away and the photographer was happy with how his photos were coming out.

Photoshoots were much easier since being with Marinette. His smile was more genuine and photos looked so much better than ever before. This made his photographer extremely happy and the photoshoots were over so much quicker because of it.

Once he arrived, Tom picked Adrien up in a bear hug, literally carrying him into the living room. Marinette let out a laugh before walking up and giving him a peck on the lips. She placed the Santa hat on his head.

Adrien grabbed a croissant from the table before looking at the decorations spilling from the boxes.

“Are you guys going to decorate?”

Marinette smiled at him. “Yes. It’s a family tradition to decorate the house together.”

Adrien swallowed a little hard, then rubbed the back of his neck. “Oh, I can come back later. I don’t want to intrude on your tradition.”

Marinette frowned. “No silly.” She grabbed his hands to help stop his nervous habit. “What did we tell you? You are part of our family. That means you are included in all our traditions. This one included.”

Adrien smiles wide. “Okay.”

Soon enough, Adrien was helping Tom set up the Christmas tree while Marinette placed the garland along the stair railings and Sabine decorated the kitchen. Once the men had completed the first step, Tom had Adrien string the lights and Tom placed the red garland around the tree.

Together, the four decorators took turns placing the fun ornaments on the tree. Many were created by Marinette throughout the years, a few from travels to China, and others that were given by repeat customers that favored the family.

When the last ornament was placed on the tree, Marinette slipped away to grab something in her room. Adrien and Sabine were busy speaking to each other in Mandarin to notice her departure.

Marinette walked back down the stairs with a bright smile on her face. This prompted Adrien to excuse himself from Sabine and looked over to Marinette with a curious smile. It only worsened his curiosity when he could see she was hiding something behind her back.

“Marinette, what do you have in your hands?”

“What? I don’t know what you’re talking about,” she said with a grin.

Adrien kissed her nose. “Please?” He gave her some serious kitty eyes.

Marinette handed him the surprise. “Fine. But only because you’re cute.”

She hands the item over to him. His eyes widened with a surprise of countless emotions running through his face. It was an ornament – a red, square picture frame with a silver-plated banner across the bottom leg of the frame. On it, it said ‘Our Family 2019’ in cursive font. In the frame was a picture of Marinette and Adrien sitting in between Tom and Sabine on the couch.

Tom had wrapped his arm around his wife, waiting for his reaction. Marinette, bouncing on her toes, waited eagerly for his reaction.

Adrien lowered his head, most likely hiding the tears that were trying to fall from his eyes. He wouldn’t let it happen though. Marinette’s family had been nothing but amazing to him over the years. The love for him only grew when Marinette and Adrien started dating.

“You guys are the family I had always wanted.” He looked around the room to the three. “Thanks for giving me my Christmas gift early.”

With that, they all wrapped their arms around him, embracing him in a warm hug.

#miraculous ladybug #miraculous ladybug fanfiction #ml fanfic #mlholidays2k19 #adrien x marinette #christmas fluff

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madamhatter · 4 years

Text

rebellicnstar inquired: /)///v///(\ { Natsume or Subaru? :O } Send “/)///v///(\” to see how my muse would talk about yours to another person. | accepting ! | @rebellicnstar

In the life of the heiress, dexterity and adaptability were tools of her trade. Exchanging between facades of demure submissiveness to diffident civilness to the taciturn schemer -- several more masks hung up in the closet for emergencies -, eclectic she was to personate any caricature best-filling the situation. After all, the theatrics of lying and disguising intentions were merely commonplace in the affluent. And, for she who led a life as the misfortunate of three, subservient to the whims of tradition and family, she would do all that she must as the actress to ensure her sisters’ safety, health, and future

...And, perhaps, impersonating different possibilities of life she couldn’t have, were drops of bittersweet euphoria. Far too addicting, Miss Hatter. Best control your intake before plummetting off the abyss.

What mask had she adorned today? The day embraced winter wondrously, a light cooling breeze swept through the city and, by God’s name, the sun peeked from out from behind her curtains of gray clouds today. A perfect day for an outing and the heiress was roped into such arrangements. From the modest, plainly dress of grey to grey slacks and white button-down, from monotonously shaded, thick shawl to gray blazer, and chipped, old brown boots to one-inch closed-toed pumps of black, and tightly braided low braid to high braid of brown and silver locks, from grey mouse to the silver fox, the Hatter resides in the professional sphere. A controlled smile, observant eye, and illegible mind were all a part of this mask.

A gaggle of five -- Alice, Cynthia, Denise, Ivania, and Samantha -- roughly in their late teens but still younger than Sophie, gathered at the front of the cafe, facing another in their seats, chatting away while silver-haired sat overlooking both the busy street corner and girls. Ivania brushed her fingers through her pixie cut of purple, smiling impishly while eyeing between the dewy-eyed Denise of long, wavy brown locks and wide-eyed, gasping Samantha of straw-yellow and thin, long hair pushed together into a lazy bun. To the left of Ivania was the snickering Alice, twirling her finger into her Rapunzel-length hair, passing comments to a quiet, equally as humored Cynthia, who adjusted her head wrap.

Chaperoning was of the most common duties for Sophie, gained by both the trust of her much older business partners and unrelenting demand of her stepmother when she trained. Only out of the rules of social etiquette did the eldest participate -- after all, these relationships held ulterior motives. There no such thing as a relationship in Sophie’s life; all came with a price, a purpose, and it fell on her to provide. After all, she was to be used, broken. That’s all good she’s for.

Refraining from eye-rolling, the heiress shifts in her seat, frame straightening, as she opens her sketchbook. A chorus of giggles and whispers aside, the atmosphere remained relatively peaceful, besides from what infested the current conversation. Currently, the topic was among one of those. Typical teenage talk of gossip and...ugh, love.

Headlong romances, summer crushes, and formal arrangements, none of which suited the teenager. Most around the table had only received from confession letters in their school bags or hidden on their desks. Off-the-table conversations of long term romances were far and in between the young women and their families; there was simply no desirability to follow that tradition with how secured their fortunes were.

Well, that must be nice, Sophie thought. Back home, and even before she turned eighteen, her postbox had been full of strangers proposing through letters, promising of love, security, and devotion. But, it was only a flaunting show to what they believed she desperately: security and wealth. The greed of man drowned itself in the desperation of the helpless and unfortunate, willing to compromise ethics and create deceits for any means to take advantage.

“Eh, Sophie, have you?” Cynthia’s umber irises glanced down the eldest at the table, mildly adjusting the pale pink headscarf carefully yet barely touching the material. Sophie blinks hard, lifting her head. “Pardon?” Sophie twirls the pencil between her fingers, inquiring context. “Has anyone taken a fancy to you?” Cynthia replied forwardly, raising a black brow with slight intrigue.

Glancing down to the parchment, following the faintest traces of lead and the outline of an undetailed face, Sophie’s lips part. Yet, nothing leaves. Anytime the post came full of proposals, it meant that the fireplace in her father’s study would be well-used that night. She drums the end of her pencil against the sketchbook, drumming along to her thoughts. Yet, for the five seated in anticipation, it was ---

“Why are ya’ reluctant? Your mum doesn’t know?” Ivania inches forward. She hadn’t shared any of her personal life with them, Sophie realized. Though, what point was there to blend two different lives she’s already strived to keep separate all this time?

“No, no, no,” the heiress waves up her left hand, dismissing the claim. She looks down at her sketchbook. “Ah--” But, there was--

"Oh, I have.” Sophie’s head snaps up. “A most interesting proposal. An up-coming and rising Japanese celebrity outright proposed without a second thought. Not only that, it was an invitation to a polyamory group...with other celebrities.”

“I thought Lettie was jokin’!” Denise gasps. “You’re surely mistaken,” the heiress cocks a brow. Shit, seems like Lettie has a case of leaky lips. How could I even ever tell her of my current predicament?

“I did turn it down. But, the one who’d approached my hand is an exquisitely bright young man! He knows how to draw attention to him whenever he enters the room with merely a flash of his smile. I suppose the most telling part of his person as his eyes. Beryl color, large, ever so capturing anyone he sees, and it feels like he listens to every word he could before blurting out everything he wants to say.”

“Ahaha--” A stray silver strand rests against her face and she brushes it aside as she laughs. “He’s quite the forward person who’d be honest with his feelings and never shy away about why he would like something.” Like how he adored coins simply for their shine. “It’s so rare to find someone who’d be as willing to say whatever it is on their mind without making a whole game out of it,” she huffs, refusing to name names.

“Now that I think about it, I stand taller than him if I did put on my heels, which aren't terribly high. But, that doesn’t matter at all -- I’m not sure why the lot of you at your age take someone’s height to be such an important factor.” Her fingers begin threading through her ponytail. “He’s also a wonderful dancer, from what I recall. All of his unit are, really. They’re a part of the group that he invited me to. Oh, they sing too! They’re musicians.”

“Oh goodness, the more I think of it, he’s certainly one who thinks out of the box with his replies. He’s..He’s much like the sun if I think of it now. I haven’t ever seen his sad, but he truly exudes such positive, albeit hyperactive, energy. A free spirit too, ah...” Sophie sighs, curling her index finger through the ends of her ponytail.

The heiress waves off her thoughts, clearing her throat. “Forgive me, girls, I went off on a terrible tangent. I don’t meddle with romance. Too much work to do when I’m up to my head with my own business and duties running my corporation.”

In unison, the table shouts, “HOW COULD YOU TURN HIM DOWN?”

#( checkbooks inquiries and much ; answered asks )#( verse: postmortem and postmodern workaholic )#rebellicnstar #[ Also I'm really sorry how dense this got mfkldsfs ]#[ i couldnt HELP it ]

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doodleswithangie · 5 years

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doodleswithangie’s summary of art 2018

It’s the end of 2018! I’ve picked 12 pieces that I think were the most representative of how I grew as an artist - whether it be through a new technique I taught myself or a project I went through that month, or just something I was really proud of making. I put the links to all the pieces featured under the cut with a little summary of that month’s highlights!

Thanks to all of my followers! Somehow you’re all still here, so whatever you follow me for among all the hodgepodge of content I reblog - I really appreciate all of you sticking around. Here’s to 2019!

Check out all my tumblr doodles here! I’ve also become very active on Instagram this year, which you can find here!

JANUARY: lance 🌙 This was a prompt I was sent for an askbox meme, and I got really invested in the concept and was stuck for a while on how to execute it, but I’m really proud of the result. Also this month: a clothes-swap askbox meme and a Danny Phantom phashion week event. (I tried to do a lot of askbox prompts and events this year to challenge myself and stay active!)

FEBRUARY: dnp + dogs valentine’s day I experimented with lineless work early this year, and for this piece in particular I remember having to find the right colors for the illusion of depth. I also tried to make it really, really cute and heartwarming. (I think I succeeded.) Also this month: baby Lance and Klance week.

MARCH: murphy siblings + buttercup This was my favorite comic that I did for an askbox meme. I had this concept for a long time, and this was the first time I used overlays and basically tried every option I could to achieve the lighting and mood. Also this month: the rest of the music prompts - Miraculous Ladybug, Voltron S5 (the best season), Klance, and Dan and Phil.

APRIL: murphy siblings tribute This was another concept I sat on until I felt that I could do it justice, and I was really surprised by the response! (Sorry to everyone I made cry.) Also this month: a collab with @lil-tachyon and 2009!Phan and 2012!Phan vs 2018!Phan.

MAY: phanniemay day 26/27: imprisoned/exposed Phanniemay! I was so happy I could finally participate this year, and I explored so many different techniques and got to rework concepts that I’ve had for years. I was again really surprised by the response this one got, but then again the Phandom is known to really embrace the darker implications of the show. Also this month: a childhood friends klance au and the rest of Phanniemay.

JUNE: dnp clothing swap I think this was in my sketchbook for a while until I eventually got around to lining and coloring it digitally. I’m still really pleased with how it looks, and I think it captures the general 2018 Dan and Phil vibe. Also this month: Dan’s Birthday (which I still really like) and on the Voltron side - Broganes and Klance.

JULY: just lance things: homesickness This was definitely the most experimental thing I did for Lance’s Birthday Week, and I still don’t really know how I did it. Also this month: my first (online) OC and Interactive Introverts.

AUGUST: MICHAEL MAKES AN ENTRANCE! I finally saw Be More Chill and fell in love. AND GEORGE SALAZAR TALKED TO ME AT STAGEDOOR AND COMMENTED ON MY ART ON INSTA. Yes, I was freaking out. Also this month: @lil-tachyon’s OC Sesuna and Leakira (which I still think is the funniest thing the fandom’s ever done).

SEPTEMBER: klance pjo au I spent a week and a half thinking through this AU trying to make it work story-wise for my own sanity. This was wildly popular on Instagram which was really weird for me, but it also made me glad that my overthinking was appreciated. Also this month: the rest of Klance Month (all of which got really good responses across both platforms!)

OCTOBER: inktober day 16: the teenage racer I did Inktober over on my Instagram again this year! I always use this challenge to relearn traditional drawing (as I go digital for most of the year), and this year I had a really good pen and sketchbook that I used. I tried to push myself creatively regarding character design, but sometimes I just really wanted to draw tributes to my favorite shows or books. I improved so much since last year’s Inktober, and I can’t wait for next year’s! Also this month: the rest of Inktober on my Instagram! (My favorite is this one of Keith and Cosmo.)

NOVEMBER: potatus et molassus I introduced Over the Garden Wall to my cousin and remembered how much I love this show. I drew these in my sketchbook, then inked and colored them digitally. I really like how I managed to get the spooky atmosphere befitting of teh show. Also this month: Klance Pocky Kiss, Co-Leadership Klance, and Lance Phantom AU (all of which got a great response on Instagram).

DECEMBER: cover me I had a doodle in my sketchbook from the beginning of the year that turned into the bane of my existence as I couldn’t translate it into a satisfactory piece no matter what. Eventually I got this, which I like to think I pulled off. Obviously done when I was still optimistic about Voltron S8. Listen, Voltron still is and will be one of those defining shows that shaped me as an artist, so I have that to thank for it. Everything else... yeah. Also this month: PINOF10, Miles Morales, and post-canon Festive Klance (because despite everything Voltron did, they still somehow left post-canon Klance as an actual possibility, which is just baffling to me).

#artists on tumblr #voltron #klance #dan and phil #danny phantom #dear evan hansen #inktober #otgw #into the spider verse #doodleswithangie

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dotzines · 5 years

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Artist spotlight: Mariya!

Instagram ✿ Twitter

Header source: [X]

Introduce yourself Hi, I'm Mariya, I dabble in everything art & design! I work as a graphic designer but right now I'm going back to my roots and very into illustration. I love video games (sekiro, dark souls, Zelda, final fantasy) , doing new things, especially in NYC, and looking for purpose in life ._. ! When did you start drawing? Are you a digital or traditional artist? I didn't have interest in art until 16 Which mediums are your favorites? Did you try going digital? I use markers, watercolors, ink pen, and charcoal. I work digitally as well but haven't done it for a while

image source: [X] Why do you prefer traditional over digital? (or viceversa) There's a certain charm to have been created by hand that digital doesn't really replicate. I really want to get back into digital though, it's just I don't have an iPad or anything to draw on the go like I can with a paper pad. What do you think is the most challenging part about being a traditional/digital artist? Not having layers, lol. Harder to experiment but it's also nice to just throw yourself into the process even though you might screw it all up and not have an undo button. What inspires your pieces? A strong feeling might cause either an image to pop into my head or if not, I'll create dozens of compositions in my head, moving the elements around, until I capture that feeling or idea and can put it on paper.

image source: [X] Explain your "everyday" drawing process Right now, I try to not overthink it. I do a very rough sketch usually in pink pen, then place color down with markers, light to dark, blending and mixing. Then I use a black brush marker to do lines and dark areas. Finally, I add white details with a white gel pen if necessary. Nothing can be erased, only covered with a darker color, so it makes me approach each move with confidence and not waver. Do you have an artist you admire (or more than one)?

Amano's loose and beautiful compositions and anatomy, toriyama's unique style and approach to character design, even though I kind of dislike many of his characters' designs personally, lol. Is there an artwork you are most proud of? Why? https://www.artstation.com/artwork/oOzN4B I really like this right now bc I did it quickly on a short plane flight in as tiny sketchbook, after surgery, instead of fully focused at a desk or something, but it captured everything I wanted to capture. I work best with an element of chaos and this reinforces that, I think.

Do you listen to music (or tv shows/films/anything else) when drawing? Yes, usually either video game instrumentals (like https://m.youtube.com/watch?v=8Zzoh8lgsOg&t=1700s) or a playlist of The Weeknd and Lana Del Ray

image source: [X] What makes art interesting for you? Creating something that no one but me can make, an idea and execution that has never been done before. It's something that I think only creatives really are able to do. It brings me purpose and makes me feel less insignificant. What do you do when art block strikes? I just don't make art, unfortunately. If it's mandatory to start right then, I go out for an iced coffee, on the walk there i endlessly brainstorm various paths I could take my piece until I find one that flows into a good idea. What’s the most valuable art advice you’ve ever received?

During my first class in college from my 2d-design professor: you create better and more creative art when working within boundaries placed on your art, rather than full freedom. Embrace being bound.

#Mariya #artist spotlight #red zone artists #red zone

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chimaerasketch · 5 years

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Art Therapy Activity: Color Bands

I’d like to introduce you to one of my

Favorite ‘mindless’ mindful art activities. The process of creation itself has been shown to boost serotonin levels in the brain. It’s relaxing for many, and can function as a wonderful form of meditation.

Of course, when serotonin is already low, it’s difficult to think of things to draw, finding motivation is hard, and starting can be difficult.

This is a creation exercise I use to get around that. It works digitally or traditionally, though I prefer to work traditionally when possible for this, as I find the familiar scratching of a pen on paper reassuring. I am working in paint pens. I like that waiting for them to dry forces me to stop and rest my wrist periodically, as I tend to not notice my body’s warning signs when I’m focusing. If you have misophonia triggers related to scratching, digital may be preferable. This exercise may not be suitable for people with high contrast migraine triggers, but you know your body and needs better than I do!

I like to start by creating boundaries for myself on my page. I put my starting date and box it off, because keeping track of time is important to me. I draw borders around my page that will contain my creation.

I then start to create symbols. You can doodle anything. Scribbles create results as wonderful as full drawings. I often start with a sigil I’ve created related to a current goal or issue I’m working through. The one I am using here means “the fighting will stop,” as I’d had a bad argument the day before that resulted in some nasty rejection sensitive dysphoria. I then draw some stars over the page, as they’re a personal symbol and it struck me as important.

Once you feel you’ve scattered enough around the page, choose your first color and start outlining everything. I’m using pan pride colors because the mood struck me, and I’ve been thinking on what love means to me a lot, lately. I outlined my sigil in white first, but you don’t need to do that if you don’t want to!

As you can see, my pink pen spilled and smudged on the page. That’s ok! It’ll become part of the design. It’s part of why I like traditional. I’m using it to help myself embrace mistakes.

Once my first color has dried, I start on my second. I added a few more stars, and I decided I liked the pink smudge, so I added a yellow one.

Then I switched to my blue, and added a blue smudge. At this point you cycle back to your first color, and so on.

As I went I added more little doodles, and outlined them, too.

Stop when you feel you’re done. You don’t HAVE to fill the whole page, but you can if you want!

I like this exercise because it keeps me focused on a task that sort of commands itself. For me, it can often break through my executive dysfunction to ‘jumpstart’ my ability to do things for the day... all in exchange for about an hour of doodling.

Also, I get a pretty cool bright page in my sketchbook, so win/win.

#art therapy #doodles #therapy excercise #tutorial #traditional art #ayeaka #posca

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indischen · 3 years

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Women Movers and Shakers of the Gems & Jewelry Industry

Representation of women in the gems and jewelry industry has advanced in recent years, but there is still a long way to go. Like many other spheres, this industry has largely been seen as a “man’s world,” where women have had to overcome significant barriers in working in the sector.

There has been, admittedly, some progress with books and exhibitions about past and present women jewelry designers. The focus is primarily on the downstream retail and design sector. Women’s representation is almost absent in the upstream supply chain – the mining, sourcing, manufacturing to gem cutting, and gemological research.

According to most estimates, women drive demand for more than 90 percent of the world’s jewelry. Their tastes and preferences shape the jewelry market and influence decisions at every step of the supply chain.

The Women’s interview series is a monthly column that aims to celebrate and amplify women’s voices in all facets and levels of the industry. We all have the responsibility to change the narrative into an inclusive and inspirational one. This is a platform that focuses on today’s trail-blazing female practitioners.

Jewelry is more than just an accessory for Burmese Toronto-based Karen Pyu, the creative force behind the brand Mondselle. “It is an everyday art form, one to be expressed in the most beautiful ways.” Karen has made a name for herself with creations that beautifully combine her Burmese heritage with the urban, fashion-forward city of Singapore. Her jewels have already won the attention of Myanmar and Canadian celebrities, including MYA and Aung San Suu Kyi, the State Counsellor of Myanmar. Her passion for fine art began during her childhood and continued to grow through the years in high school. Karen moved to Toronto for her jewelry design and metalsmith training at Ontario College of Art and Design (OCAD) before launching her brand in 2015. Applying her honed sense of style and creativity to the realm of jewelry design, Karen Pyu puts wearability at the heart of her creations.

She tells us more about her design philosophy and the female icons that inspire her work in our exclusive interview below.

Can you give me some background into your journey before launching Mondselle? I was born in Myanmar and lived there until I was fourteen. As a kid, I remember coloring with crayons and enjoyed working and layering colors to create different effects. My mother saw how much I loved to draw and put me into art class every summer, but it wasn’t until we moved to Singapore, when I was given the opportunity to take a large variety of art classes and really pursue it as a passion. In high school, there was a design competition for SIGG water bottles, and my submission was selected as the best. It was amazing to see students carrying around the water bottles with my design on them. This really kick-started my passion for pursuing it as a career.

I moved to Canada for my jewelry design and metalsmith training. After graduating from Ontario College of Art and Design University (OCAD), I started Mondselle, which consists of fine and fashion jewelry.

Could you explain how the name Mondselle came about? The name Mondselle is derived from the French word “mondaine,” meaning a woman belonging to fashionable society, and the word “Elle” meaning she. The brand is catered towards many sides to today’s modern women. Through my creative work, I hope to make women look and feel fashionable.

How would you define your brand aesthetic and style? I gravitate towards ornate and sculptural aesthetics, and I’m also highly attracted to floral motifs. I design jewels that I genuinely believe in, and I would wear every day. My focus is also on wearability, which’s suitable for both the classical and fashion-conscious woman. You can pair one of my rings with a cocktail dress just as easily as you can with jeans. With a fine art training background, I also create visuals for my work. In an industry saturated with mass-produced fashion jewelry, it is crucial to set yourself apart through talent, quality, and craftsmanship.

What inspires your work? Having lived away from Myanmar since the age of 14, I learned to harmoniously integrate with other cultures. When I travel, I always pay attention to what’s around me, the people, and incredible art and architecture. I often like to look at the history and traditional elements of a culture, especially Burmese, to derive a theme, making it relevant to current times and telling a story with every piece.

What gemstones do you like working with? I love working with colors, so naturally, colored stones are my playground, and I especially love all shades of blue. Sapphire and tanzanite are my favorite stones, along with Burmese rubies and emeralds.

What kind of woman wears Mondselle? What do you want women to feel when they wear your pieces? I want Mondselle to be a place where customers come to create or purchase something that will be memorable. Whether it is a gift for yourself, a friend, or someone you love, we want to create new, meaningful relationships and stories to be shared. We cherish the moment a special piece of jewelry was given to us, and it’s a memory that lasts a lifetime. There is tremendous satisfaction and a great honor to have the opportunity to be a small part of something so special. In my eyes, jewelry is an everyday art form, one to be expressed in the most beautiful ways. I found Mondselle in line with this philosophy to create jewelry that will enhance the day-to-day lives of modern women. Much care and love have been put into each piece, so I want women to feel confident when wearing them.

How did the covid 19 pandemics affect your creative process? 2020 was a tough year for many of us. Personally, the pandemic lockdown has been a blessing in disguise. As an introvert, it has given me a lot of time to create without all the noise of regular day-to-day activities. My sketchbook is now full of ideas that I hope to slowly materialize over the years.

Can you tell us about the women who inspire you the most and why? Art is a way of life, and Frida Khalo is my deity. As a woman and an artist, Frida broke a lot of barriers. She not only defied society’s beauty standards, but she also gave us a lesson in resilience when she continued to persevere after the terrible accident that paralyzed her when she was 18. Instead of her trauma and pain being an obstacle, she used it to drive her self-exploration and art. Being a young woman in a male-dominated industry, resilience and standing firm are the virtues Frida had shown, which I admire and embrace.

Closer to home Aung San Suu Kyi, the State Counsellor of Myanmar, is the living inspiration. During difficult times, I look up to her resilience and perseverance for inspiration in her twenty years of house arrest. Never did I imagine she would one day be wearing a necklace from my collection. It’s truly an honor to see it on her.

I didn’t come from a family of jewelers, so I started Mondselle from the ground up, and with that came a lot of difficulties that I had to face alone. I learned from her the courage to deal with any roadblocks that may come my way and continue marching on.

#fashion jewelry for women #women's fashion jewellery

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emmaaspris · 4 years

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𝑶𝒃𝒔𝒆𝒓𝒗𝒂𝒕𝒊𝒐𝒏𝒂𝒍 𝑫𝒓𝒂𝒘𝒊𝒏𝒈 - 𝑾𝒐𝒓𝒌𝒔𝒉𝒐𝒑

Monday 2nd December 2019

𝑴𝒂𝒕𝒆𝒓𝒊𝒂𝒍𝒔:

Sugar Paper

Charcoal

Card

Printing Paper

Crayons

Chalk

Watercolour

For this project, our aim was to test our observational drawing skills. Why were we learning this? Because this will show that we are developing skills from observation (looking and doing.) This also shows that you are a diverse practitioner who can embrace all media, especially through traditional approaches. By generating ideas from primary sources, it will help you to show a higher level approach to research.

Today, our primary source were skulls of different species on different tables. Depending on where we were sitting, we had to draw them from observation using graphite or charcoal and chalk. I enjoyed working with charcoal because, as someone more familiar in using a pencil or digital drawing method, it was something new to try out. Charcoal is not a medium I use often, but I like the effect it gives on the paper because you can really emphasise the extreme darker tones and values in a piece. The effect of my experiment with this was a nicely textured sketch. Using the chalk, I was also able to highlight the light tones of the skull, which gave it a nice touch as it gave the effect of a light source to the left. I also noticed that when I use charcoal, I hold it differently because the stick is very short— meaning I couldn’t hold it like I would a pencil. This forced me to sketch more loosely and lighter than I usually would. The positives of this approach allowed me to be more fluid in my sketching and to also pay more attention to the primary source infront of me, drawing what I am seeing and not what I am imagining.

One technique that I learnt from this class was how to make sure the perspective of my source does not change. This was to sit farther away from it to not only give yourself room, but make sure we have the entire picture. I also noticed from using this technique, that my perspective of the source did not change. I realised that I have made mistakes in the past where I have done observational drawing too close to the object and found that the shadows and shape kept moving slightly. This was likely due to my placement too close to the source. Now I know what to do in order to achieve an accurate observational drawing.

Today’s session was challenging because it was something I don’t particularly enjoy in comparison to character design and world building. But my point of view is that the more you increase your skills in other areas of art, the more you will grow and improve as an artist. Observational skills will help me in my drawing ability which is very important for this subject, as it takes a lot of skill in order to create a smooth and consistent sequence. Now I feel like I want to experiment more with observational drawings in my sketchbook.

After this, we began working with different media (specifically encouraging us to pick something we don’t like), which resulted in me picking up coloured crayons and highlighters. In traditional art, I don’t like working with colours or shading with them because I don’t feel like I can change them very easily. It was difficult to put colour and tone straight down onto the paper without sketching a guideline first, but I am very pleased with the result. The horse skull drawing is now my favourite one out of the three, because of the texture I kept in mind while drawing it and I like the way the yellow highlighter worked similarly to chalk in my previous sketch.

In contrast to my newfound confidence with crayons and highlighters, I did not like the way my watercolour sheep skull came out. I feel like this is because it looks unfinished and rushed. I think if i had put more time into it, the dripping effect and splattered multicoloured dots would have made a nice effect. Water colour is a media I used to use a lot but since being introduced to digital art, my traditional skills have suffered.

Overall, I believe the theme of this class was to encourage us to draw from life, rather than our imaginations all the time. Doing so will give us a good understanding of how things work.

Our next task was to adapt the skulls we were drawing and try and use them in our narratives in some way. After doodling some ideas, I turned the sheep’s skull into a mask or decorative head ornament that would hide a significant part of the face. I think this works well for Finley, my Prince character to wear when in public places in his quest. This is so that his face is not recognised by the people he is around and a lot of attention is brought to himself.

This could also add to some humorous moments within my narrative where Skylar might knock it off of his face on purpose and let him be swarmed by people. Without this workshop, I would not have come up with this idea and now this object is something that will become useful within the plot. I think I want this item to be held by the prince’s hip, which I will show in the turnaround for him.

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zak-animation · 5 years

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Fantastical Creatures: ZBrush Digital Concepts Review

Additionally to my modelling and sculpting experiments within Maya and Mudbox, I wanted to explore industry professional software ZBrush as a solution for my Fantastical Creatures assignment. Widely recognized as the go-to software for creature design and sculpting, I wanted to experiment with the program and simply play around with creature concepts. At this stage of the project, I’ve remained rather loose and open with my creature ideas and purposely haven’t settled on a final design. Here, I wanted to challenge my primarily mammal-based creatures and look at the insect world for inspiration.

In this independent development session, I began sketching from photos of various insect species to get a variety of ideas down on the page before jumping into ZBrush. Although these were just quick rough, explorative sketches, I wanted to take the time to draw a few ideas out first as a way to establish good sketchbook practice. Drawing is something I need to develop continuously, and it meant that I had an idea to respond to within a digital software.

With this, my focus was on creating a series of alternative digital creature concepts based on insect reference images within new sculpting program Z-Brush. This isn’t a software that I’ve had the opportunity to explore before, and it’s something that we won’t be taught in our first year. However, something I’ve learned throughout my time on the course so far is that experience is so crucial to the development of our skills, and having already experimented with the program now just means I’ll be ahead of the curve next year.

What is ZBrush? ZBrush is an industry standard 3D software used for modelling and sculpting characters, creatures and anything we can imagine. It is the most advanced 3D sculpting program out there today, and what separates it from similar programs is that ZBrush mimics traditional sculpting techniques digitally on a computer: it’s like working with a digital ball of clay. Instead of working in polygons and smoothing from there, the software allows me to shape and build form as if sculpting by hand.

Artists can create more organic and detailed models using the program, and often arrive at the finished product much faster than with other programs such as Maya or 3Ds Max. Typically, the software is used for sculpting high-resolution 3D models.

We can pull, push, squash scrape and manipulate the digital clay as if we were working on the real thing. By manipulating the virtual surface, artists have the ability to create detailed features and textures on the model such as scales, wrinkles or tears in animal skin.

After researching into the program further, I found that ZBrush is a common tool for professional film and video game studios around the globe, with examples such as Star Trek, Rango and The Lord of the Rings using the program to blend live action with virtual effects, relatively seamlessly. Unlike traditional modelling software, we aren’t manipulating individual polygons and instead sculpting with digital clay. The program allows artists to build all kinds of models ready for rigging, or final production. Since it’s publication over a decade ago now, ZBrush has ‘firmly cemented itself’ as a major piece of software in the 3D animation universe.

It’s this intuitive approach to sculpting, that focuses on organic model making as opposed to blocky, box models like Maya, that really appeals to me. After researching into the software further, and finding out that this is the industry standard for creature modelling and 3D animation as a whole, I delved into ZBrush and began developing some concepts based on my initial insect sketches.

The Process With this, I was simply going off the bulbous, circular shapes found in my initial drawings and the long, spindly legs characteristics of arachnids. Through following several tutorials that I have linked below, I was able to create a series of 3D models that represent some interesting concepts. Initially, however, I did struggle with the software.

ZBrush can be an extremely intuitive software once artists have grasped the basics, but upon opening the program I had to follow a steep learning curve. The basic interface doesn’t follow the same line of logic as similar programs such as Maya, and it’s only through iterations and trial and error that I managed to get a grasp of the basics. To begin with, I focused on building a creature using Z-Spheres. This was the recommended process for artists new to the software and entailed me creating a model through virtual spheres. Using the edit tool, I could then move, shape and manipulate these spheres to build up my model.

In comparison to the box modelling method in Maya, I actually found this much more intuitive and responsive. I was able to build a series of models in a short period of time and explore various concepts through virtual three-dimensional models. With the move tool, I could rotate, pan and move my model around the three-dimensional space and see how the creature was developing. From here, I could change these models into mesh sculptures and see how my creature was developing.

Having the ability to quickly experiment and explore different iterations of the same creature in three dimensions was much easier in comparison to Maya, and I was able to generate a series of concepts that I then composited into design sheets in Photoshop. Using screen capture software, I was also able to document the process visually, demonstrating my quick workflow.

Obviously, there were some real challenges with learning the basics of ZBrush: it’s a program like nothing I’ve ever used before, and the main difficulty of the session was simply getting to grips with the interface and basic principles of the software. It varies largely to something like Maya or Mudbox, but I feel it’s much more easy to use and produce models to a higher quality. As a result, I will be continuing to explore ZBrush as a solution for this project. Having spoken to a tutor about this, I’ve been given the go-ahead to build and sculpt my creature using the software and I will be exploring the potential of ZBrush further in my own time.

Having produced a series of creature concepts here, I want to briefly speak about a few of these designs: the thought process behind them, and what I want to do next.

Bulky & Bulbous Insects Firstly, I want to discuss my initial few designs responding to the body shape of a bulbous scorpion and a louse creature. Going into the session, this was my initial idea for the design: a bulky, intimidating insect beast with a gruesome silhouette. Whilst these shapes are interesting, what I find the most interesting about these first set of designs is the head. The insect mandibles and sharp antennae present a dynamic and sharp silhouette to the audience. There’s some real appeal here, but looking at the creature front on there is a lack of an organic quality to the shapes. Everything feels very structured and blocky, even with the addition of the scorpion tail. I need to work in more curves to the design as a way to really embrace that organic, insect body language.

One element that I did like from these designs, however, was the bulbous area under the head. Inspired by the large red neck of the Frigate Bird, I think there’s an interesting concept here that I took further into my latter series of designs exploring a more arachnid, spider-like creature.

Four-Legged Arachnids These designs present more potential to me, I feel. Instantly, they evoke the same horror and unease as actual spiders do through the combination of a thick, large body and thin, spindly legs. Each of these designs has some interesting ideas, but it’s the circular body shapes mixed with the tall, intimidating legs that appeal to me the most.

Having shown these concepts to peers, I found that these spider-like designs were the most effective for a few reasons. Firstly, there’s a real visual contrast to what the rest of the class is doing, as I’m approaching the assignment from a monster creature perspective rather than an anthropomorphic character, who happens to be an animal. It’s this embrace of creature design and animalistic visual language that I wanted to explore for this project, so I’m happy that focus has carried over to this work.

Finally, the silhouette and concept simply seemed to resonate with my audience and it was here when I realized I needed to have the confidence to move away from my initial Trypoclawth idea and design and towards a more insect-like beast. These arachnid-inspired designs present a dynamic, sharp and unsettling silhouette that screams ‘spider’, and the bulbous circular body shapes present an appealing contrast to the spindly legs.

Having decided to focus on this type of creature, my focus will be on experimenting and developing this concept further. For this, I’ll be stepping away from ZBrush and developing illustrated sketches of a refined creature design based on these ideas. Although I want to embrace the medium and develop the creature through experimentation of form within the 3D software, I want to have a clear foundation of my design through a refined design sheet and potential poses of my creature, taken from reference images of actual insects and arachnids.

In this independent development session, I took it upon myself to learn the basics of new 3D sculpting software ZBrush and develop a series of digital concepts for an insect-inspired response to creature design. These models represent a more interesting and exciting response to the assignment, and I will be working from and developing these into a final creature design sheet next week.

As a solution for this project, I also plan to return to ZBrush to build my creature model and explore the potential of working within the software to complete the major aspects of this task. This will be a completely independent study outside of university hours and tutelage, but I’m ready for the challenge.

Next, I plan to go back to the drawing board and develop a refined creature design based on these arachnid-inspired concepts here. With this, I hope to create a revised creature design sheet exploring posing, style and shape language in preparation for modelling. Whilst this is ultimately a different design to the one explored in my maquette, I’m happy with the way this project has evolved over time and has allowed me to explore a range of ideas.

References:

Sculpting from the Imagination: ZBrush. (2016). 3D Total Publishing.

What is ZBrush. (2019). Concept Art Empire. https://conceptartempire.com/what-is-zbrush/

#ba1b:fantasticalcreatures

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deantemjitunit5unit13 · 5 years

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Task 2 - Planning

After the research has been completed on the modernist architecture and the three art & design movements. It is now time for me to produce floor plans, front, and side views of my museum.

From the information I’ve gathered on modernist architecture, the key design elements of the building will include:

Clean lines

Simple geometric shapes

Cubic forms

Ribbon windows (A series of windows set side by side to form continuous band horizontally)

Flat Roofs

Flexible open interior spaces

To successfully plan out my museum, I’d need to design a floor plan of my intended museum as well as deciding which room is going to display the information, how many floors, where is the entrance, and what is going to be in my museum.

This gives me a greater understanding of how many rooms there are going to be, where to display my information, and where to place the doors and entrance. After getting a clear idea of how my building would look like, I then draw my intended museum in a two-point perspective.

Having drawn the museum in a two-point perspective gives me a visualization of the designs of the building on the outside, and I can add more details into the planning, such as where to place the windows and entrance and it just gives the viewers and myself a better idea of how the building would actually look.

In extension to that, I have begun to draw the interior of my intended museum as I wanted to get a better visualisation not only on the outside of the museum but the interior as well. The drawings of the interior are drawn in small thumbnails as this gives me greater access to design the interior faster without the need to draw a big piece as I could be changing things at any time.

I then draw my intended museum in side view to get a better understanding of how it would look. Moreover, drawing a side view could be useful when I am designing this museum in Unreal Engine, and when I wanted to look at the reference of how the side of the building should be looking.

Although I have already drawn my plans for my intended museum, it could change at any time in the design process because, in Unreal Engine, things may not work as it should be in the software, and in any case, I may have to change some of the things.

After I have completed the plans for my intended museum, it is now time for me to create a clear idea of how I am going to be presenting the key information on the three design movements. In addition to that, I have researched modern museums and how they present their information to get a clear idea of how I am going to be displaying the information.

This really helps me plan how I want to display the information in my museum as well as outlining how big this display stand going to be, and where I am going to place it. I then draw the display stand in my sketchbook with how the information is going to be presented, as this gives me a visualisation of how this is going to look.

For the three art & design movements, I have decided for each of the design movements, I would include vital information such as the context, function, and design characteristics. The context is there for the viewers to get a better understanding of the introductory of the specific art & design movement. The function is the gives the viewers an idea of what these movements stood for and what was the reasons behind their work. Finally, the design characteristics are to provide the viewers with a better understanding of the specific movements.

After many thoughts have been put into the planning process, I have decided to create a more basic version of the building and not complicate things. I changed the floor plans a little bit by removing some of the additional rooms that are not going to be displaying anything.

I then draw my building in a two-point perspective to get a good idea of how the building should look.

I have used a variety of different materials such as pencil, colour pencil, markers, and digital painting. I wanted to go ahead and try creating the different design of the building as much as I can in different mediums, not only to get a different perspective of the design, but it is so that I could understand more on the modernist architecture by creating a different variety of design, which I would then be choosing the final design that would work in Unreal Engine.

Planning - The Bauhaus

Context

Bauhaus was a German school of design, architecture and applied arts that existed in Germany. Bauhaus in full was called, ‘Staatliches Bauhaus’ and was in operation from 1919 to 1933. The design school was based in Weimar until 1925, Dessau in 1932, and Berlin in its final months in 1933.

Function

The key idea and what led motivation behind the Bauhaus movement lay in the 19th century. It began when arising in the anxieties about the soullessness of manufacturing its products, and in fears that art may lose its purpose in the society. The movement’s purpose was to unite creativity and manufacturing again, as it fears that it could be drifted apart from focusing the mass manufacturing its product as opposed to being creative with the product.

Design Characteristics

Form follows function

Louis Sullivan is an American architect and was the first person to use the famous expression ‘form follows function’. This became the very foundation of the Bauhaus. ‘Form follows function’, means that form should be applied of its function and comparing it to the traditional buildings, there are significant changes to the appeal in the buildings in modern society. It focuses more on the functionality of the building as opposed to their appeal.

True materials

Materials should reflect the true nature of objects and buildings and honesty as a designer was the most important. True materials term means that they didn’t try to hide the materials for the sake of the ‘appeal’.

Minimalist style

The minimalist style of Bauhaus art reflected on the ideas of functionality and true materials. It is influenced by movements such as Modernism and De Stijl and focuses more on linear and geometrical forms while avoiding floral and curvilinear shapes.

Gesamtkunstwerk

The founder of the Bauhaus, Walter Gropius was the first person to apply the notion of ‘Gesamtkunstwerk’. It combines multiple art forms such as fine and decorative arts unified through architecture in the case of Bauhaus.

Uniting art and technology

The Bauhaus school of design organised an exhibition in 1923 which shifted the Bauhaus ideology. The exhibition was called ‘Art & Technology: A New Unity’. The workshops at the Bauhaus was used as laboratories prototyping products as well as the suitability for mass production.

Once the planning for the Bauhaus is completed, it is time for me to create a design that will have all of these pieces of information in it. It will have to be designed in Adobe Photoshop, which in the later stage - it would need to be exported as a PNG which I would be able to import into Unreal Engine and use it as a texture.

Final results:

The grid system I used for this design:

Planning - DADA

Context

The DADA movement is claimed to be “anti-art” and had a strong destructive and negative element to provoke people’s expressions such as shock and outrage. It was a rejection of tradition and the seeking of complete freedom from past traditions.

Function

DADA art movement was a form of artistic anarchy born out of disgust for the social, political and cultural values of the time. The art movement embraced elements of art, music, poetry, theatre, dance and politics. It was the opposite style of art movements such as Cubism or Fauvism, yet it was more a protest movement with an anti-establishment manifesto.

Design characteristics

DADA began in Zurich and became an international movement. Or non-movement, as it were.

DADA only had one rule: Never follow any known rules.

DADA was intended to provoke an emotional reaction from the viewer such as shock or outrage.

DADA art is nonsensical to the point of whimsy. Almost all of the people who created it were ferociously serious, though.

Abstraction and Expressionism were the main influences on DADA, followed by Cubism and Futurism.

The movement that is supposed to mean nothing, yet DADA certainly created a lot of offshoots. In addition to spawning numerous literary journals. DADA had also influenced many concurrent trends in the visual arts.

DADA self-destructed when it was in danger of becoming “acceptable”.

Final results:

The grid system I used for this design:

Planning - Russian Constructivism

Context

Constructivism was a particular austere branch of abstract art founded by Vladimir Tatlin and Alexander Rodchenko in Russia around 1915. The Russian Constructivism is aimed and believed art should directly reflect the modern industrial world. Pablo Picasso’s Cubist constructions were Vladimir Tatlin’s influenced, in which he saw in Picasso’s studio in 1913. Tatlin began to make his own but they were completely abstract and made of industrial materials.

Function

Tatlin’s Corner Counter-Relief work in 1914 was a vital work that made him develop ideas, and form a bridge between the influence of Cubism on his work. However, his work would conform neither to the conventional format of painting or sculpture as Constructivism would aspire to display those old fashioned forms. In which, Tatlin suggests that modernity and experiment should be Russia’s new gods.

Design characteristics

Constructivism aimed stood for three ideals – abstraction, functionalism, and utilitarianism. The Russian Constructivism focused more on the construction of the art rather than the composition, in turns – it distinguished them from the traditional art movements and their aim is modernity.

The movement tried to attain universal form. The work produced consisted of three as well as two-dimensional art forms. The general themes that were often used are geometric, minimal, experimental, and rarely emotional. Furthermore, the artwork produced is broken down to its basic elements – the art form simplified everything on the fundamental level.

Materials that would be considered modernity were used such as glass, steel, and plastic were used in the artwork creation.

The artwork produced combine different sans serif fonts for their visual properties as well as their meanings. Moreover, simple colours, flat, and symbolic elements would be used in the artwork. A lot of the time, rather than hand-drawn illustrations were used in the artwork, the photo-montage technique was often used.

Final results:

The grid system I used for this design:

These research information are going to be displayed inside the museum, and I do intend to use a series of collected images to showcase the artwork of each movement to make things interesting.

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