Plotting by J.L. Bell
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Three Goblin Art
Sade Olutola
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almost home
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JVL
he wasn't even looking at me and he found me
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Kaledo Art
"I'm Dorothy Gale from Kansas"

tannertan36
$LAYYYTER
Lint Roller? I Barely Know Her
DEAR READER

❣ Chile in a Photography ❣
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Plotting by J.L. Bell
The Blade
Forte
— Lower third of the blade towards the hilt. Term is Italian, meaning “strong.”
Ricasso
— Blade shoulder segment closest to the hilt, an area which remained unsharpened to allow the wielder to grasp the blade with a finger for added leverage. In larger medieval swords this area could be long enough for an entire hand to grasp the sword’s shaft. Makers’ marks were often inscribed in this area.
Terzo
— Center third of the blade. “Third” in Italian.
Debole
(also Foible)
— Ending third of blade at the point. Term means “weak” in Italian.
Fuller
— A groove or trough in the center of the blade shaft extending from the hilt down through part or the entirety of the blade. The fuller was employed to lighten the blade and also to add strength and resiliency in much the way an H-girder performs. Makers’ marks ofa medieval sword could be found in this area as well as decorative incised designs.
The Hilt
Cross-Guard
— Also referred to more simply as the “guard” or the “cross.”
Quillon Block
— Center of the cross-guard.
Quillons
(also Quillions)
— Extended arms of the cross-guard. In a simple, functional cross-guard the quillons might extend straight out from the block. In other designs the quillons might curve towards the hand, or they might curve towards the blade to protect the ricasso (see above) and provide a “blade-trap” for the opponent’s weapon. Sets of quillons could curve in both directions on the same sword. In the basket style hilt several quillonsare “woven” to protect the entire hand.
Tang
— Portion of the blade shaft that extends into the hilt under the grip. It is fastenedto the pommel (see below).
Grip
— Handle portion of the medieval sword. The tang could be covered with leather, bone, horn, ivory, wound wire, or shagreen (untanned leather embedded with seeds or stones creating a granular suface) for a secure grip.
Pommel
(also Pummel)
— The ending piece of the hilt, this component appeared in various shapes or sizes, but it served to counterbalance the weight of the blade, support the hand, and fasten the tang of the blade securely into the hilt.
it comes in handy
\o/
(Edited Typos)
I just discovered foodtimeline.org, which is exactly what it sounds like: centuries worth of information about FOOD. If you are writing something historical and you want a starting point for figuring out what people should be eating, this might be a good place?
Writing Body Language
How to Improve your writing
This is something that happens every day in your life. A shift of your eyebrow in skepticism, or the way your lip may twitch to a half smile cause you’re trying not to laugh. These behaviors are vital for writing in character, because not only do the allow you to visually see what is happening but it is also reaffirming whatever emotion your character is showing.
So why should you write it?
Much of human communication is non-verbal which means you need to also translate this non-verbal reaction in a post. It allows you to greatly enhance the emotions of another character and always another person to ‘visually’ see how they feel in a post. Most of all, this will add depth and volume to your post to make it feel more real. IT will make your character feel like a human instead of just another fictional person you look at from above.
Below you will find a list different type of emotions and what sort of body language can be exhibited to them.
Three ways to accent an action.
When writing about emotions, there are different ways to verbally write them out. Each one is unique in their own way, allowing you to show more about the emotion.
Emphasize the Emotion. But doing this, you are expressing both the emotion and the body language. We’ll use a simple example. It’s short and simple yet you can sense he is happy. John felt so happy that he was humming a tune while walking down the hall.
Complicate the Emotion. Sometimes, even when you are feeling one emotion, deep down rooted underneath the facade of it all, there is actually an underlining emotion they feel. This is something you have to truly express otherwise no one will know. John felt so happy that he was humming a tune while walking down the hall. However, it was obvious by the way his nose crinkled that he was disgusted by the actions beforehand. Instead, John covered it up by appearing pleased today.
Contradict the Emotion. This is a little different than complicate. Contradicting means that you are claiming one thing when in fact its the other. In many ways, this has a variety of uses, from inner depth of the truth to what you see in person, or someone creating a wall. It could be considered a lie, but when is anything that easy? John felt so happy that he was humming a tune while walking down the hall. In truth, once he was in the classroom, his shoulders slumped and a pout crossed his lips when no one was around, showing just how displeased he was with the situation.
Remember that you do not always have to contradict or complicate anything. Sometimes all you need to do is emphasize and that will be just fine. You don’t always have to have an underlining complicated for an emotion to make it more enhanced.
Do be afraid to use the Thesaurus to also improve an emotion. Such things as “happy” is a nice emotional word, but think of how much more powerful it is when you heard some is “overjoyed” or “content.” She how these emotions matched up with a body language can give two different styles of happiness? Mix and match to find what works best for your character at the time.
More In Depth Information
What I’ve stated above is more of a simplistic overview. IF you truly want to improve yourself, go to this
LINK HERE
To see just how much body language can reveal about a person. You will find things such as how a person lies, how the eyes reaction, the positioning of a person in personal space, mouth, and head body language and so much more.
Use these resources to greatly increase the reactions of your character to another and create a more life-like world.
Background Tutorial
requested by ion4ever. sorry it took me so long to do this for you but hopefully I was of some help?
Notes:
I use CS6, and this was mostly done with default hard round brush at around 50% opacity or higher, 100% flow, and size pressure on. I made some random brushes for the greenery by modifying the default ones.
always use a large canvas. I go about 3000px x 3000px.
with enough practice, painting backgrounds like this will be a fairly quick affair. this one, for example, took about 30 minutes? it’s just a matter of time/experience. :)
So yeah, good luck doing backgrounds, and have fun!! :D
Like it literally doesn’t matter if Trump can’t do any of the impossible, illegal things he’s promised. It doesn’t matter, because as soon as a platform built on hate is validated in this way, culture changes. Britain the morning after the Brexit vote was a different place. It wasn’t just the measurable rise in hate crimes and plummeting economy, it was people feeling free to say all the ugliest things they’d ever thought because they knew at least half the country was behind them.
In the coming days and months, please stay safe. Please never stop fighting for a better world. This won’t be forever.
Thanks so much for your ask! I’ve meant to do a tutorial like this for a long time. This is the way that I draw big girls, though it’s quite a short and basic tutorial. I hope it helps!
the “area of gain” part was pretty much taken directly from -here-, a VERY informative and helpful tutorial. Here’s a couple of tutorials that I think are pretty good: link and link.
hi!! I have a question about digitally coloring over traditional sketches. When i start, I place the pic of the drawing on an open ps document so that the background layer's behind it and usually set a multiply layer over top the sketch for coloring. I can't really color in the background behind the sketch unless i manually color it in around the drawing. Is there an easier way to do this? and is there a way to change the color of your lines? Thanks so much!! sry if this was hard to understand!
Hey!
No problem!
So, I basically do this 2 ways. I mainly do it as the second way but I’ll explain them both.
It depends what you wanna do with the lineart and what program you use and how much you wanna edit it form the original scan. These are not the only ways I’m sure and are not the only ways to do them, it’s important you try them and modify them to fit your needs if necessary.
♦Method A - In Photoshop♦
This is what most people do to separate the sketch lines from the “paper”, it’s something that’s been explained and it’s around a lot so I won’t get into the details of how to use Photoshop just how to do it quickly.
This will allow you to have the sketch in one layer, getting rid of the “white” of the paper.
1-Edit your scan if you need, levels, hue, etc all before doing this to improve the contrast on your image. This will work if your sketch is made with color pencils or carbon pencils the same, but in case you wanna do an action on PS so you ca have this done automatically, it’ll probably won’t work with every scan the same unless they are similar, like for animation projects this is handy as this will work with inks too.
2-With Channels window open, there’s an icon at the bottom of it that’s a dotted circle, what this does is load the channel as a selection.
Make sure all the channels are selected, this usually comes as it is by default unless you change it.
You can also select the blue channel, which in this case will only select Sapphire in blue at the left, or the Red channel that will select Ruby on red at the right.
View the image above bigger here
You’ll see your lineart selected, don’t worry if not everything shows perfectly selected, it’s selected, it’s there. You can improve the selection by contrasting your scanned sketch before doing this as I mentioned.
3-The selection you get is actually the inverse of the sketch, to select the sketch just invert the selection (shift+ctrl+I)
4- Add a new layer on top of your scan layer and use the paint bucket to fill it and I’ll look like this:
6- When you hide the scan layer at the bottom you’ll see your sketch layer:
-Add a white layer below your transparent sketch lines to see it clearly:
7- And now you can clip a mask to your transparent sketch lines layer and you can color it whatever you want and use the layer in any layer mode you wish and start adding your colors:
♦Method B - In SAI♦
This is how I did that particular Ruby & Sapphire pic and it is often how I color sketches.
This will not give the same result than the previous method A but it’s better, in my opinion, than using the sketch in multiply. You can use Method A sketch lines and use this though, but you have to use SAI, even though PS has similar layer modes they are not the same than the one I’ll be using in SAI.
1-For this particular image I used the original sketch scanned, and I duplicated said layer and used a black and white version of it as you can see below.
2-Now for the important part. I set both layers on the mode Shade on SAI, the original scan sketch layer is on 75% opacity and the black and white sketch layer is at 55% opacity. This is not for other reason than personal taste and I tried and liked how it worked with the colors. Both layers combined look like this:
3- I added the flat colors:
4-Then started shading:
Now the interesting thing with Shade Mode is that the lineart will get darker/intense the darker/intense you shade it and it burns on the colors better than in multiply mode and I personally prefer these results much more.
That’ll be it! I hope you find this helpful and not too confusing, please don’t hesitate in asking if any questions arise 😊
Anonym hat gesagt: i was wondering if you could explain how you color your drawings?
i am not good with colors ok. i have no idea of how they work, what i have to pay attention to and what is lightning? !?!??!
so i think this is not very helpful, but this is basically the way i always do it :’‘/
original image (link)
Emotion and Pacing in comics
One of the reasons that I love comics so much is that there are many valid ways to approach the medium. When I make comics, the parts I’m most concerned with are character and story. Everything I draw on the comic page is in service to character and story. Because of my focus on those two elements over, say, experimenting with my art and page structure, I will sometimes get criticism that my work is safe or boring. This is probably fair criticism! I don’t do a lot of experimenting with paneling or challenging storytelling or explicitly challenging artwork in my comics, because right now that’s what I’m not interested in. Maybe I will be more experimental someday, but not right now, with the kind of stories I want to tell. :)
When I make a comic, my goal is for my readers to be engaged with the story I’m telling, and the characters in that story. That’s also what I look for when I want to read a good comic. I want characters to love, I want a story to be engaged with.
For the most part, I struggle with drawing comics (most artists do, if we’re honest ;)), but there are some parts of comics I think I have a good handle on. I feel like I’m strongest when portraying emotion on the page, and I’m good at drawing those scenes out and making the reader feel what my characters are going through. Some of the techniques I use to convey emotion came from being obsessed with movies when I was a teenager, and some techniques are stolen from my holy trinity of influences: Jeff Smith (Bone), Hiromu Arakawa (Fullmetal Alchemist) and Naoki Urasawa (Monster, Pluto, 20th Century Boys).
Of the three artists I’ve mentioned, I consider Urasawa especially to be a master of emotion and pacing. When I first started reading his comics, it was like light struck my brain; finally I saw what I’d been trying to do for years right there on the comic page in front of me! I like the way he lays out his emotional scenes a lot. Here’s an example (read right to left):
Urasawa uses repeating panels and decompression to draw out the emotions of a scene. In this single page there isn’t a lot of movement. It’s literally just two characters staring at each other, but the tension rises going from panel 1 to panel five. Gesicht (the man)’s expression doesn’t change between panels two and five, but we literally feel his anger rising off-panel, concluding in the close up in panel 5.
There’s an excellent You Tube channel called Every Frame a Painting (I’m sure you’ve heard of it, but if you haven’t, please go watch all the videos! There aren’t many, and they’re all really informative). My favourite video is this one, about editing:
This video hit on something that I strive for in my comics: emotion takes time. When I draw a scene that is emotional, when characters are struggling with something, or celebrating something, or being challenged, I want my readers to feel what the character is feeling, and one of the best ways to do that, for me, is to take my time. To give that emotion time to breathe on the page.
I’m going to use some scenes in The Nameless City to illustrate how I use decompression and pacing to underscore the emotion in my comics. To avoid spoilers and because this is getting a little long, I’m going to put it under a cut. Please read on! :)
Keep reading
Please support me so I may continue making tutorials and guides for everyone!
https://www.patreon.com/doxydoo?ty=h
A summary of how people die (and don't) in swordfights
This is a really good article about how quickly people actually die from cuts and punctures inflicted by swords and knives. However, it’s really really long and I figured that since I was summarizing for my own benefit I’d share it for anyone else who is writing fiction that involves hacking and slashing your villain(s) to death. If you want the nitty gritty of the hows and whys of this, you can find it at the original source.
…even in the case of mortal wounds, pain may not reach levels of magnitude sufficient to incapacitate a determined swordsman.
Causes of death from stabs and cuts:
massive bleeding (exsanguination) - most common
air in the bloodstream (air embolism)
suffocation (asphyxia)
air in the chest cavity (pneumothorax)
infection
Stabbing vs cutting:
Stabbing someone actually takes very little force if you don’t hit bone or hard cartilage.
The most important factor in the ease of stabbing is the velocity of the blade at impact with the skin, followed by the sharpness of the blade.
Stabbing wounds tend to close after the weapon is withdrawn.
Stabbing wounds to muscles are not typically very damaging. Damage increases with the width of the blade.
Cutting wounds are typically deepest at the site of initial impact and get shallower as force is transferred from the initial swing to pushing and pressing.
Cutting wounds have a huge number of factors that dictate how deep they are and how easily they damage someone: skill, radial velocity, mass of the blade, and the size of the initial impact.
Cutting wounds along the grain of musculature are not typically very damaging but cutting wounds across the grain can incapacitate.
Arteries vs veins:
Severed veins have almost zero blood pressure and sometimes even negative pressure. They do not spurt but major veins can suck air in causing an air embolism.
Cutting or puncturing a vein is usually not fatal.
Severed arteries have high blood pressure. The larger arteries do spurt and can often cause death due to exsanguination.
Body parts as targets:
Severing a jugular vein in the neck causes an air embolism and will make the victim collapse after one or two gasps for air.
Severing a carotid artery in the neck cuts off the blood supply to the brain but the victim may be conscious for up to thirty seconds.
Stabbing or cutting the neck also causes the victim to aspirate blood that causes asphyxiation and death.
Severing a major abdominal artery or vein would cause immediate collapse, but this takes a fairly heavy blade and a significant amount of effort because they are situated near the spine.
Abdominal wounds that only impact the organs can cause death but they do not immediately incapacitate.
Severing an artery in the interior of the upper arm causes exsanguination and death but does not immediately incapacitate.
Severing an artery in the palm side of the forearm causes exsanguination and death but does not immediately incapacitate.
Severing the femoral artery at a point just above and behind the knee is the best location. Higher up the leg it is too well protected to easily hit. This disables and will eventually kill the victim but does not immediately incapacitate.
Cutting across the muscles of the forearm can immediately end the opponent’s ability to hold their weapon.
Cutting across the palm side of the wrist causes immediate loss of ability to hold a weapon.
Stab wounds to the arm do not significantly impact the ability to wield a weapon or use it.
Cuts and stab wounds to the front and back of the legs generally do not do enough muscle damage to cause total loss of use of that leg.
Bone anywhere in the body can bend or otherwise disfigure a blade.
The brain can be stabbed fairly easily through the eyes, the temples, and the sinuses.
Stabs to the brain are more often not incapacitating.
The lungs as targets:
Slicing into the lung stops that lung from functioning, but the other lung continues to function normally. This also requires either luck to get between the ribs or a great deal of force to penetrate the ribs.
Stabbing the lung stops that lung from functioning, but the other lung continues to function normally. It is significantly easier to stab between ribs than to slice.
It is possible to stab the victim from the side and pass through both lungs with an adequate length blade. It is very unlikely that this will happen with a slicing hit.
“Death caused solely by pneumothorax is generally a slow process, occurring as much as several hours after the wound is inflicted.”
Lung punctures also typically involve the lung filling with blood, but this is a slow process.
The heart as a target:
I’m just going to quote this paragraph outright with a few omissions and formatting changes for clarity because it’s chock-full of good info:
…[stabbing] wounds to the heart the location, depth of penetration, blade width, and the presence or absence of cutting edges are important factors influencing a wounded duelist’s ability to continue a combat.
Large cuts that transect the heart may be expected to result in swift incapacitation…
…stab wounds, similar to those that might be inflicted by a thrust with a sword with a narrow, pointed blade may leave a mortally wounded victim capable of surprisingly athletic endeavors.
Essentially, the heart can temporarily seal itself well enough to keep pressure up for a little while if it’s a simple stab. The arteries around the heart, while they are smaller and harder to hit, actually cause incapacitation much more quickly.
Here are some really general pictures of my working method for doing traditional inks and digital colours! I just thought they might be interesting. I miiight try to do a more detailed walkthrough of my colouring specifically if I have the time.
Super easy world creator!
I was looking for an easy map creator that makes beautiful maps for a while now to make a visually stunning map to go along with my book. And now, after such a long search i have finally found one that suits my needs! Because i like it so much, i thought i’d share it with you guys! Just go to inkarnate.com and start creating! I have to warn you though, it is still in beta so a lot still needs to be added, but already it looks great and is easy to use!
I mean just look how beautiful some of these maps are!
And it is so much fun too! Someone even created a game of thrones map that is simply amazing!
So check it out and start creating your visual aid for your story. I promise you, it really is super easy and you will make one in no time!
You can find the site here: inkarnate
@noc-tua
I HAVE BEEN LOOKING FOR ONE OF THESE
Some crying tips. I’m pretty bored of seeing movies with clean crying, but wow it’s by no means clean. It’s gross and messy and just downright fun to draw.