If you’ve never seen anyone use a water bong in person, or have only seen it from afar, this glass tool might scare you. However, they are very easy to use and very effective. In short, a water bong can cool and filter fumes to make breathing pleasant and easy.
Using a water bong is one of the healthiest, easiest and cleanest ways to smoke. And they are easy to clean.
Interested in how the bong works and how it is used? Don’t worry we will tell you everything in this post.
Learn Bong Parts
The mouthpiece is the entrance to the glass bong. It’s at the end of the tube where you’ll place your mouth.
The chamber is where the smoke collects and is inhaled. Your bowl holds the herbs you want to smoke. Some people call it a slide. Because you push it in and out of the downstem.
The small tube that connects water in the bong to the bottom of the bowl is called downstem. The smoke goes through the lower stem into the water.
These are the basic parts of most bongs. Some are more complex. Like a acrylic bong or dab bong.
Fill the Bong with Water
It should be filled with water until the bong barely covers the lower stem. Then remove the lower stem of the bong and fill the chamber with water. All holes in the downstem should be covered.
It’s important to note that more water in the bong does not necessarily mean a better smoking experience. The lungs have to work harder while pulling air through the water. And more water means your lungs have to work harder.
Put Ice in The Bong
You don’t have to add ice, but it is highly recommended. Ice makes the smoke cooler, making it easier to breathe. I like to pour ice slowly into a glass bong full of water. Remove the lower stem first to prevent it from breaking when shoveling snow.
Bowl Packaging
To pack a bowl, you must first remove it from the bong. You don’t want to accidentally knock on the bong while trying to wrap it. Make sure the bowl is clean and free of residue.
If it’s dirty and clogged, it won’t let air in. Inflate the cup and see if you can feel the air coming from the other side. If the airflow is restricted or non-existent, obtain a sharp object such as a safety pin to remove debris.
Now cover this bowl with tobacco, ganja, or other smoking material. If it’s too tight, air can’t pass through. Ideally, you can keep as many herbs as you can in the bowl while keeping the air flowing.
Place the bowl back on the bottom of the glass bong.
Take a Blow
You should hold the bong firmly so that it doesn’t bend or fall on the floor. You can place the bottom of the device on your lap while holding the bar hanging by your neck. Always keep the bongs on a flat surface when starting out.
Seal around the opening with your lips. Do not wrap your lips around the mouthpiece. Instead, gently push it into the tube.
The entire entrance door should be covered with the mouth.
Now take the light and bring it to the edge of the cup. At the same time do the same while breathing out. As you inhale, draw the fire into the bowl.
If the bowl catches fire, remove the lighter and keep breathing. You need to breathe slowly. You should only hold the lighter in front of the bowl for 1 second until the light is caught.
Take a deep breath and inhale the smoke as the same time remove the bowl from the bong. The reason for removing the bowl is to allow fresh air to enter the unit. This will push the smoke into your lungs.
When your lungs are full of smoke, you want to exhale immediately. Keeping the smoke in your lungs will do you no good. It can just be uncomfortable.
Before handing the bong to your friend, you’ll first need to remove the remaining smoke. Blow through the bottom of the unit to remove any remaining smoke through the mouthpiece.
Never inhale at the top of the bar. This can cause the water to foam up and overflow the bowl, ruining the contents.
If there is only ashes left in the bowl, it should be cleaned. This is a good bong etiquette to practice.
It is important for beginners to know how to use a bong.
If you’re a smoker or just want to understand it better, it’s important to know how bongs work and how to use them. Knowing how to use it, can help you feel more confident among your peers. You can also help other people who may be frightened of the glass bong.
Hopefully, after reading the article above, you will see that bongs are not so scary.
So... I technically drew this 3 years ago but forgot to post it. I think I was going to clean up the end and make a nice recap, but I ran out of steam and then just left it as a wip for years. I got reminded of it because I was talking to a friend about how to draw wheelchairs today.
This covers most of what I view as the most common errors when it comes to drawing characters who use manual wheelchairs. I hope it helps you a lot.
Image description is in alt text, but there is a back up image description under the cut in case that does not work for some reason
[image description: a 4 picture long wheelchair tutorial. the background is white and the text, when it appears, is black and in calibri. each step will be labeled with "Step #" and a description of the drawing next to it, and "text" and then the text that is written to explain it to follow.
Step one text: So, you want to draw a character who uses a manual wheelchair? Awesome! I can't approve more. Drawing characters who use wheelchairs is a bit different than drawing standing characters, because of obvious posing differences. But to start, you need to know what parts of a wheelchair you will draw. So, without further ado, here are 3 wheelchairs!
Step one image: a simplified drawing of a chubby woman sitting in a quickie GPV manual wheelchair and resting her hand on the handrim of one of the wheels. this is labeled "the artist"
step two: next there is a lineart drawing of three wheelchairs. one is a tilite TR series 3. this is an ultralight wheelchair with a bucket seat (the back is lower than the front), a big cushion and a short backrest that kind of contours to the back of the person who would sit in it. the caster wheels (front wheels) are very small and the footrest is just two little metal bars. next image is a quickie GPV. this is also an ultralight wheelchair with a low back, but its caster wheels are slightly larger, the back has regular upholstery (it does not look like it was made to conform to the back of the person who sits there) and the frame is boxier -- there is no bar underneath the seat where the wheels would attach, rather each wheel is attached to the side of the chair. the next wheelchair is an invacare tracer. it is how most people imagine wheelchairs when they hear 'wheelchair'. it has no cushion and it has a high backrest with handles. it has high armrests that would be comfortable to rest your elbows on if you were just sitting. the wheels are not bicycle wheels like the previous two but are rather plastic. it has big footrests and big caster wheels.
text: the wheelchairs on the left are the ultralight, sporty kind. I have one of them (the quickie). the one on the right is a more standard one you might find in hospitals or as the public wheelchair in grocery stores or the mall.
step three: first is text to accompany the tilite. "This wheelchair has a really thick cushion - it's pressure relieving, which you need if you use your chair ufll tiem and especially if you have a spinal cord injury. This wc has the smallest caster (front) wheels. They are hte most handy for turning in small circles." next there is text to accompany the quickie gpv: "This one has the one I use -- it isn't pressure relieving, but is still useful." next is text to accompany the invacare: "this wheelchair has no cushion - you do not want to sit on it for long. This one has the biggest caster wheels - they are useful for not 'tripping' when your front wheel gets caught on an obstacle.”
step four text: like with all complex drawings, you want to break it into simple shapes first. I normally have a box underneath the seat, a rectangle for the backrest, and a trapezoidal thing for hte area from the box to the footrest. these are the most important shapes, because your character will rest on them and they will move with your character.
step four image: the lineart of each wheelchair has been put on reduced opacity, so we can see the square representing the backrest of each seat (the square is the smallest for the tilite and biggest for the invacare), the box for each seat and area underneath it, and the trapezoid for the footrests. the next step labels the images of these simplified shapes as the lineart is removed. "Note the proportions of each set of shapes is not the same - just like how you wouldn't draw all your characters with the same proportions on their faces!"
step 5: we see the same shapes to form the wheelchair, but now with blue circles drawn where the back wheels would be.
text: next shape is the wheels - two circles
step six: next we see the wheels and shapes have been reduced in opacity and the basic structure of everything about each wheelchair: footrests, caster wheels, upholstery details, axles has been drawn on in orange.
text: the next stage is everything else that's structure - front wheels, handlebars, cushions, footrests.
Step seven: we see the lineart on top of the lowered opacity sketch.
text: you can then do detailing like axles, spokes, upholstery, etc and lines
step eight: next we see three drawings of different characters. there is patience, a skinny white woman sitting in a blue invacare wheelchair. kelley, a slightly chubby black woman wearing a stripey dress sitting in a red quickie gpv wheelchair and doing a wheelie while smiling. then luke, a white man with short blond hair wearing khaki pants. he is sitting in a tilite chair.
text: once you get your wheelchair basics, you need to find out which kind your character uses. here are three characters who each use one of the example WCs. patience uses the invacare. she needs one with a better cushion, but circumstance prevents it. Notice the chair is a bit wider than her hips - it's not custom fitted. Also notice she has to turn her elbows out awkwardly to move. the high armrests prevent a smooth push. her wheelchair has big caster wheels and far-back back wheels. it is made for stability and difficult to turn,but also difficult to knock over. Her chair indicates a lack of resources or temporary injury, and is primarily a transport chair
kelley uses a wheelchair like mine - it is fairly sporty, but has a box-y frame underneath. this makes it heaver than if it didn't.she has a mediocre cushion - it protects her, but only some. her back wheels are further underneath her body than Patience's, which makes it possible to do the wheelie (demonstrated here). her wheelchair is supposed to look line one you'd use full time, but it is a little old.
luke has a spinal cord injury. he has a very thick pressure relieving cushion for medical reasons. his chair is also ultralight, with no boxyness under the frame. his chair is the newest and lightest - it indicates his wealth/resources, but also that he needs to use on full time.
step nine: just a drawing of me sitting in my wheelchair holding my hands up to show fingerless wheelchair gloves. we're looking at me from above.
text: when you're choosing what wheelchair to give your character, think of both their disability and their resources and go from there. questions to ask yourself: is it made specifically for them or is it mass-produced or a hand-me-down (if it's custom, the seat will not be too wide or narrow in comparison to their body and their feet will rest on the footplate naturally). do they want more stability (further back back wheels, big caster wheels) or maneuverability (the inverse). do they need a pressure relieving cushion? how long are they using their wheelchair per day? how long have they needed a wheelchair? Do they have health insurance? do they have access to a lot of spending money? How much can they spend on their wheelchair? are they athletic etc etc
posing steps:
step one: a sketch of two people standing up. one just shows the outline of a person's body, with legs that are ind of triangle shaped, the other shows a sketched pelvis and rib cage to go along with the bones of the legs and arm. text: step one: Most people have this sketch anatomy they put before drawing their characters for real. I kind of scribble around like on the left, but some people use skeletons on the right.
step two: there are now too sketched pictures of people in wheelchairs. one shows lightly traced human form (arms articulated, curve for a stomach, legs that are kind of triangle shaped and pointing down) sitting in a wheelchair that is just the sketch of footrests and wheels. the other sketch shows the sketch of a body with a circle for hips and an oval for a rib cage and the person doing a wheelie (lifting the front end of the wheelchair off the ground and leaning back). their wheelchair is also sketched out and defined by a circle for their wheels and 2 lines, 1 of the seat and 1 for the backrest. text: you need one of those for your wheelchair character. important: they should have both the person's main anatomy features (Usually upper body and at least hips) and the wheelchair's. for me, these are the back wheels, footrest, and seat. why simplify to just those features? Take a look at this incredibly quickly drawn wheelchair.
step three: there is a lineart drawing of a manual wheelchair with slightly cambered (angled towards the seat) wheels, a backrest, and a footrest. the frame is light and there are no handlebars. there are labels pointing to different parts of the wheelchair: Backrest, handrims, wheel, axle, seat, footrest, and caster wheels (the ones in front). text: there are a lot of parts, and not all of them are essential to your pose. trying to draw the whole thing straight out of the gate will frustrate you.'
step four text: take a character in heavy armor: if you draw her pose without taking her armor into account, her armor will clip through her body. if you draw a wheelchair using character without keeping her wheelchair in mind from the beginning, the pose won't make sense.
step four image: next we see two lineart drawings of different characters. one is a bulky woman wearing plate armor. her hand is on her hip and she is trying to scratch her back with the other hand. there is the label "shoudlerpad clips through face" and "thumb clips through chestplate." the next drawing shows a woman in a wheelchair with one foot rested on her knee and her arms rested back, such that they would be rested on the back of a regular chair, but the back of her wheelchair is not wide enough for them to actually be resting on anything. the text here reads "elbows not resting on anything" and "foot not on footplate"
step five: there are two images, one is lineart on top of a 3d modelled apartment with sketchup, the other is a colored in version of that lineart with the background also colored in and no longer a 3d modelled screencap two characters, one old woman wearing a green jacket and one younger woman wearing a white shirt and blue undershirt, are sitting on a couch. the old woman is leaning forward and the young woman is resting her arm on the couch. behind the young woman is a bookshelf.
step five text: you may say you'll just draw the chair first and then the person, but while that works for regular furniture, it doesn't work as well for most manual wcs. take this comic panel with characters on a couch for example - I 3d modeled the room and then drew the characters on the furniture. it works because you don't move furniture in most poses - you rest on it. but your wheelchair needs to move with you, especially if it's an ultralight one.
step six image: there is a flat color drawing of barbara gordon in her wheelchair. she is wearing a black sportsbra and black shorts. in the first image we see she is doing tricks in her chair, zooming through the air (as if she has just launched herself off the ground in a skater park or somethign) while her left hand is resting on a structure and her right hand is heading towards the right handrim. the next image shows her right hand planted on the ground and her chair and body above her, such that she is briefly doing a one-handed handstand, but the motion line indicates that she is moving and this will not last. her left arm is near the handrim of her left wheel.
text: take exercise Oracle - she is doing tricks. Her WC is an extension of her body. That is crucial to getting natural looking manual wheelchair users after posing.
step seven: we see a lineart drawing of paula from young justice. she is sitting in a standard manual wheelchair with high armrests (goes up to the bottom of her ribs probably) and a high backrest (goes up to just below her shoulderblades). she is setting her hand on the armrest, leaning forward, and holding her other hand out.
text: of course, there are exceptions - if you have a clunky WC, it is harder to move with your body. Take Paula from young Justice - here, i drew her resting her hand on her armrest, because she has a clunker wheelchair. her pose is already mostly static - she's sitting down - and she poses around that.
when fantasy books describe the cloth of Quant Farmpeople’s clothing as “homespun” or “rough homespun”
“homespun” as opposed to what??? EVERYTHING WAS SPUN AT HOME
they didn’t have fucking spinning factories, your pseudo-medieval farmwife is lucky if she has a fucking spinning wheel, otherwise she’s spinning every single thread her family wears on a drop spindle NO ONE ELSE WAS DOING THE SPINNING unless you go out of your way to establish a certain baseline of industrialization in your fake medieval fantasy land.
and “rough”??? lol just because it’s farm clothes? bitch cloth was valuable as fuck because of the labor involved ain’t no self-respecting woman gonna waste fiber and ALL THAT FUCKING TIME spinning shitty yarn to weave into shitty cloth she’s gonna make GOOD QUALITY SHIT for her family, and considering that women were doing fiber prep/spinning/weaving for like 80% of their waking time up until very recently in world history, literally every woman has the skills necessary to produce some TERRIFYINGLY GOOD QUALITY THREADS
come to think of it i’ve never read a fantasy novel that talks about textile production at all??? like it’s even worse than the “where are all the farms” problem like where are people getting the cloth if no one’s doing the spinning and weaving??? kmart???
In Ye Olde Medieval Fantasy Dayes, everybody’s layer against skin (shirt tunic or shift) is gonna be linen. it’s almost never wool except stockings or hose (like pant legs). Say “undyed cloth” if you wanna make them sound simple and peasanty. Comment on how you can tell it wasn’t made for them (the fit is off) and has had probably eight owners before.
Outer clothing is gonna be either wool, or a blend called Linsey-woolsey, and again you could say Undyed, but dyes are not only common they are CHEAP and relatively easy. (innerwear is often left undyed or bleached to white because it gets washed to heck- like beaten by a wooden stick on a stone by the river- and dye would just fade out a lot so why bother. Ths is also why innerwear has ties, rarely buttons, unless you are so rich you have people doing your washing delicately because they’re hired to do only that. Buttons would get broken in the washing)
A poorer person is often seen in “russet”, a kind of rusty orange-brown color. Purple was famously reserved for royalty in many times and places, but its also just hard to do. We see a lot more magentas and fuschias for nobles or common middle class folks than we ever see of Purple- and not many of those. Deep blue was more likely on very rich people, but a light blue was common for even poorer folks. Yellow was popular with everyone, and so was green, and many shades of reds, including the color we now call orange (they did not- this is why redheads are called redheads and not orangeheads). Your vision of everyone in very drab brown and mud colors is from Hollywood- most medieval-ren folks have clothing with colors. Sometimes garish colors, to the modern eye. Traffic cone Orange and acid green was a popular combo in the 13th century.
Example medieval dye colors. Lots of yellows and orangey-browns. Woad gave a range of blues that are basically what we think of as “denim colors.” There were purples - royal purple was a specific color from a specific source - but if you mix wine-dye and woad-dye, you get purpleish dye. (Getting the color to stay that way may be more difficult. Everything worn by peasants fades; they couldn’t afford the really good fixatives.)
More examples and explanations here:
Plum, dusty purple, lavender, burgundy, chestnut, blood red
Walnut, chocolate, tan, linen, pale apricot, spice, dark spice
Peasant clothes were often more colorful than the nobility. Nobles could afford bright, clear colors that peasants couldn’t - but one mark of wealth was being able to buy all 4-8 yards of fabric for an outfit at the same time. So nobles would have a full outfit, including hat, stockings, even shoes, of one type of fabric (with ornamentation of a contrasting type, and as many buttons or bits of silver as they could get away with wearing), while peasants would often have a shirt, bodice or jerkin, skirt or pants, stockings, and hat of all different colors.
Dying or re-dying any one piece of clothing was within most of their cost limits - dye itself is cheap; fixatives cost. But boiling your shirt for an hour with onion skins in a copper pot would re-color the fading fabric.
if anyone is interested in way too much information about the spinning, weaving, dyeing, and trading of cloth in ye olden days, pls see these lecture notes by my old economic history prof, who knew more about the textile industry in pre-modern europe than any reasonable person should. they’re old at this point but still pretty reliable.
