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祝日 / Permanent Vacation
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Today's Document
JBB: An Artblog!
YOU ARE THE REASON
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taylor price
sheepfilms
Claire Keane
Not today Justin
if i look back, i am lost
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@super-awesome-x
Baby’s second Novella? Baby’s SECOND Novella!
I can't believe I somehow timed it just right! It's almost like an anniversary! Luck and Bounty book 2 is finished!
Do you like fantasy adventures with Percy Jackson vibes? Luck and Bounty may be the short read for you!
You’ve seen them here, and now you can read about them too! Please go check it out! https://minimoonp.gumroad.com/l/bounty2
Arm Anatomy Studies by Fakhear
Support the artist and check out their Etsy storefront!
Theme #22: Paleta
Alternative title: So Much Goddamn Flexbox
The idea of a theme resembling a color palette is one I’ve been toying with for a long time, so this is actually kind of overdue. The main highlight of this theme is the six custom “swatches” on the left side of the screen that display their hex codes below the link labels. Though obviously intended for vibrant color schemes, it looks just as great in monochrome!
If you like my work and want to support me, you can either donate or commission a custom theme :] if neither of those is an option then a simple reblog is very helpful too.
Preview:
[static]
Credits:
Icon font [x]
Custom tooltips [x]
Video resizing script [x]
Photoset resizing script [x]
Features and code below the cut:
Keep reading
For a major reveal, the order of the reveal can matter almost as much as the content of it.
Consider the reveal that the main character previously killed a bad person. That reveal can happen all at once in the story, but consider what happens if you stretch it out throughout the story, giving the reader one piece of information at a time. What information goes first can change the entire dynamic of the story.
Consider these options:
they are dead and I killed them - they were bad
We've started with the knowledge that the person is dead and the main character killed them, and so the tension surrounds the question of why. The reader doesn't know yet that the person was bad, only that the main character killed them, and so this will likely shape their view of the main character.
they are dead - I killed them - they were bad
Breaking up the first component into two parts changes the tension--first, all we know is that the person is dead. This can be broken out even further if you want (they are dead - they were killed - I killed them) but the central tension is the same: how did they die, and by whose hand.
they were bad - they are dead and I killed them
In this case, we start with knowing that they were bad, which removes a lot of the tension--but at the start we don't know they are dad, so they remain a threat. Maybe they're someone the main character still fears, even if they're dead.
they were bad - they are dead - I killed them
Again, breaking out the reveal that the person is dead from who killed them provides an extra level of suspense--but in this case the reveal that the character killed them is likely one that brings more positive reader feelings to the character than in the earlier instances. It may also be the answer to a secret that other characters were trying to find out during the story.
they are dead - they were bad - I killed them
The central arc of this reveal becomes more about the character (no pun intended) of the person who is dead--especially if that first part also reveals that they were killed. The question that the arc of the reveal answer is why are they dead, and also how should the reader feel about their death, a feeling that will likely change once it's revealed that they were bad.
This is just one example of how the order of the reveal matters, but this exercise can work for any major reveal in a story. What are the central components of the reveal? How does the order in which they are shown or told to the reader change the tension and central questions of the story?
Hair Texture & Appearance
Below is a list of words to describe hair texture/appearance:
bristly - having a stiff and prickly texture
brittle - hard but liable to break or shatter easily
bushy - resembling a bush; thick and shaggy
coarse - rough
coiff - style or arrange (someone’s hair), typically in an elaborate way
coiffured - having the hair brushed, combed, and curled
crinkly - having wrinkles or waves
delicate - very fine in texture
disheveled - untidy; disordered
downy - covered with fine soft hair
dull - lacking brightness, vividness, or sheen
fine - thin
flat - dull and lifeless
fluffy - being light and soft or airy
frizzy - formed of a mass of small, tight curls or tufts
fuzzy - having a frizzy, fluffy, or frayed texture or appearance
glossy - shiny and smooth
greasy - covered with or resembling an oily substance
knotted - tangled
lank - long, limp, and straight
lush - rich, thick, full
lustrous - having luster; shining
luxuriant - thick and healthy
luxurious - characterized by opulence, sumptuousness, or rich abundance
matted - tangled into a thick mass
oily - containing oil
puffy - soft, rounded, and light
satiny - having a smooth, glossy surface or finish like that of satin
scraggly - ragged, thin, or untidy in form or appearance
shaggy - long, thick, and unkempt
silky - of or resembling silk, especially in being soft, fine, and lustrous
sleek - smooth and glossy
slick - smooth and glossy
snarled - tangled
stiff - not easily bent or changed in shape; rigid
straw-like - resembling straw
stringy - resembling string; long, thin, and lusterless
supple - bending and moving easily and gracefully; flexible
tangled - twisted together untidily; matted
tousled - untidy
unkempt - having an untidy or disheveled appearance
velvety - having a smooth, soft appearance
voluminous - to add fullness or volume
wavy - not straight or curly, but curves slightly
windblown - messy because of being blown around by wind
windswept - untidy in appearance after being exposed to the wind
wiry - resembling wire in form and texture
wispy - fine; feathery
ok I DO have ONE hot tip.
So. You're like me. You have ideas and you want to see characters move around in sync with some audio. But also you need to cut as many corners as possible. BUT ALSO you really want it to feel good to watch to justify the effort.
My tip is this: use tweens but as few as humanly possible.
To explain: so we got these key poses we wanna use while somebody says something
That's 3 drawings!
If you draw out a whole scene at this rate, you'll get the point across! This totally works! You can have all kinds of cool poses and expressions and it will still be an unreasonably large number of drawings, and an impressive feat to finish!
BUT since we're already here....why not trick everyone into thinking it's "smooth" by making THEIR brain do HALF the work, at LEAST.
^ That right there is only 3 additional drawings!
Tween Type 1: bridging the gap
so the difference between these 2 frames is huge, and as a consequence playing one right after the other feels choppy.
Now I haven't explained the second kind of tween yet, but the way we decide between them is by asking ourselves, "how controlled is this movement, and where is it fastest?"
This guy is unfolding their arms and then placing a hand on their hip. This is a more controlled motion, because the limb stays close to the body at all times, where there's not much room to swing around.
Also, if you do this in real life to test it, the two slowest parts are separating your arms at the beginning, and then resting your arm on your hip. Between those two parts, it's mostly just your arm swinging into place relatively fast.
The fastest part will be easier for your brain to fill in for us, so the tweens are only added to the slow parts.
The arm starting to unfold, and the arm slowing down to rest on the hip.
The second screenshot, depicting the "end" of the movement, is overlaid onto the NEXT frame rather than the previous, because it will need to look very close to that for your brain to process the new pose properly.
These 2 new drawings have created just enough of a bridge for your brain to register it as a movement rather than two separate images.
Tween Type 2: overshooting
This kind of tween is used for faster, less controlled movements, or anything that "squishes." Here I use it for the guy bringing his arm up, and his eyebrow moving.
Once again overlaid onto the frame AFTER this tween, so you can see the "overshoot" effect.
Since the arm is out in the open air, it will swing with the momentum it took to raise it, and the guy's musclea will need to squeeze it back into the place they intended to hold it at. So it moves past the final resting pose (overshoots it), because it is too fast to slow down before it.
Overshoot is kind of the opposite of bridging the gap. Where bridging the gap shows you something starting to move, and then slowing down; overshoot shows you something winding up (omitted for this chill guy, but it's a frame "pulling back" on the pre-movement pose where the frame I did add is "pushing" on the post-movement pose), and then struggling to come to a complete stop.
But just like bridging the gap, you don't have to draw he middle because the movement is fast, so your brain wouldn't have paid attention to it anyways.
So yeah thats how I play tricks on people's minds without REALLY animating! Go nuts!
Since the tweens are onscreen for much shorter times, don't be afraid to let them be messy, so that you can try out a few different variations to see which looks right. I redrew that arm coming to rest on the guys hip 2 or 3 times, and it was originally supposed to be an overshoot, but the bridge ended up looking better!
i’m sorry i phoned it in but this is how i do literally every single shiny metallic surface. another tip is to add surface detail to something just so that you can pin highlights to it, that way you’re not faced with a big blank space to fill up
and to be honest, you can bullshit 99% of these armour embossing designs. i mean look at them. i didn’t even make them symmetrical. their only purpose is to help define the form
my last step is usually to go ham panting over the lines. most of what u see in a finished image is me having painted over the lines (u can see that clearly on the pendant). u can see in this one that i disregarded my lines in a lot of places and just kinda freestyled it.but u can also see that i place the highlights right up against the dark bits. this armour was very shiny so those dark bits are reflections rather than shadows (i guess?)
👍
A Quick Guide to Varying Sentence Starters
One of the things that really winds me up about my own writing is looking back and seeing a multitude of sentences beginning with “I” or “And” or “But”. I’m a messy first-drafter as it is and I do a lot of line edits, but it’s still takes up a significant portion of my time going back to change things.
So, I’m here today to share with you the ways I try to vary my sentence starters and some tips and tricks for drafting and edits”
-.-.-.-
We all know why it’s important to vary your sentence structure, and by extent, your sentence starters. Besides obvious intentional things such as creating tension, or specific mood/tone/atmosphere, we should be aiming to vary how we start sentences to keep the reader engaged and not it being repetitive.
This is especially important if you, like me, write in first person and begin a lot of sentences with things like “I was” or “I am” etc. Or if you have a habit of beginning sentences with characters’ names. But what other options do we have? Here are five general categories that I like to use:
ING WORDS Coughing, she pushed her way through the blaze. Smiling, he leaned in for a kiss.
SIMILIES (and other techniques) Like the chattering of a typewriter, their eyes flittered over the group in front. Sweeping in like a dove, she cut through the awkward conversation.
PREPOSITION (beside, near, with, across, around, out, at, in, etc.) On the starter’s whistle, I pushed forward. Under the heavy fog, the streetlamp glowed valiantly
CONNECTIVE (Because, but, and, despite, after, before, etc.) After he left, I slipped the dagger back into its brace. But I wasn’t about to give in now. ED WORDS Distracted, she let the ice cream fall from her hands. Stunned by his words, they stopped in their tracks.
.-.-.-.
Obviously you can make these examples much more complex and attuned to your own styles! There are lots of other ways you can vary your sentence openers, these are just what I personally use - so hopefully you can get some use of them!
.-.-.-.
Hints and Tips!
Use the highlighting treatment! Go through your WIP and focus on your sentence openers. Select a different colour for each category (Blue for She/He/They/I starters, red for ED Words, yellow for ING words, as an example) and use it to help you see where you may need to add some more variation!
This also is a great exercise to do with a published book you really enjoy or by an author you admire - it’s a great learning experience!
Use a good mix of short, long, and medium sentences! If you find that your writing feels a bit samey or dry, even with varied openers, try changing the structure of the whole sentence itself!
Experiment and play around with word order and structure - free write for a few minutes every day and try something new! It’s all practice and even if it never sees the light of day in your WIP, it’s still a worthwhile thing to do!
.-.-.-.
I hope you’ve enjoyed this guide and/or found it useful!
If you’d like to request a particular guide, please pop into my inbox and leave a request!
here’s a small character design philosophy that i wanted to share. i try implementing it when i can, wanted to give a simple explanation for it.
◍ hydrogen theme.
Links: preview | install | features | theme one by xuethms
Hydrogen takes full advantage of rounded edges, grid patterns, windowed contents, and an accent colour that permeates every element, to create a simple but elegant theme. By simply changing the accent colour, you can drastically change the vibe and aesthetic of your entire blog.
Credits: photosets.css by annasthms & eggdesign | preview sidebar image by @igusaharu | style-my-tooltips by malihu
Beehive
preview + install
Beehive is the revamp of my old Honeycomb theme. It includes the same aesthetics and feel of Honeycomb, but easier to use and customize!
Returning features:
Hexagon grid
Custom background
image Custom colors
Jump pagination
Search bar
New Features:
Responsive - the honeycomb pattern should adjust to your screen size
Sidebar background, optional full size
No honeycomb option - Like the look but don’t want the grid? You can now disable the hexagon posts and turn the theme into a more traditional single column theme.
NPF post friendly - unlike Honeycomb, NPF posts should not interfere with with honeycomb layout. If you run into a problem with the hexagon layout, please let me know!
The sidebar background in this preview is by @argodeon and is not included in this theme.
Words to describe facial expressions
Absent: preoccupied
Agonized: as if in pain or tormented
Alluring: attractive, in the sense of arousing desire
Appealing: attractive, in the sense of encouraging goodwill and/or interest
Beatific: blissful
Black: angry or sad, or hostile
Bleak: hopeless
Blinking: surprise, or lack of concern
Blithe: carefree, lighthearted, or heedlessly indifferent
Brooding: anxious and gloomy
Bug eyed: frightened or surprised
Chagrined: humiliated or disappointed
Cheeky: cocky, insolent
Cheerless: sad
Choleric: hot-tempered, irate
Darkly: with depressed or malevolent feelings
Deadpan: expressionless, to conceal emotion or heighten humor
Despondent: depressed or discouraged
Doleful: sad or afflicted
Dour: stern or obstinate
Dreamy: distracted by daydreaming or fantasizing
Ecstatic: delighted or entranced
Faint: cowardly, weak, or barely perceptible
Fixed: concentrated or immobile
Gazing: staring intently
Glancing: staring briefly as if curious but evasive
Glazed: expressionless due to fatigue or confusion
Grim: fatalistic or pessimistic
Grave: serious, expressing emotion due to loss or sadness
Haunted: frightened, worried, or guilty
Hopeless: depressed by a lack of encouragement or optimism
Hostile: aggressively angry, intimidating, or resistant
Hunted: tense as if worried about pursuit
Jeering: insulting or mocking
Languid: lazy or weak
Leering: sexually suggestive
Mild: easygoing
Mischievous: annoyingly or maliciously playful
Pained: affected with discomfort or pain
Peering: with curiosity or suspicion
Peeved: annoyed
Pleading: seeking apology or assistance
Quizzical: questioning or confused
Radiant: bright, happy
Sanguine: bloodthirsty, confident
Sardonic: mocking
Sour: unpleasant
Sullen: resentful
Vacant: blank or stupid looking
Wan: pale, sickly
Wary: cautious or cunning
Wide eyed: frightened or surprised
Withering: devastating
Wrathful: indignant or vengeful
Wry: twisted or crooked to express cleverness or a dark or ironic feeling
flow | preview , code
a minimalist about page with three custom links
Page — Beneath The Waves by vitaminholland Preview/Download
Features:
250x150px about image
trivia section
about section
skills section
social media section
sideblog section
back to top*
Notes:
* denotes default features.
This page is very versatile. I’ve also made sure to label the elements accordingly.
Please like or reblog if using. Message me if you found coding bugs aka a mistake caused by my sleepiness.
I don’t claim any of the fonts, scripts and/or tutorials I used unless stated otherwise. See full credits here.
THEME NAME: Faustina
THEME DETAILS:
Fixed Sidebar
Fixed Sidebar Background Color
(2) Profile Image - 180 x 230 px
Grayscale Sidebar Image (Hover to reveal colors)
Hover Sidebar for Navigation
Post Tags (optional)
Post Background (optional)
Share posts on social media
500 post’ width
(5) Custom Links
One column theme
Selection Color
Not infinite scrolling
Pagination (bottom part)
PREVIEW | CODE
tutorial I posted on my twitter earlier this week
Origami knight made from a single piece of paper with not cuts or tears.
Video of how it was done below
[looking at the photos]: ‘yeah i could probably do something like that in about six sheets of paper. Maybe as few as four. One square is straight up impossible though, at least without cutting it.’
[watching the video]: ...OH.
