what's ur favorite flower?
aaa, I’m not sure! I’ve never really thought much abt a favorite... there’s a lot of em that I really enjoy...
Maybe lavendar, for the smell!
seen from Iraq
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what's ur favorite flower?
aaa, I’m not sure! I’ve never really thought much abt a favorite... there’s a lot of em that I really enjoy...
Maybe lavendar, for the smell!
hi, i ireally love your work and i don't know if you've answered this before but, what kinds of studies do you do or how did you learn color theory? i wanna get better at rendering and anatomy but im having trouble TT TT
Hi! Long answer alert. Once a chatterbox, always a chatterbox.
When I started actively learning how to draw about 10 1/2 years ago, I exclusively did graphite studies in sketchbooks. Here's a few examples—I mostly stuck to doing line drawings to drill basic shapes/contours and proportions into my brain. The more rendered sketches helped me practice edge control & basic values, and they were REALLY good for learning the actual 3D structure behind what I was drawing.
I'd use reference images that I grabbed from fitness forums, Instagram, Tumblr, Pinterest, and some NSFW places, but you could find adequate ref material from figure drawing sites like Line of Action. LoA has refs for people (you can filter by clothed/unclothed, age, & gender), animals, expressions, hands/feet, and a few other useful things as well. Love them.
Learning how to render digitally was a similar story; it helped a lot that I had a pretty strong foundation for value/anatomy going in. I basically didn't touch color at all for ~2 years (except for a few attempts at bad digital or acrylic paint studies), which may not have been the best idea. I learned color from a lot of trial and error, honestly, and I'm pretty sure this process involved a lot of imitation—there were a number of digital/traditional painters whose styles I really wanted to emulate (notably their edge control, color choices, value distributions, and shape design), so I kiiind of did a mixture of that + my own experimentation.
For example, I really found Benjamin Björklund's style appealing, especially his softened/lost edges & vibrant pops of saturated color, so here's a study I did from some photograph that I'm *pretty* sure was painted with him in mind.
Learning how to detail was definitely a slow process, and like all the aforementioned things (anatomy/color/edge control/values/etc.) I'm still figuring it out. Focusing on edge control first (that is, deciding on where to place hard/soft edges for emphasizing/de-emphasizing certain areas of the image) is super useful, because you can honestly fool a viewer into thinking there's more detail in a piece than there actually is if you're very economical about where you place your hard edges.
The most important part, to me, is probably just doing this stuff over and over again. You're likely not going to see improvement in a few weeks or even a few months, so don't fret about not getting the exact results you want and just keep studying + making art. I like to think about learning art as a process where you *need* to fail and make crappy art/studies—there's literally no way around it—so you might as well fail right now. See, by making bad art you're actually moving forward—isn't that a fun prospect!!
It's useful to have a folder with art you admire, especially if you can dissect the pieces and understand why you like them so much. You can study those aspects (like, you can redraw or repaint that person's work) and break down whether this is art that you just like to look at, or if it's the kind of art that you want to *make.* There's a LOT of art out there that I love looking at, probably tens of thousands of styles/mediums, but there's a very narrow range that I want to make myself.
I've mentioned it in some ask reply in the past, but I really do think looking at other artist's work is such a cheat code for improving your own skills—the other artist does the work to filter reality/ideas for you, and this sort of allows you to contact the subject matter more directly. I can think of so many examples where an artist I admired exaggerated, like, the way sunlight rested on a face and created that orange fringe around its edge, or the greys/dull blues in a wheat field, or the bright indigo in a cast shadow, or the red along the outside of a person's eye, and it just clicked for me that this was a very available & observable aspect of reality, which had up until that point gone completely unnoticed! If you're really perceptive about the art you look at, it's shocking how much it can teach you about how to see the world (in this particular case I mean this literally, in that the art I looked at fully changed the way I visually processed the world, but of course it has had a strong effect on my worldviews/relationships/beliefs).
Thanks so much for sending in a question (& for reading, if you got this far)! I read every single ask I receive, including the kind words & compliments, which I genuinely always appreciate. Best of luck with learning, my friend :)
zara larsson summer ❀˚⋆☀️𓇼˚🐬
heyyy girls! so i know i havent been online in a WHILE buuutttt here i am now! ⭐️ summer is HERE which means sun beach swim on REPEAT! my obsession and inspo for this summer is gonna be ZARA LARSSON 🐬🌈✨💗🌊☀️ i love her music and her overall vibe & aura soooo much shes so cool so heres my summer blueprint to a Zara Larsson summer 😝💕
to become What You Hate most
╰┈➤ in which Yuu must play the part of the perpetrator, all while forgetting that they’re also the victim
word count: 5.1k
<< previous (3)
Chapter 4:
Yuu’ve got to be kidding me
Super Tuna
Seokjin x Y/N
Desc: “Fishing at 4 am? Who in their right mind would agree to that??...Oh Seokjin is asking? Yeah ill see you then”
Word count:4.4k
masterlist ao3
Tags: super tune, kim seokjin, jin and his fish, this is the Super Tuna MV but the fish is basically y/n, I researched boat architecture for this fic, idol Jin on his day off, fishing,
♡ Salt and Caramel ♡
Bakugo x Fem!Reader (pure fluff)
Summary: You and Katsuki are like day and night; but the thought that your differences could tear you down instead of binding you together haunts you.
a/n: strap in! this one i wrote a little longer as I got super into it. lmk what you think 🎀
You remember the stunned silence of your classmates as you’d broken the news that you and Katsuki were going on a date. The perpetual smile on your face that your classmates had gotten used to seeing, bright like the first bloom of spring, unchanging as you casually mentioned that you and Katsuki were “planning a date at the observatory”.
Anybody within earshot of the conversation was instantly blindsided, the classroom rippling with silent shock. Jaws agape. Incoherent stammers. The sound of Kaminari’s spirit taking flight, followed by the thud of his lifeless body against the desk and bubbles forming in his mouth. The bomb you just dropped, hanging heavily in the air, effortlessly weaved into conversation like you hadn’t just changed their fundamental beliefs of how the world works. It took a moment for everyone to comprehend your words (they were sure they’d somehow managed to induce a group hallucination). Even Todoroki’s stoic expression wavered slightly, etched with surprise as he tried to maintain his indifference.
You remember it all too vividly: like throwing a lit flame into a gas tank, every one of your classmates simultaneously erupting into roars of “no fucking way!” and “explain everything!” and “this is just a late April fool’s joke, right?”. The constant string of questions as to how or why you two were dating, now inescapable like an airborne virus you’d unknowingly released.
You can’t say this wasn’t half expected: it wasn’t exactly a secret that you and Katsuki were polar opposites. Even your quirks disagreed with each other.
Tenderness embroidered on your heart, hostility branded on his.
But even so, despite the brave smile feigned at your classmates, nothing could really alleviate the sting of over-hearing your classmates describe your relationship which was sure to end up like “a hammer falling on glass.”
So when the date you’d so helplessly been looking forward to rolled around, the knot in your chest was indistinguishable from excitement and dread.
Whether it was the constant, subtle doubts of your classmates gently reminding you that “you might not be the best fit for each other”, or the fact that you two had already spent an entire day deciding on a suitable meet-up place that you’d both enjoy for your date only served as a reminder that you two really had no common interests.
“Are you fuckin’ alright?”
The sound of Katsuki’s gruff voice broke through the worry induced state you were in, your distant gaze focusing on him as you snapped back to reality, falling back in step with him as you walk alongside the edge of the observatory.
“Huh? Oh, right”, you respond, clearing your throat. “I’m fine, thank you.”
You lied smoothly, not wanting to bring the mood of the date down (it was already in the gutters– you were hardly responsive, and even accidentally ignored him at one point), but you just couldn’t help but dwell on the thoughts that plagued you. Words of your classmates echoing in your ears: “they’re like oil and water”.
“Are you sure? Cause your brain clearly checked out 5 minutes ago.”
“Do you think we’re not.. Alike.. Enough?”
You ask finally, the words finally bubbling up enough in your chest to spill over. His brows furrow, not out of annoyance, but out of concern (which isn’t really discernable from each other on his face, anyway), jaw tightening at your words.
“What the fuck does that mean?”
“I mean.. Just look at us, Katsuki,”
You say, eyes flicking between the two of you. His vermillion eyes follow suit, scanning your figure, which is dressed in a vibrant display of colours, hues of pink and orange entwined across your body. And then to his own outfit, resembling what could only be compared to a black hole. He couldn’t deny the fact that to anybody else, the pairing probably looked odd. Your outfit practically emitted light, whilst his consumed it.
But –and it was something he didn’t know how to admit to you– the fact that you were so damn different from him made him drawn to you in a way he couldn’t quite understand.
To him, you were the epitome of serenity. Even his noise fell silent beside you, and he wondered how somebody could carry themself with such delicacy.
With you, he learnt that patience could rival brute force.
“We’re different. So what?”
He responds nonchalantly, like he’s aware of the fact, but not bothered by it.
“Maybe we’re too different.”
He grunts in response, hands still shoved into his sides like he’s trying to find the right words to respond in his pockets.
“Maybe we are,” he starts, and you worry at how he could be so casual over something you can’t seem to shake. “Maybe it ain’t such a bad thing.”
You pause– physically pause, your body coming to a halt at his words. You feel your words catch in your throat. Not knowing how to respond, or even how to react.
“You’ve taught me shit I’ve never thought of, y’know? It’s.. refreshing.”
He grumbles, stopping in front of you. His voice lacking its usual sharpness; no cocky quip on his tongue. No trace of sarcasm or a smart remark like expected.
“I never thought of it like that.”
You’d never considered that he feels the clash between you two –like flint and steel– and enjoys the sparks. Embraces them. Truthfully, despite your differences, you can’t deny that it's so compelling to be around somebody who’s so unapologetically loud; like he knows he deserves space and isn’t afraid to take it. Every blunt remark he makes; met with a warm smile of understanding and genuine appreciation.
“We’re like salt and caramel."
His words come out clear; spoken like a hymn, intentional and carrying a quiet power that makes you unravel. Because even though the fact that the pairing of you two is unexpected, there’s something so magnetic about the way you two are so incongruous.
Contradictory. Conflicting. Complimentary.
And so damn electrifying.
So these Auctioned Costumes...
When Cats closed in London, they had 21 years worth of old costumes hanging about in the theatre. The best condition costumes were set aside for the upcoming UK Tour; then the cast were allowed to take whatever they wanted as memorabilia; then the crew were allowed to take anything left. That effectively emptied out the wardrobe and wigs dept! So, there are a lot of vintage London costumes legitimately in private hands. A lot of people intentionally took costumes as investments - with the plan to sell off in years to come. And so it came to pass.
What's been sold off this week is clearly a serious collection. But it's most bizarre - there's immediately recognisable late London costumes, some I literally saw onstage in 2001, 2002; there's some much older looking costumes; some real head-scratchers; and some very basic amateur unitards mixed in!
Starting with the unitards - We have lovely, clear, labelled, late London unitards. Peter Polycarpou's Asparagus (he was fantastic but broke his leg onstage as Growltiger!) Kenny Linden's Admetus. Adrian Edmeades' Mungojerrie. But the tan unitard, and the two white ones, are commercial zip-back unitards with minimal customisation, tails sewn on. Those three are NOT authentic London stage-used costumes.
Next we have a beautiful Jellylorum - Summer Strallen's Jellylorum, I don't know if she ever went on as Jelly, this costume is possibly unworn! It was sold next to a Rumpus Cat - without his bib at all... and the third unitard is *OLD*. The way it's so long and thin - that spandex has lost all stretch, the actual spandex fibres have perished leaving just the nylon (never use fabric softener on spandex, it makes this happen much faster!) The feet of the unitard show that it is a custom built show costume - the wide neckline is interesting though, maybe he's an Asparagus, so the neckline would be under his ruff?
Then we have another Rumpus Cat - with velcro for the "R" patch, and visible damage to the fabric around the velcro. The teeth of the velcro snag on the spandex and chew it up. I wish I knew more about how Rumpus' costume was built! The earliest sightings of Alonzo show him wearing much like the Rumpus on the right, with the black velcro.
The Misto song costume is also very interesting - black velour sleeveless suit with the bib fluff sewn onto the velour. I am lucky enough to have a late London Misto song costume (how I know for sure how these costumes were handled) and my little Misto has the torso from an ensemble costume - painted spandex with the fluff - sewn to black velour leggings. Of course this goes under the jacket so only the top of the fluff is visible, but it makes me wonder how old this auction item is....
Tantomile - Summer strallen's unitard. Beautiful, vibrant, distinctive, well labelled costume! Next is a Hench-cat, quick change costume. Super rare to get a good look at them! Next to him is one that I don't know how many people would recognise - the only London character who wasn't included in the 1998 video, Victor! Although he's lost his feet, and therefore the specific identification, he's clearly a later costume, nice and bright and immediately identifiable.
Tugger Basic unitard shows an interesting detail - his arms remained so much brighter gold than his chest and legs! I'd hazard a guess that this is from the friction of the mane and socks during the show gradually working the dyes around, but the sleeves don't get rubbed as much? Stori James Coricopat is another lovely bright costume, not an exact twin to Summer's Tantomile though, interesting how the orange is such a different shade!
The third unitard here though, this one had stumped me. It's clearly a very old costume, not as worn out as the Old Cat but getting there. But who is it? The sparse fluffies look like the style from the late 80s... my best guess is a VERY old Admetus... maybe even Summer Strallen's father?
(Cherida Langford and Sandy Strallen)
This lot consisted of two Mungojerrie shirts - and this mystery cap/mask? The fact that it comes down over the eyes makes me wonder if it was intended for Macavity, but I've got no photo references of anything like this in London. But it's not a low-effort make, this much texture and detail took time. It's not from the same production house as the unitards above... Mystery piece!
These four lots - collars, gloves, tails, warmers - are just delicious. So many textures and details!
These four masks are intriguing... using feathers? Feathers - as these show - are not a great option for details onstage like this, they get very shabby very fast, and can't be washed. These masks could? be Macavity decoys? from the early years of the show... but they could just as likely be from... wherever the other weird bits and bobs came from! Maybe the original Macavity mask did have feathers in the detail? Or I could be seeing what I want to see with the low quality.
Tugger mane looks very tatty here, as a maker I find it fascinating but he's not looking as fabulous as he originally did! But it's interesting how we have the shapes of jacket lapels and collar underneath the fluff. It was sold with what looks like a chunk of the Gumbie Cat coat tail - just a chunk with velcro sewn on... was it collar? And some scraps of patterned fabric and feathers. This looks more like a literal cat toy than something from the show. The mixture of authentic London production and odd bits is so confusing....
This is the most mysterious of all to me! A lot of work went into this costume, and the technique of weaving the coloured stripes into machine knitting look the same as used on warmers (I think, knitting's not my strong point) It was sold as Gumbie Cat dress and legwarmers - but every photo we have of the Gumbie costume in London does not match.
I did wonder if maybe, it's not Gumbie, but actually Growltiger? But I really don't think so... While he was knitted, with legwarmers, and mostly horizontal stripes with vertical stripes on the hem - it really doesn't feel right. So, I don't know where this comes from!
Finally, there's a selection of wigs... I'll do a separate post for them!
hello I just came from youtube, your work is really cool!
do you have tips for improving with color please? Like how did you learn to pick and use them? i particularly love the way you do your lighting.
I yearn to use fun colors, but i struggle a lot with understanding theory and all that jazz. I also draw comics and always end up with boring and muddy colors for my scenes. Like if I try to deviate from "normal" it doesn't look coherent, especially with night scenes or like anything with unnatural light.
I'm guessing you take a lot of inspiration from classic comics, but do you have maybe classes or coloring exercises that you've done? thank you <3
honestly, my color journey is still ongoing, but the biggest piece of advice I have is to study other peoples work and use slightly de-saturated colors most of the time
I think most people aim to make colors pop by using lots of super bright / super saturated tones, but colors pop best when something vibrant is juxtaposed against something duller and darker, I use that trick a lot to make my work seem very bright and colorful in general
also don’t be afraid to push colors to their limits, a desaturated blue can pass for green in some contexts, purple can pass as brown, light orange for yellow or pink for orange, this is something that takes some practice to utilize, but it can make coloring so much more fun
also, you can push all or most of your colors towards a certain spot on the color wheel, like a tint, if you use a shade of yellow that’s closer to green, use a shade of blue that’s closer to green as well, or a red that’s more orange than pink, this one’s tough to explain, but if you mess around in a drawing program you’ll get what I mean