Art tutorial, ref, and writing stash @xenosstash - Tumblr Blog

got an ask recently about the way my digital art looks like traditional, so I tried to explain the steps on my self portrait, feat. some of my favorite artists and favorite brushes. sorry if it's incoherent, I'm not used to explaining my process besides "I've been professionally studying traditional art for half my life and I'm really bad at technology so I just paint digitally the way I do on paper"

xxautumnivyxx

Beeg muscle woman

mellifexfarm

travesty-majesty

"the ghosts that inhabit this place are more alive than you'll ever be" is an unfairly intense quote to be under a tiktok comment

a-marble

@theshitpostcalligrapher

theshitpostcalligrapher

oh i've done this one it's somewhere in the notes of this post i think

silverjirachi

saw an absolutely hilarious animal crossing theory that i now 100% accept and it’s that in the animal crossing world, humans are going extinct, and so all the animals have locked you in an elaborate zoo enclosure and are trying to give you enrichment. and that’s why they give you infinite pointless tasks, hide money in trees and rocks, invented debt that doesnt matter etc. it’s why they always act so happy to see you even after you raze the entire island, relocate their houses twice, and always act so pleased about your choices no matter what. it’s all to keep their little endangered human healthy and enriched. and thinking of it this way has genuinely improved my experience of the game

ponyoisms

oh i never know how to explain this properly but i looooooooooooooooove when a story just absolutely TELLS you something and it’s so obvious it goes right by you. like the equivalent of hiding in plain sight. i’m thinking in the original cut(?) of alien where they showed the full xenomorph, crouched and ready to pounce, but because we’ve never seen it before, we can’t tell what it is and interpret it as part of the spaceship. or it’s a detail that seems so out of place or wildly insane that you automatically ignore it and assume you misinterpreted until that exact detail comes back in a big way? (like when noah the raven boy flat out tells everyone he’s a ghost and they take it as a joke, so the reader does too) is there a tvtropes name for this i’m obsessed with it

thepointlessmasterpiece

I think that this is known as “delayed decoding” in literary analysis. The term was coined by Ian Watt in the ‘70s, don’t remember the exact year, to describe a technique used by Joseph Conrad in Lord Jim and Heart of Darkness, but a lot of writers picked it up. It’s basically what you described: you present a detailed image but don’t make its moral and psychological relevance obvious. You give facts but not their meaning, not until later, and the revelation can come directly from the characters who suddenly realize what they have observed or it can also be left in the text, to be understood by the reader. You can see why Modernists loved it!

iphysalian

How To Make Your Writing Less Stiff 5

Movement

Dredging this back up from way back.

Make sure your characters move, but not too much during heavy dialogue scenes. E.g. two characters sitting and talking—do humans just stare at each other with their arms lifeless and bodies utterly motionless during conversation? No? Then neither should your characters. Make them…

Gesture

Wave

Frown

Laugh

Cross their legs/their arms

Shift around to get comfortable

Pound the table

Roll their eyes

Point

Shrug

Touch their face/their hair

Wring their hands

Pick at their nails

Yawn

Stretch

Sniff/sniffle

Tap their fingers/drum

Bounce their feet

Doodle

Fiddle with buttons or jewelry

Scratch an itch

Touch their weapons/gadgets/phones

Check the time

Get up and sit back down

Move from chair to tabletop

The list goes on.

Bonus points if these are tics that serve to develop your character, like a nervous fiddler, or if one moves a lot and the other doesn’t—what does that say about the both of them? This is where “show don’t tell” really comes into play.

As in, you could say “he’s nervous” or you could show, “He fidgets, constantly glancing at the clock as sweat beads at his temples.”

This site is full of discourse on telling vs showing so I’ll leave it at that.

Epithets

In the Sci-fi WIP that shall never see the light of day, I had a flashback arc for one male character and his relationship with another male character. On top of that, the flashback character was a nameless narrator for Reasons.

Enter the problem: How would you keep track of two male characters, one who you can't name, and the other who does have a name, but you can’t oversaturate the narrative with it? I did a few things.

Nameless Narrator (written in 3rd person limited POV) was the only narrator for the flashback arc. I never switched to the boyfriend’s POV.

Boyfriend had only a couple epithets that could only apply to him, and halfway through their relationship, NN went from describing him as “the other prisoner” to “his cellmate” to “his partner” (which was also a double entendre). NN also switched from using BF’s full name to a nickname both in narration and dialogue.

BF had a title for NN that he used exclusively in dialogue, since BF couldn’t use his given name and NN hadn’t picked a new one for himself.

Every time the subject of the narrative switched, I started a new paragraph so “he” never described either character ambiguously mid-paragraph.

Is this an extreme example? Absolutely, but I pulled it off according to my betas.

The point of all this is this: Epithets shouldn’t just exist to substitute an overused name. Epithets de-personalize the subject if you use them incorrectly. If your narrator is thinking of their lover and describing that person without their name, then the trait they pick to focus on should be something equally important to them. In contrast, if you want to drive home how little a narrator thinks of somebody, using depersonalizing epithets helps sell that disrespect.

Fanfic tends to be the most egregious with soulless epithets like "the black-haired boy" that tell the reader absolutely nothing about how the narrator feels about that black-haired boy, espeically if they're doing so during a highly-emotional moment.

As in, NN and BF had one implied sex scene. Had I said “the other prisoner” that would have completely ruined the mood. He’s so much more than “the other prisoner” at that point in the story. “His partner,” since they were both a combat team and romantically involved, encompassed their entire relationship.

The epithet also changed depending on what mood or how hopeless NN saw their situation. He’d wax and wane over how close he believed them to be for Reasons. NN was a very reserved character who kept BF at a distance, afraid to go “all in” because he knew there was a high chance of BF not surviving this campaign. So NN never used “his lover”.

All to say, epithets carried the subtext of that flashback arc, when I had a character who would not talk about his feelings. I could show you the progression of their relationship through how the epithets changed.

I could show you whenever NN was being a big fat liar about his feelings when he said he's not in love, but his narration gave him away. I could show you the exact moment their relationship shifted from comrades to something more when NN switched mid-paragraph from "his cellmate" to "his partner" and when he took up BF's nickame exclusively in the same scene.

I do the same thing in Eternal Night when Elias, my protagonist, stops referring to Dorian as "it" and "the vampire" instead of his name the moment they collide with a much more dangerous vampire, so jarringly that Elias notices in his own narration—the point of it being so explicit is that this degredation isn't automatic, it's something he has to conciously do, when everyone else in his clan wouldn't think twice about dehumanizing them.

—

Any literary device should be used with intent if you want those layers in your work. The curtains are rarely just blue. Whether it’s a simile with a deliberate comparison or an epithet with deliberate connotations, your readers will pick up on the subtext, I promise.

cat-cosplay

"Mike, Echo, Oscar, Whiskey. I repeat."

"Mike, Echo, Oscar, Whiskey."

driftershunt

very normal about this cat (lying

dreamhacker606

Alexa, play “Danger Zone” by Kenny Loggins

kelvnn

Somewhere in Moomin Gate Valley ✨

p0mipaws

Damn look at my first Laios drawing y'all

cocaineteas

This is why it’s so important for parents to support their trans kids.

sushinfood

caterpolarisii

If I don’t reblog this, then I’m dead.

weirdly-specific-but-ok

Hnnnnnnnngk I want it.

imbeingtauntedbyachild

palindrome-mystery

From what I recall, the first time I saw 'rainbow capitalism' from a big brand was this image from Oreo in 2012.

It created a lot of controversy. Calls for boycotts and such. But Oreo didn't take it down. They were unapologetic and didn't try to appease the homophobes or backtrack.

And I know this sounds weird, but it was like a shift. Proof that public opinion or acceptance of queerness was widespread enough for a company to consider it profitable.

cryoverkiltmilk

embervoices

Punishing companies for catering to our preferences is the opposite of useful.

lascitasdelashoras

Tom Gauld - Personajes epicos

dduane

Wow, now I want to write something that has all of these. In order. :)

neil-gaiman

I have Tom's print of this on the wall in my house, have had it for over a decade, and I look at it all the time and imagine the day that I will begin a book with everybody in it. But never wanted to put them in order.

@myjetpack

luna-azzurra

The Villain Checklist!

Creating a villain is a delicate art, much like crafting a masterpiece. To ensure your antagonist leaps off the page with depth, consider these essential elements for your villain checklist:

Motivation: Every great villain is driven by a potent motivation, one that fuels their actions and sets them on their dark path. Explore their backstory and unearth the core reason behind their villainy. Are they seeking power, revenge, redemption, or something more sinister?

Complexity: Gone are the days of one-dimensional villains twirling mustaches and cackling maniacally. Infuse your antagonist with layers of complexity and nuance. Perhaps they possess redeeming qualities or wrestle with inner conflicts that humanize their actions.

Flaws and Vulnerabilities: Despite their nefarious intentions, villains should be flawed beings with vulnerabilities. These weaknesses not only add depth to their character but also create opportunities for conflict and growth throughout your story.

Backstory: Delve into your villain's past to uncover formative experiences that shaped their present disposition. Trauma, betrayal, or societal pressures can all contribute to their descent into villainy, providing rich narrative fodder for exploration.

Goals and Ambitions: Just as heroes strive for noble objectives, villains pursue their own twisted goals with fervor and determination. Define what your antagonist hopes to achieve and the lengths they're willing to go to attain it, even if it means sacrificing everything in their path.

Antagonistic Traits: From cunning intellect to ruthless brutality, equip your villain with traits that make them a formidable adversary for your protagonist. Consider how their strengths and weaknesses complement each other, creating dynamic conflicts that propel your story forward.

Relationships and Alliances: Villains don't operate in isolation; they forge alliances, manipulate allies, and cultivate relationships to further their agendas. Develop the connections your antagonist shares with other characters, be they loyal minions or reluctant collaborators, to add depth to their character dynamics.

Moral Justification (from their perspective): While their actions may be abhorrent to society, villains often believe they're justified in their pursuits. Explore your antagonist's moral code and the twisted logic that rationalizes their behavior, offering readers insight into their twisted worldview.

Arc of Transformation: Just as protagonists undergo arcs of growth and change, villains should experience their own journey of transformation. Whether it's redemption, downfall, or something altogether unexpected, chart the evolution of your antagonist throughout the narrative.

Memorable Traits: Give your villain distinctive traits or quirks that leave a lasting impression on readers. Whether it's a chilling catchphrase, a distinctive appearance, or a haunting backstory, give your antagonist elements that linger in the minds of your audience long after they've closed the book.

fatdoggirl-deactivated20250130

every time i see that edited version of blini cat with the waffle and that stupid smile i want to set a building on fire

fatdoggirl-deactivated20250130

no more revisionist history . you will enjoy him in his original form or not at all

precious-little-bhaalbabe

Gotta say, BG3 really knocked it out of the park on murderous, evil, bastards with the biggest, wettest, saddest, eyes

precious-little-bhaalbabe

These two have mercilessly slaughtered thousands and will again

Also bonus Lae’zel cause someone in the tags mentioned her

lambment

Dont know if you were joking about needing catboy references a couple of weeks back but here ya go

Theres one for sheep too if you need that

the sacred texts.... thank you for bestowing it upon me

fallcaesar

Santa is on strike due to global warming. All presents this year will be delivered by Sasha the Christmas Tiger. Milk and cookies may not be sufficient.