Comm from Hocotate on FR!
ojovivo
$LAYYYTER
let's talk about Bridgerton tea, my ask is open

oozey mess
PUT YOUR BEARD IN MY MOUTH

tannertan36
Cosimo Galluzzi
DEAR READER

ā

@theartofmadeline
occasionally subtle
Alisa U Zemlji Chuda
Sweet Seals For You, Always
Misplaced Lens Cap
Three Goblin Art
2025 on Tumblr: Trends That Defined the Year

titsay
he wasn't even looking at me and he found me
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@4jen
Comm from Hocotate on FR!

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Some old AF arts I've done!
credits on ArtFight: Giu (left) | OtterQueen (right)
iām 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 youāre 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 didnāt 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?)
š
For drawing referencesĀ
[@/ALEXbutalsoK on Twitter]
Hey there! Random question but I'm curious, how would you go about drawing chainmail? I have a D&D character that has chainmail under their armour and every time I try to draw them I'll start off by drawing all the links by hand then it gets way too tedious so I go look for chainmail pattern on google and paste it lmao but it feels like I'm cheating by doing that, and it clashes with the style I'm going for. I was wondering if you had any tips or tricks?
I donāt feel particularly great at drawing chain-mail either but thereās a technique I learned from a tutorial a bunch of years ago that I think makes a pretty good texture. Itās fast and the end result is cartoon-y enough to match a less photo-realistic style. I canāt for my life find the tutorial so Iāll recreate it here (using Photoshop):
1. Fill your canvas with black or white. Filter -> Render -> Clouds
2. Filter -> Filter Gallery -> Glass (under the Distort category)Keep smoothness as low as possible, play with the other settings
3. Find a filter in Filter Gallery that you like and apply it. Combine them, if needed.
4. When applying texture to the drawing, use Edit->Transform->Warp to make it fit the shape youāre trying to convey
You can stack more filters on after the texture is placed or draw over it with a textured brush to make it look less uniform if thatās what you want. Add a shine to it with a big soft brush, colorize it, go crazy. I go with whatever looks best to me atm.
This is how I did Geraltās armor too, though since I knew the final print will be smaller than 1.5ā³ I didnāt worry about details much.Ā
Hope that helps!

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Mini WIP of something I'm working on now that I have pens that work with watercolor
get that š°
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!
theres actually a name for this! this is actually not tweening, this is the step before ā the breakdown phase!
Breakdowns are the between frame between two keyframes. Depending on how much you favour one frame or another, youāll change the feeling of the animation when you inbetween further.
itās an important step that defines the feeling of the motion!
Anyway I shanāt say much more than this since youāve already given some great examples of different ways to approach a breakdown, but this is a nice video on the topic if you want to learn more:
Hey! How have youāve been?
Iāve been ok I guess, but I missed talking to my old friends ^^
*boop*
*boops back*
Hello!! Long time no see friend :3

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A little update to my personaās Plush version šš
God finally a new persona sheet
every once in a while someone likes a ton of Rave posts all at once and im reminded that I've abandoned my girl š that sweet little neon airhead deserves better
right after you saw this post, huh? won't let me forget my mistakes, huh???
She's really cute tho
oh geez,,
Finally made a ref for this little baby

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yall look at this shit ad*be is tryna pull now on ppl who have outdated software:
(note for context: iām all for piracy, but in this case my copy of CS6 was downloaded years ago when they were giving it away to students. i got it totally legally.)
so here is what NOT to do if youāre a loyal fan of adobe who has the cash to shell out for a newer and shittier version of the product you already paid for.
1) DONāT use your search bar to find and open the Run app
2) DONāT type in services.msc
3) DONāT find Adobe Genuine Software Integrity Services and right-click to get a dropdown menu, and donāt selectĀ āpropertiesā
4) if you happen to click properties, DONāT use the startup type dropdown to locate the option to disable the program. be sure you DONāT click apply to finalize that change.Ā
5) DO NOT do the same thing in order to also disable Adobe Genuine Software MonitorĀ
if you do all of these things, this WILL disable adobeās ability to monitor the software, and you will be forced to continue using the same older software that you already paid for instead of having to sign up for a newer, shittier version and pay more for it. so if you have lots of cash to spare and are cool with putting it the pockets of racketeering capitalists, definitely donāt do any of these things.Ā
however, you SHOULD reblog this to spread the word, as we certainly want to make sure lots of people know what NOT to do :)
IāM SORRY MA'AM. I KNOW YOUāRE UPSET.
Pretend to be upset.
OP how could you
I hope none of my friends who use Adobe programs find this, follow your detailed instructions, and spread the word. That would be devastating!
Doodles while watching the Goodbye stream. DID ME BEST and realized I shouldnāt have artāed this much. ļ¼ļ¼äŗŗļ¼ļ¼ļ¼