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Thank you for reading this, have a lovely day!

not a secret, but also not super accessible. i sculpted the masks in blender & 3d printed them.

before i had a 3d printer, i've made some paper masks with the following process:

have something shaped like a human head as your base. i had a plaster cast of my own face that i used, but it doesn't have to be that detailed/specific.

sculpt your mask on top of the face. i used non-drying reusable modeling clay.

after you're done, mix up some wallpaper paste, water, and wood glue. soak some sheets of paper [could be construction paper or newspaper or whatever, depending on the amount of fine detail the sculpt has] in the mixture, and apply to your sculpt, pressing tightly into the contours. get in there with fingers/sculpting tools to kind of massage the paper into the clay sculpt. use larger sheets in flat areas and smaller bits of paper in areas with detailed geometry to avoid creasing. about four layers should do, though this would depend on the paper.

let dry & peel off the clay.

coat with wood filler & sand smooth.

maybe some primer or gesso and some more sanding if you feel like it.

paint & varnish & decorate.

fortunately my psychologist wants me to get back into a non-screen related hobby to do before bed to help me sleep, and she highly approved of getting back into cross stitching, I just needed to think of a design for a project

the final design with grid for anyone who wants to use it!

colours were DMC 817, 975, and 699

☀ cross stitch of a cat , which is about 1000 years old !

Isopod

the one I was looking for originally also has a summer variant. (artist is Frederick Charles Herrick: 'it is warmer below' is from 1927, 'it is cooler below' is 1926)

To do this you need:

quilting cotton fabric, any pattern you like. Nothing too heavyweight!

heat and bond iron-on interfacing (link is amazon; your local fabric retailers should have it. Buy local if you can!)

an iron and ironing board

a computer, with access to www.photopea.com or an image editor of your choosing.

a cricut or other cutting machine that works with sticky mats to feed material.

A roll of vinyl transfer tape--you can do this project without it, but it will be easier with.

To begin, make your design in your image editor. You want large, single color, relatively simple shapes on a transparent background. I have a 12x24 cutting mat, so I made my image 11.5x23.5. Export it as a PNG, and then upload it into design space or whatever application runs your cricut or cutting machine.

Prepare your fabric by cutting it to the size of your mat. For me, that's rectangles of 12x24 material. Also cut the same size out of heat-and-bond. DO NOT REMOVE THE BACKING PAPER FROM THE HEAT AND BOND. Once you've got rectangles of fabric and rectangles of heat and bond, attach the heat and bond to the fabric with an iron.

Prepare your sticky mat by attaching a layer of vinyl transfer tape face-down, so the sticky side is up when you remove the backing paper. This will prevent the fabric from leaving lint all over the mat, and the backing paper for heat and bond is very prone to tearing--without the transfer paper, you'll be cleaning your mats a lot between every cutting.

Stick the heat and bonded fabric face-up on the mat, so the paper backing of the heat and bond is adhered to the transfer tape. Smooth out to remove bubbles. And then load the mat into your cricut! I've got an explore air 2 (several years old now) and I used my normal blade at its deepest cut settings, and fire away. (Designs do not need to be mirrored.) Before removing your finished cut from the sheet, double check that the blade has gone all the way through and you will not need a second pass-I never did, but check just in case!

Peel everything off the mat, discarding the paper backing/transfer paper layers, then iron your fabric designs onto your bunting! If you want things to be really durable, you can sew the edges down like a normal applique, but for bunting, I didn't feel it was necessary.

Drawing basic facial expressions is not the hardest. Most people can draw a sad face, a happy face, angry etc., but making more multidimensional expressions is more of a challenge. I have gotten a lot of compliments on how I draw facial expressions, (specifically “angsty ones”) telling me that they are very dramatic and well… expressive! And there are actually only a few things I think about when I draw faces that take them to the next level, so I thought i’d illustrate them all here!

SUPER IMPORTANT TIP BEFORE WE START: Look at your own face when you draw faces. Even making the face when you are drawing (you don’t even have to look at it), will give you some sense of how the face muscles pull and where things fold and stretch, because you can feel it. You are the best reference when it comes to facial expressions!

Angles 

Draw the head in an angle that matches the expressions you want to make. It is not a requirement, but is going to add to the effect.

Symmetry vs asymmetry 

A face is rarely symmetric. Unless the face the character is making is 100 % relaxed or even dissociating, the eyebrows, mouth and facial muscles will have different placements of their respective side. This image shows the dramatic impact asymmetry has on a face: 

That’s the difference between a smile and a smirk!

The first one’s like “oh yeah?” and the second is like “oH YEAH??”

The “balloon squishing principle”

This is something I did subconsciously, and I didn’t know about until I made this tutorial. And this principle goes hand in hand with an asymmetric face. Basically, if you squish one part of the face, you need to even out the empty space by “inflating” the other part of the face so that it doesn’t appear shrunken. The picture hopefully explains it:

Teeth 

Don’t forget to add the gum when the mouth is open to its full potential!

Squinting and folding

Adding folds around the eyes when a character is squinting makes a HUGE difference. It makes a smile more genuine and a growl more intimidating. Adding folds to the face in general makes your characters more lifelike and ‘visually relatable’. Like, they look human, and less plastic or fake.

and so on..

Pupils and irises 

The placement of the iris and pupil in relation to the eyelids is very important! The less of the white you see, the more relaxed the character is. 

And then of course eyebrows and eyes go hand in hand!

Gestures, spitting, sweating… 

Adding more elements than just a face is key to making the character actually look like they are feeling what you want them to feel. Just the tiniest sweat drop adds to their anxiety, spitting adds frustration to their rage, slouching shoulders, waving hands, a double chin, extreme angles, the list goes on! Add whatever and see what kind of impact it makes! Does it do the trick? Great! Add it! 

Over exaggeration!! 

Remember that you can almost always exaggerate more. Don’t be afraid to do draw “too much” because you’re just experimenting. See what works and what doesn’t. What do you like to exaggerate?

Now that you know some theory, it’s time to practice!

Practicing!! 

The 25 Essential Expressions (a classic! I’ve done it multiple times)

And the one I do when I’m bored:

Fill a page with circles and fill them in with different expressions. Try and exaggerate as much as you can! 

This is mostly for experimenting. They are quicker to draw than complete faces, but the same rules should apply!

And that’s about it!

Wow! Here’s something incredibly personal.

This is Good Bi Gender. A comic I made to express some feelings I have about my gender. I don’t really have that much else to say about it. Here it is.

[Image Description: A digital comic made with sharp, angular abstract lines and only the colors white, blue, pink, and black. The featured character is all white, except for facial features and hair colors, which changes from panel to panel. The comic reads: Cover Panel: The text “Good Bi Gender”, the words colored with the trans flag. It shows a glitchy person’s face, half pink and half blue. Panel 1: White text reads: “Hello. My name is apparently irrelevant. And my pronouns are he/him and she/her. But you can’t call me she/her. And here’s why.” Someone with a half-pink and half-blue shirt looks to the side. One eye is covered with hair, and the other eye is pink while the iris is blue.

Panel 2: The character sits happily, imagining facial hair and a masculine voice. “I don’t want top surgery. I love my chest. And I dream about being on testosterone someday soon.” The character looks at a phone, frowning. The phone shows the male symbol with an “X” through it. Text next to it reads: “People don’t seem to think that the features I dream of are very pretty though… Or they think even worse of them than that…”

Panel 3: The character’s features are all pink, and sits in a blank frame. The character reaches over to a blue frame, frowning. “I don’t like the animosity. I really despise it.” A photo of the character shows an all-blue frame and blue hair, with pink outlines and facial features. “To be a boy… I aspire to be one. I aspire to be masculine in all its handsomeness. All its prettiness.” Panel 4: The character sits in an all blue panel, but reaches back out to the pink panel. “And I’m still a girl too. I was so excited to have both. To love both. To have handsome femininity. Beautiful masculinity.” The frames break and connect, and pink and blue swirl together. The character smiles in between the frames, with one pink eye and one blue eye. “So excited. And yet I get asked…”

Panel 5: Two hands hold out two different pills to the character, one blue and one pink. They ask “Male? or Female?” using the male and female symbols.The character, facial features an array of pink and blue, looks between the two hands, distressed. “It’s both! I’m both! They’re not opposites. Not narrow boxes. I say I’m both despite the insistence that I can’t be. And I know what I look like. I know I look like a girl to most. I know that if I say people can call me she, that’s all I will get from most. Because it’s “easier”. It “makes more sense”. To have my masculinity, I am often forced to be unflinching in it and it alone. To never use she. Because if I don’t, I will never get to have he.” [The words “she” and “he” are italicized.] Panel 6: Text reads: “I’m still very happy to be so comfortable in my identity. To know, despite all that, that I am indeed a boy and a girl and both. But you know. Telling people to only use he/him for me. Guarding my masculinity all just to have it. All at the expense of the part of me who is happily and unashamedly a girl.” The character cries from one pink eye, the other hidden. The character holds a pink girl in a sea of blue, the girl crying out. In the midst of the blue, text reads: “Well, it fucking breaks her heart.” End ID]