Daily affirmations:
I am not a sick man. I am not a spiteful man. I am not an unattractive man. I do not think my liver is diseased.
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Jar Jar Binks Fan Club

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One Nice Bug Per Day
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@llllayman
Daily affirmations:
I am not a sick man. I am not a spiteful man. I am not an unattractive man. I do not think my liver is diseased.

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A lot of people around me are having kids and every day it becomes more apparent that hitting your children to punish them is insane because literally everything can be a horrible punishment in their eyes if you frame it as such.
Like, one family makes their toddler sit on the stairs for three minutes when he hits his brother or whatever. The stairs are well lit and he can see his family the whole time, he’s just not allowed to get up and leave the stairs or the timer starts over. He fucking hates it just because it’s framed as a punishment.
Another family use a baseball cap. It’s just a plain blue cap with nothing on it. When their toddler needs discipline he gets a timeout on a chair and has to put the cap on. When they’re out and about he just has to wear the cap but it gets the same reaction. Nobody around them can tell he’s being punished because it’s in no way an embarrassing cap, but HE knows and just the threat of having to wear it is enough.
And there isn’t the same contempt afterwards I’ve seen with kids whose parents hit them. One time the kid swung a stick at my dog, his mother immediately made him sit on the stairs, he screamed but stayed put, then he came over to my dog and gently said “Sorry Ellie” and went back to playing like nothing happened, but this time without swinging sticks at the nearby animals.
The psych nerds found out ages ago that punishments that make the child think for a few minutes (about one minute or year of age until they're tweens) is much more helpful to develope social intelligence and understanding than punishments which prevents thinking, like the ones that involve pain. In fact, corporal punishment encouraged lying, extreme reactions, violent outbursts, go figure, they don't trust you.
This is all really fucking serious and important and I'm mainly reblogging for that, because this correct mentality needs to be spread around more, but I'm also reblogging because I absolutely lost it at the child who dreads having to wear the normal blue hat of shame.
for all the artists out there, here are my favorite resources i use to learn!
Files
The Complete Famous Artist Course
Art Books and Resources
Art, Anatomy, and Color Books
PDF Files of Art Books
Morpho and Other Art Books
Mega Folder
Internet Archive
YouTube
My YouTube Playlist of Tutorials
How to Draw Facial Features
Drawing and Art Advice
Drawing Lessons
Art Fundamentals
Anatomy of the Human Body
2D Animation
Perspective Drawing
Websites
Pinterest Board for Poses
Another Pinterest Board for Poses
Pinterest Boards for References
Reference Angle
AdorkaStock
Figurosity
Line of Action
Human Anatomy
Posemaniacs
Animal Photo References
Humanae - Angélica Dass
Fine Art - Jimmy Nelson
The Met Collection
Character Design References
CDR's Twitter Account
iamagco's Twitter Account
taco1704's Twitter Account
takuya_kakikata's Twitter Account
EtheringtonBro's Twitter Account
Drawabox
Color Wheel
Color Palette Cinema
Free Images and Pictures
Free Stock Photos
FILMGRAB
Screen Musings
William Nguyen Light Reference Tool
SketchFab - 3D Skeleton Model
Animation References - sakugabooru
Animation Screen Caps
Animation References - Bodies in Motion
I lowkey forgot I had this account
Star Coral Cookie! Per the request of a good friend. I post more art on my instagram @llllayman so do consider taking a look over there if u like my stuff :)
Fun Story to Share.
I got my (now 18-year-old) daughter into Ao3 back in 2021. I taught her she should always comment - even if the fic looks old or abandoned or whatever. She did.
Well - she got this email this morning:
The fic was written in 2014 and essentially abandoned.
Bethy read and reviewed in 2021 (and was actually the only person who had commented at all).
Today in 2025 - the final chapter was posted by the author and this was her reply to Bethy’s comment.
———
Never question whether a fic is too old to comment on.
this just warmed my heart omg 😭

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I spotted a reply to one of my posts:
And my knee-jerk response was "no, you should hear my friends talk about their lives--"
And it made me remember something.
Back in high school, my IB class did a lock-in-- where the group of students gets locked into one part of the school overnight on a weekend-- and after junk food and video games lost their appeal, we got to talking.
Only I didn't really know anything about almost any of them. They were all friendly enough, but I kept to myself for the most part, so we didn't have much to talk about once standard small talk ran out.
So I asked one of the other people sitting with me: "what's your story?"
Your life story.
And he told me. Sixteen years or so condensed into maybe a half hour. And it was the most fascinating life I could have imagined: the places he'd been, the things he'd done, the experiences that defined him. It boggled my mind.
When he finished and turned the question around to me, I thought mine sounded really boring in comparison, but he listened open-mouthed to the entire thing. Other kids were gathering around us by now, listening in. And when I finished mine, I turned to another one of them and asked the question to them.
And just like before, my mind was blown. A completely different life, completely different focal points, defining experiences, goals the likes of which were deserving of an anime. And the same happened with the next person we asked, and the next.
By the time each one of us had finished telling their story, it was time to go home for the morning. The video games had been abandoned hours ago. None of us had slept. We were too caught up in each other's lives.
All of which is to say:
Thank you. I do lead a very interesting life.
So do you.
What do you all study when you're doing art studies??
Heeeeeyyy, I love me a good fucking STUDY
for environments:
shot deck is a massive database of film shots searchable by grading, tod, shot type, characters and content! Studying from films really helps improve your values and composition as the shots are usually very carefully constructed! It helps you find ways to maintain realism while still packing mood and narrative into your work!
master paintings! I recommend the orientalists like Jean Leon Gerome in particular their environments had great compositions and throw around a ton of colour and light! I like the modern artists Craig Mullins and Richard Schmid also, as there is so much impressionist lost detail and simplicity yet the environments feel so real.
The 1960s era disney background artists like eyvind earle are a masterclass in stylisation and simplification and make a wonderful choice for studies. (That being said modern disney visdev artists like Nathan Fowkes are just as fantastic to study for the same reason)
architectural photography can be a great resource too- I love to look for work by urbEX people!
thumbnailing and comp studies- trying to break down a photo into as few values as possible and still have it be readable- this really helps train your brain in the relationship between light exposure and local value.
Im begging you if doing it in colour is too hard to start with just do it in black and white!!!!! Greyscale painting is an essential step in learning to paint and understand lighting scenarios!! Colour is hard!!!
there is no substitute for going outside and doing some plein air painting- really looking first hand at how the light effects different materials and objects, how it bounces around, what edges your eye naturally loses in certain lighting scenarios. Just go outside and draw and try to notice stuff.
for characters:
figure studies!!!! from life if you can but if you cant there are a ton of great resources out there- personally I love croquis cafe and posespace, but if you can afford it (and are interested in intense anatomy study) then scott eaton has a site called bodies in motion which is fantaaaastic. I think by now everyone knows nyx and senshistock, I also use a lot of grafit studio photorefs to study more complicated poses!!
Master studies (again). I particularly like to study the work of John Singer Sargent, Joaquin Sorolla, Edwin Austin Abbey, Alphonse Mucha (his le pater compositions are out of this world), any of the New Rochelle artists (e.g rockwell, tom lovell, those 1950s illustrators REALLY knew their shit).
I literally have a resin skull on my desk that I've used to do quick studies with different lighting, just 10 mins a day back when I was doing it and it levelled up my skill a lot!.
Material studies are essential to leveling up your character painting!!! Look at fur, look at metal, look at the way something embroidered reflects light vs tooled leather!!
gesture studies! Look at a dynamic pose and see how you can exaggerate the motion in away that captures the sense of movement. This is tricky to start with but its really worthwhile especially when you combine it with other exercises. Mixamo is a cool library to look into for this kind of thing as you can pause and rotate the models in the middle of their actions!
breakdown the work of artists you admire- it's ok to study other living artists (and try to reverse engineer how they are making their decisions) it's a very effective learning tool! Really figure out what it is about that persons workflow you like, and how you might incorporate that element into your own. Obviously, dont post studies of living artists work!
The most important thing is that when you do a study you go into it knowing what you want to learn. Dont try to do everything at once! It's ok to focus on the muscle structure and not give a damn about the gesture. It's ok to focus on the texture of the fur and completely ignore the characters face.
The best way to keep doing studies is to find refs you like- things you are interested in and that capture your imagination! Follow your curiosity and remember that just a tiny little bit a day makes a huge difference.
Gunna take a sec to recommend the tutorials of Devin Korwin. He talks about how to study and how to breakdown art fundamentals in a way that is at once both very advanced but also digestible. I highly recommend his pdfs!
One of the stranger things about training brand new nurses is explaining how to min max small talk. It feels very weird to coach people on how to chat.
if I make and post an insanely detailed powerpoint on the twenty different equations I run mentally during casual conversation to make it flow better, everyone has to say that it's sexy and cool and not weird at all
remember, everyone promised to be cool! also disclaimer disclaimer disclaimer assume I said all the things you'd say to be like "i know human interaction is complicated, i know some of what i listed here would be very annoying to some people," and all that
"Which spices go with which foods" lists are of limited value to me because, like, I have functioning taste buds. What I really need is a "spices that need to be added at the start of the cooking time in order to properly develop versus spices that need to be added in the last five minutes because extended heating fucks up the flavour profile" list – that shit is not intuitive.
You can break it apart into several sub-categories: 1. Does the flavour I want from this spice dissolve in oil or in water? 2. Does the flavour I want from this spice scorch or toast? 3. Is this flavour a high note or a low note? 4. Is this flavour present in the uncooked spice? If the flavour dissolves in oil, you probably want to toss it in at the start, and if in water, near the end. If the flavour toasts, like cumin, then you want to toss it in super early, or even start by toasting it in your oil and then cooking stuff with it. If the flavour scorches, it's definitely put in as a finisher. ("But don't all spices scorch over a high enough heat for long enough?" Yeah, but cooking usually takes place at one of a few temperature limits. For many things, that'll be "around the temperature of boiling water", because you want the cooked thing to retain moisture, and as long as it has moisture, it'll be cooling down the cooking surface & other ingredients. If you're frying in a wok, that temperature is higher. So this question is somewhat contextual to the temperature you're cooking at, but most spices will either scorch either way above the level you would fry at, or at a low enough temperature that you're worried about scorching it when browning onions, (ie: just above boiling water). So you can generally sort flavours into "toasters" and "scorchers". Most seeds will be toasters, most leaves will be scorchers). If the flavour is a high note, it's very noticable above the rest of the dish, then it's also more volatile and needs to be a finisher. If it's a low note, it lies below the rest of the flavour, then it needs to develop. And if the flavour isn't present in the uncooked spice, like many of the flavours in cumin, or sichuan peppercorns, or powered chilis, then it may need to develop and/or have time to soak into the rest of the ingredients. You'll generally find that a lot of flavours that dissolve in oil will tend to be high-temperature toasters with low notes, and ones that dissolve in water will be low-temperature scorchers with high notes, and for the exact reason that the latter group is more volatile: the flavours are more likely to evaporate into the air. (And thus enter the retro olfactory bit, and which is where you taste the smell of what you're eating) However . . . I talk about flavours *from* spices. And I do that very specifically. A lot of powdered chilis can't take toasting, because they'll scorch. Some of the *flavours* from them are high-temperature, but the spice overall will scorch. So to get the full flavour of those, you end up needing to stew them for a long time, so that you extract all of the low notes without scorching the high notes, and then add some fresh ones at the end to get some high notes that have evaporated away. Sometimes you want the high notes from a spice and none of the low notes, so by treating it differently, you get a different flavour out of it.
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you're welcome

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a twitter thread that actually killed me
Another List of "Beautiful" Words
to include in your next poem
Avidulous - somewhat greedy.
Breviloquent - marked by brevity of speech.
Compotation - a drinking or tippling together.
Crimpy - of weather; unpleasant; raw and cold.
Desiderium - an ardent desire or longing; especially, a feeling of loss or grief for something lost.
Dyspathy - lack of sympathy.
Ebriosity - habitual intoxication.
Epitasis - the part of a play developing the main action and leading to the catastrophe.
Fantod - a state of irritability and tension.
Graumangere - a great meal.
Grimoire - a magician's manual for invoking demons and the spirits of the dead.
Hiemal - of or relating to winter.
Illaudable - deserving no praise.
Impluvious - wet with rain.
Innominate - having no name; unnamed; also, “anonymous”.
Juberous - doubtful and hesitating.
Noctilucous - shining at night.
Poetaster - an inferior poet.
Psychrophilic - thriving at a relatively low temperature.
Quiddity - the essential nature or ultimate form of something: what makes something to be the type of thing that it is.
Repullulate - to bud or sprout again.
Retrogradation - a backward movement.
Semiustulate - half burnt or consumed by fire.
Tenebrific - causing gloom or darkness.
Unparadiz’d - brought from joy to miserie.
If any of these words make it into your next poem/story, please tag me. Or leave a link in the replies. I'd love to read them!
More: Lists of Beautiful Words
@roach-works // Melissa Broder, "Problem Area" // Mary Oliver, "The Return" // @annavonsyfert // Koyoharu Gotouge, Demon Slayer // Haruki Murakami, Dance Dance Dance // David Levithan, How They Met and Other Stories // Tennessee Williams, Notebooks
Hello there all you lovely shining stars.
N here, with some pretty bad news...
(I'll put it behind a cut to avoid triggering anyone)
i want to talk about real life villains
Not someone who mugs you, or kills someone while driving drunk, those are just criminals. I mean VILLAINS.
Not like trump or musk, who are... cartoonishly evil. And not sexy villains, not grandiose villains, not even satisfyingly two dimensional villains it is easy to hate unconditionally. The real villains.
I had a client who was a retired executive for one of the big oil companies, i think it was Shell or Chevron. Had a home just outside of San Francisco that was wall to wall floor to ceiling full of expensive art. Literally. I once accidentally knocked a painting off the wall because it was hanging at knee height at the corner of the stairs, and it had a little brass plaque on it, and i looked up the name of the artist and it was Monet's apprentice and son-in-law, who was apparently also a famous painter. He had an original Andy Warhol, which should have been a prize piece for anyone to showcase -- it was hanging in the bathroom. I swear to god this guy was using a Chihuly (famous glass sculptor) as a fruit bowl. And he was like, "idk my wife was the one who liked art"
I was intrigued by this guy, because in the circles i run this dude is The Enemy. right? Wealthy oil executive? But as my client, he was... like a sweet grandpa. A poor widower, a nice old man, anyone who knew him would have called him a sweetheart. He had a slightly bewildered air, a sort of gentle bumbling nature.
And the fact that he was both of these things, a Sweet Little Old Man and The Enemy, at the same time, seemed important and fascinating to me.
He reminded me of some antagonist from fiction, but i couldn't put my finger on who. And when i did it all made sense.
John Hammond.
probably one of the most realistic bad guys ever written.
If you've only ever seen the movie, this will need some explaining.
Michael Crichton wrote Jurassic Park in 1990, and i read it shortly thereafter. In the movie, the dinosaurs are the antagonists, which imo erases 50% of the point of the story.
book spoilers below.
In the book, John Hammond is the villain but it takes the reader like half the book to figure that out. Just like my client, John is a sweet old man who wants lovely things for people. He's a very sympathetic character. But as the book progresses, you start to see something about him.
He has an idea, and he's sure it's a good one. When someone else dies in pursuit of his dream, he doesn't think anything of it. When other people turn out to care about that, he brings in experts to evaluate the safety of his idea, and when they quickly tell him his idea is dangerous and needs to be put on hold, he ignores his own experts that he himself hired, because they are telling him that he is wrong, and he is sure he is right.
In his mind, he's a visionary, and nobody understands his vision. He is surrounded by naysayers. Several things have proven too difficult to do the best and safest way, so he has cut corners and taken shortcuts so he can keep moving forward with his plans, but he's sure it's fine. He refuses to hear any word of caution, because he believes he is being cautious enough, and he knows best, even though he has no background in any of the sciences or professions involved. He sends his own grandchildren out into a life-threatening situation because he is willfully ignorant of the danger he is creating.
THIS is like the real villains of the world. He doesn't want anyone to die. Far from it, he only wants good things for people! He's a sweet old man who loves his grandchildren. But he has money and power and refuses to hear that what he is doing is dangerous for everyone, even his own family.
I think he's possibly one of the most important villains ever written in popular fiction.
In the book, he is killed by a pack of the smallest, cutest, "least dangerous" dinosaurs, because a big part of why we read fiction is to see the villains face thematic justice. But like a cigarette CEO dying of lung cancer, his death does not stop his creation from spreading out into the world to continue to endanger everyone else.
I think it is really important to see and understand this kind of villainy in fiction, so you can recognize it in real life.
Sweetheart of a grandfather. Wanted the best for everyone. Right up until what was best for everyone inconvenienced the pursuit of his own interests.
And my client was like that too. His wife had died, and his dog was now the love of his life, and she was this little old dog with silky hair in a hair cut that left long wispy bits on her lower legs. Certain plant materials were easily entangled in this hair and impossible to get out without pulling her hair which clearly hurt her. When i suggested he ask his groomer to trim her lower leg hair short to avoid this, he refused, saying he really liked her usual hair cut.
I emphasized that she was in pain after every walk due to the plant debris getting caught in her leg hair, and a simple trim could put an end to her daily painful removal of it, and he just frowned like i'd recommended he take a bath in pig shit and said "But she'll be ugly" and refused to talk about it anymore.
Sweet old man though. Everyone loved him.

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this sucks so bad i need to [remembers suicide jokes only worsen my mental health] put on the best talent show this towns ever seen
Writing tip of the day: whenever you can, plug a plot hole with a character flaw!
Every time you realise that it makes no sense that the characters didn't do some super logical thing in the first place, figure out which character could have prevented it by simply the way they are as a person. You're not only solving the problem of the plot hole, but also the issue of writing flaws into your characters in a way that doesn't feel gratituous and contrived.
Why did the characters not use this weapon they had access to the whole time? - The character who could have told them about it wants to have control over people and had personally decided they shouldn't have it.
Why didn't that one genius character just tell everyone how to dismantle the robots? - They meant to, but being an absent-minded genius, they literally just forgot.
How did nobody notice that this little girl has been hanging out with an actual demon for seven years? - The demon made her pinky-promise not to tell anyone about it, and being naive and overly trusting, she didn't find that sketchy at all.
Why didn't the characters go to The Big Cool Guys for help in the first place? - The character who is stubborn and overly proud wanted to choose death before dishonour and didn't want to ask for help.
Every time there was a perfectly reasonable solution accessible to the characters all along, that could've resolved the whole plot in minutes, always try to find an angle where someone prevented it just by who they are as a person.