I get asked a lot for tips with coloring black people, so i put together a little tutorial! (and bumps my kofi if you found this helpful)
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I get asked a lot for tips with coloring black people, so i put together a little tutorial! (and bumps my kofi if you found this helpful)

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he doesn’t look all that lively, does he?
Tuesday Tip — The Nose Here’s the way I approach the nose. For my taste, the simpler, the better. But it’s always good to know what you’re working with. Havre a great Tuesday! -Norm
Face tutorial for Anon!
I wasn’t sure whether you meant heads or facial expressions, so here’s a very basic head tutorial! Of course not all faces are the same so proportions and the size of ears/eyes/noses etc. can vary! Feel free to explore and play with them to create unique and interesting characters! I hope this is somewhat helpful, and let me know if you’d like a tutorial on expressions as well!
draw ur ocs

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Dash tip: I see a lot of people draw arms as shoulder/upper/lower arm in 3 separate pieces and that’s fine if you like drawing them that way they have their charm. But if you wanna challenge yourself outta that comfort zone: start drawing arms as interlocking segments. Above some very rushed and possibly non anatomically correct doodles. The shoulder wraps around the upper arm, the forearm slots alongside the upper arm and the wrist slots into the forearm. Start thinking as your characters as puzzles where things slot together instead of puppets with completely rounded pieces. There’s tons of anatomy videos on youtube (Sycra and Proko are gr8) and even when you slide your hand along your own arm you can feel where certain joints ‘overlap’ and interlock.
How to make a character's death sadder
Don’t have them die of old age after a long, fulfilling life. Many people don’t even think of this as sad (note that this can still work if you have enough of the other factors).
Leave one of their major goals unfinished. The more enthusiastic they are about completing the goal, the sadder.
Give them strong relationships with other characters.
Make them fight against whatever is causing their death. Their ultimate loss is sadder if they struggle.
Kill them in the middle of their character arc.
Don’t describe their funeral in detail. Maybe it’s just me, but I find that long descriptions of funerals kill the sadness.
That’s enough Satan’s publisher…
>B)
7. If possible, try to kill them off in the middle of the story, so we had time to like them and we will have time to let the loss settle in.
8. Also, place surviving characters in a situation where having the deceased person there would help them get out. You can choose whether you will point this fact out or if you want the audience to make the connection themselves.
9. Make them die by sacrificing themselves to save someone they love from a danger created by the antagonist.
based on a few deaths that made me blub like a baby…
10. have their loved one, broken hearted, tell the team to stop fighting because “its over.”
11. have their pet come looking for them.
12. have their loved one perform a popular song at their funeral so it makes the fans cry whenever it’s played.
13. family witnessing the death and/or blaming themselves.
~ Mulan
so… let’s add some frustration to your dear readers’ sadness, shall we?
14. kill the character in the middle of making a joke, smiling, or expressing/experiencing joy/happiness.
15. make the character’s death slow and painful, but make them unable to call out for help even though they can literally see the other characters nearby.
16. after killing the character, have others think the character had betrayed them so they’d always hate them and remember them as traitors and never say nice things about them… Give your readers no chance to have group-therapy with other characters by making them the only ones who know the truth.
17. right before their death, show a side of them nobody has seen. (someone who is always tough and brave being genuinely scared of dying alone; someone who is always laughing being in tears before dying, etc.)
18. make them the only person who knows a big important secret that would help other characters in the story.
19. have them being lied to before dying. (thinking they’ve been betrayed; thinking they weren’t loved; thinking they’ve lost their loved ones, etc)
20. make the character very enthusiastic/passionate about a certain goal, constantly put stress on their goal, have them die unexpectedly before they can reach their goal.
and the best one…
21. have another beloved character kill them–better be a close friend to your character, one that absolutely nobody suspects, one that everyone can’t help but love, one who is always enthusiastic about things and encourages your character. THEN
reveal the truth only later when it’s too late and the a-hole character has already escaped.
have a cowardly character know the truth and never tell anyone else
have another character find out the truth and have them die before revealing it to others.
have the said character ^ not actually die, but go through something so they’d forget the friend of the deceased character is actually an asshole.
This way only your readers will know the truth, thus the frustration would be… most enjoyable for you.
Satan out.
22. Don’t kill their body. Kill their mind.
Leave the physical shell walking and talking, but strip out everything that made that person who they were. Make them forget all about their loved ones, themselves, their experiences and past, their skills, and have them have to start over completely from scratch. Physical and mental disabilities bonus points.
And keep them in a place where their loved ones will be taunted every day by a living ghost.
My old tutorial! Wanna share it with you)
Oh, this is infinitely superior to the usual ‘uhhh if u make ur character a triangle face we wont trust them’ crap.
Writing Tip: Don’t Be Afraid of Mixing Dialogue and Action
So I’ve been reading a lot of amateur writing lately, and I’ve noticed what seems to be a common problem: dialogue.
Tell me if this looks familiar. You start writing a conversation, only to look down and realize it reads like:
“I’m talking now,” he said.
“Yes, I noticed,” she said.
“I have nothing much to add to this conversation,” the third person said.
And it grates on your ears. So much ‘said.’ It looks awful! It sounds repetitive. So, naturally, you try to shake it up a bit:
“Is this any better?” He inquired.
“I’m not sure,” she mused.
“I definitely think so!” that other guy roared.
This is not an improvement. This is worse.
Now your dialogue is just as disjointed as it was before, but you have the added problem of a bunch of distracting dialogue verbs that can have an unintentionally comedic effect.
So here’s how you avoid it: You mix up the dialogue with description.
“Isn’t this better?” he asked, leaning forward in his seat. “Don’t you feel like we’re more grounded in reality?”
She nodded, looking down at her freshly manicured nails. “I don’t feel like a talking head anymore.”
“Right!” that annoying third guy added. “And now you can get some characterization crammed into the dialogue!”
The rules of dialogue punctuation are as follows:
Each speaker gets his/her own paragraph - when the speaker changes, you start a new paragraph.
Within the speaker’s own paragraph, you can include action, interior thoughts, description, etc.
You can interrupt dialogue in the middle to put in a “said” tag, and then write more dialogue from that same speaker.
You can put the “said” tag at the beginning or end of the sentence.
Once you’ve established which characters are talking, you don’t need a “said” tag every time they speak.
ETA: use a comma instead of a period at the end of a sentence of dialogue, and keep the ‘said’ tag in lower caps. If you end on a ? or !, the ‘said’ tag is still in lower case. (thanks, commenters who pointed this out!)
Some more examples:
“If you’re writing an incomplete thought,” he said, “you put a comma, then the quote mark, then the dialogue tag.”
“If the sentence ends, you put in a period.” She pointed at the previous sentence. “See? Complete sentences.”
“You can also replace the dialogue tag with action.” Extra guy yawned. “When you do, you use a period instead of a comma.”
So what do you do with this newfound power? I’m glad you asked.
You can provide description of the character and their surroundings in order to orient them in time and space while talking.
You can reveal characterization through body language and other nonverbal cues that will add more dimension to your dialogue.
You can add interior thoughts for your POV character between lines of dialogue - especially helpful when they’re not saying quite what they mean.
You can control pacing. Lines of dialogue interrupted by descriptions convey a slower-paced conversation. Lines delivered with just a “said” tag, or with no dialogue tag at all, convey a more rapid-fire conversation.
For example:
“We’ve been talking about dialogue for a while,” he said, shifting in his seat as though uncomfortable with sitting still.
“We sure have,” she agreed. She rose from her chair, stretching. “Shall we go, then?”
“I think we should.”
“Great. Let’s get out of here.”
By controlling the pacing, you can establish mood and help guide your reader along to understanding what it is that you’re doing.
I hope this helps you write better dialogue! If you have questions, don’t hesitate to drop me an ask :)
This is goddamned exactly right and exactly how I strive to write.
Not only that, but when I first write something, often it’s “said” all the way down, and then relatively late in the process, I go back and fluff it up with action and intonation. It’s okay to let it be simple the first time around, and then add in the complexity where it is warranted. This lets me work faster, so that I’m not shifting gears between dialogue and description constantly.
This is some of the most nuanced dialogue advice I’ve seen on Tumblr, and all writers should read it.
That is a supremely kind thing to say and I am very grateful to be of assistance :)
Tuesday Tips - With a Twist! Add some vitality to a pose by twisting parts of the body. A little or a lot. Give it a shot. #Norm #100tuesdaytips #WithATwist #grizandnorm #arttips #arttutorial

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Gun Terms for Writers
notevendoommusic:
superblys:
jamessblond:
As someone who writes fics with action sequences and the use of guns, I thought maybe it would be helpful to pass some things on. Even though I’ve done lots of research and talked with family members (I live in WI which is a big hunting state and we have lots of guns), I still catch myself making mistakes with specific terms and their usage. Reading more James Bond fics lately, I catch others making mistakes also. So here is a little guide to help writers.
A ‘clip’ is something that stores multiple rounds of ammunition. It is not what you would insert into a handgun to load it. Clips make loading into a magazine easier because they simply store the rounds. It helps with organization.
A magazine is what feeds the ammunition into the barrel. Magazines vary in capacity. They, unlike clips, are spring-loaded, which helps the ammunition move in the gun. So, when you want a character to reload, they would use a pre-loaded magazine, NOT a clip.
A silencer is really a suppressor. ‘Silencer’ is a word that’s used in media to refer to a suppressor that doesn’t exist in real life. Guns that are suppressed will still be loud and have a sound. This is because compressed air will still leak out of the end of the barrel, you can’t silence a bullet moving extremely fast through the air, and you can’t silence the mechanical parts on a gun. There will be a noise, but it just won’t be as loud or more importantly, alert people in a nearby area that a gun was just fired. SO suppressor is a much more accurate term technically speaking.
There are different kinds of suppressors. One important kind suppresses the muzzle flash. It’s likely a sniper would use this more than they would want to use a sound suppressor, as the muzzle flash more easily enables you to be spotted when you don’t want to be. These are simply referred to as flash suppressors.
After a handgun runs out of ammunition, the slide will lock back into place and you will know that it is out. There is no ‘click’ signifying an empty weapon that is so dramatized in movies and tv. A more likely scenario that would prevent a gun from firing would be a jam. Or programming the gun to recognize certain palm prints.
A great place for writers, in particular fanfic writers, who want information on guns is imfdb. You can find out what guns are used in movies and shows, and what guns characters use. You can also just search for guns.
If you want to get really specific, check out YouTube. There are users who will post reviews of guns on there, which can be really helpful if you want to see how a particular gun looks or how to shoot it.
So yeah! Here are just a few basic tips if you want to write a fic where a character uses guns.
I see you’ve got terminology down, now let’s go for a little technicality.
Firstly, let me explain the “kick” of a gun. A “kick” is the feeling of the round leaving the barrel of the gun. Every gun has one, the impact of the “kick” depends on the caliber, make and type of gun.
Another way to describe a kick is the feeling of the gun exploding in your hand. Of course, the gun doesn’t literally explode, but it is a great burst of power that only lasts a second.
For example: A .45 mm hand gun with have a bigger “kick” than a .22 mm hand gun. If someone is a first time shooter and does not know what to expect, they would most likely drop the gun after firing it once due to the shock of the force being released in their hands.
Sniper Rifles are incredibly accurate and mainly used for long distance hits. They are also ridiculously heavy, as most rifles are, therefore, be prepared for a gigantic “kick”.
Sniper Rifles are special because they are so powerful (they need to be in order to have the same impact a .45mm would 10 feet away compared to the shell half a mile away), thus a stand is required to use it.
No matter what you will always need a firm holding to place the rifle (besides your grip) in order to prevent the gun from falling over after it is discharged and injury to your person. There are ridiculously powerful guns.
General rule of thumb is that you place the butt of the rifle next to your shoulder, just below your clavicle. I’m not very good at describing this position, so I suggest looking it up. DO NOT place it anywhere in the armpit area, dislocation is likely to occur. Depending on how prepare you are and the type of rifle being used (excluding snipers), bruising might occur.
You will be standing if you use a normal rifle, so make sure you are steady and prepared for the “kick” that follows after.
If you are using a sniper rifle, you will be on the ground or leaning against something. Some people have special rests for their snipers specifically to fire the gun from any spot. Point is: do not stand alone while firing this. You will get hurt.
Other helpful tips:
Earplugs or Ear Protectors are your friends.
Safety glasses are also your friend to avoid shells from flying into your face.
Keep the safety on until you are ready to fire the gun.
If you are NOT currently firing the gun, whether it is loaded or unloaded, and it is in your hand, ALWAYS hold it with two hands and point it at the ground at your feet. DO NOT get distracted.
NEVER joke around with someone by pointing the gun at them. EVEN IF YOU ARE ABSOLUTELY POSITIVE THAT THE GUN IS TOTALLY UNLOADED, MAGAZINE OUT OF PLACE, DO NOT RISK IT. It is not funny. Even if the gun is on safety, do NOT do it. You could accidently switch off the safety or the gun could misfire despite the safety.
Lastly TWO HANDS. One on the side near the trigger and the other underneath. This is not the movies, do not attempt to fire a gun with one hand. Not only will your aim be incredibly off if you are inexperienced but you will also endanger yourself as well as others if you lose control of it.
Guns can be scary and if you ever feel nervous or uncomfortable about firing one, do not do it.
A few things I have to add to this:
The caliber of a round is usually measured in either millimeters or in hundredths of an inch. One “unit” of caliber, I guess, is one one-hundredth of an inch. For example, a 45-caliber round has a .45 inch diameter (which is why it’s called a .45). DO NOT CONFUSE THIS WITH MILLIMETERS. .45 mm is NOT 45-caliber.
Common cartridges measured in millimeters with their respective calibers:
Rifles:
5.56mm = ~.223 caliber
7.62mm = ~.300 caliber
12.7mm = ~.500 caliber
Handguns:
5.64mm = .22 caliber*
9mm* = .354 caliber
10.16mm = .40 caliber*
11.43mm = .45 caliber*
(*the measurement you’re more likely to see for each cartridge.)
In the case of rifles, cartridges meant for civilian use are usually designated as .223, .300, .308, etc. Designations such as 5.56mm, 7.62mm, etc. are usually indicative of military-grade ammunition. This is not always true, but usually that’s how it is.
Military-grade bullets are held to higher standards and typically cause more stress on the internal mechanism, and the guns they’re meant for are built to handle that. They can also handle civilian ammunition. It doesn’t work the other way around, however. Do not attempt to use military-grade ammunition in a civilian-model firearm that hasn’t been modified to handle it.
A few different kinds of cartridges:
- Full metal jacket, which gives increased penetration capabilities but doesn’t do much in the ways of expansion. Risky to use in situations with a lot of innocents around, as often they can over-penetrate and go on to hurt someone behind the target.
- Hollow-points, which expand like crazy when they hit something, causing massive internal damage to their target. Outlawed in warfare under the Hague Convention of 1899, but can be used by civilians.
- Soft-points, which serve as a happy medium between the penetration capabilities of full metal jacket rounds and the expansion of hollow-point rounds.
- Shot, usually rat-shot or snake-shot, which can be fit in bullets and used to kill small vermin at close range without doing a whole lot of damage to the surrounding area.
- Sub-sonic, which have a lower muzzle velocity and effective range, but will decrease the chance of overpenetration. This is also the ideal ammo choice for weapons fitted with suppressors, as subsonic rounds avoid the “crack” of a sonic boom that other bullets can make upon leaving the barrel.
Hey friends!
It’s Meg for this weeks TUTOR TUESDAY! Today’s tutorial was recommended by Anon about rough sketching/blocking. They specifically mentioned standing poses, so I tried that, but I might extend this to full image/composition roughing later! Hope this helps a little! Feel free to send recommendations here or my personal! Keep practicing, have fun, and I’ll see you next week!
Need a bigger serving of practice? Check out the 19-paged worksheet and .psd practice file!
The difference between a beginner’s comic and an experienced artist’s comic comes down to the details, and one of the biggest “invisible” details is proportion.
How does an artist utilize page and panel layout, negative space, word balloons and composition to their best advantage? This Shingworks tutorial covers all of this information, and the 19-page supplement worksheet and comic proportion analysis template .psd takes it a step further and teaches you how to analyze real comics so that you can apply these principles to your own comics :]
My Patreon tutorials are unlocked to the public 6 months after their original publication month. You can find the full high-resolution archive of monthly tutorials at my Patreon! Thanks again to my Patrons for supporting me in the creation of my own comics, The Meek and Mare Internum.
My recent free-to-read tutorials on Tumblr:
Worldbuilding!
Understanding Patreon & Building A Patreon
Grow Your Brand
Acting for Comics
Researching for Comics
Writing for Webcomics
Coloring with Masks
This month’s Patreon tutorial: Webcomics 101
And as usual, thanks very much for not deleting my text~~
Feet studies (own feet used as reference)
SenshiStock’s gallery consists of millions of pictures that are free to use as reference.
General Drawing Poses Sit and Kneel Dramatic and Reaching Drawing Poses Magic and Hogwarts Drawing Poses Staff Weapon Pose Reference Hammer, Axe and Bat Pose Reference Sword Weapon Drawing Reference Small Bladed Weapon Pose Reference Gun Weapon Pose Reference Bow and Arrow Archery Stock Foreshortening and Perspective Poses Dynamic Flying Falling Action Poses Deafeated or Laying Drawing Poses Magic Crystal Magical Girl Wand Weapon Transformations and Dance Cards Back Pose Reference Pin Up Inspired Poses for Drawing Performances Poses Life in General Poses Fights and Fighting Pose Reference Leaning Poses Classic Sailor Senshi Poses Wings Sailor Moon Villains Pairs Romance or Couples Pose Reference All the Male Stock Hanging Stock Drawing Reference Three or More Groups Instruments Mirrors Whip Technobabble

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draw your otp I guess???
idk this is what staying up too late does to me.
Please credit and tag me if you use this base! And please don’t use it for commercial purposes, thanks.
Cartoon hands study.