✧PIDGE✧

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Artist resources pt 2

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I'd individually render the poses to get that early 3D shine ✨ Here's some of them at their original resolutions! I would work from text descriptions from Toby, and sometimes there'd be a Paint sketch to help out. Gigi drew the concept that I modeled from and some poses too!

I had a lot of fun pushing myself to match the dynamic poses Toby had in mind for Tenna - making him so crazy and expressive was something I couldn't have done without his prompts. He'd draw the faces on afterward too, which really brought Tenna to life!

(lots more after the Read More cut...!)

a lot of my ritual behaviors are "checking"

self-guided ocd exposure therapy can be as simple as resisting the urge to check if your door is locked more than once and sitting with the discomfort until it passes without engaging in any reassurance rituals.

it can look like sending an email and resisting the urge to re-read it over and over again obsessing over your wording, sitting with the discomfort until it passes without engaging in any reassurance rituals.

some of my rituals are also "avoidance"

in which case it can look like checking your email inbox you've been obsessively avoiding because you're anxious about receiving a specific email you don't want to see.

and YEP! ☝️

!!!

it might be hard to believe, but learning distress tolerance for things like "checking" with emails and door locks actually prepared me for the Big Ones like harm and sexual OCD themes.

I think this article from 2007 is a good introduction to the basic concepts of exposures:

that SAID, a lot has changed since 2007! the idea that exposure therapy can (or even should) prevent fears from every happening has come into question!

now the conversation about OCD exposure has turned to training distress tolerance:

...rather than aiming for the decline of anxiety (habituation) during exposure, the inhibitory learning approach to ERP teaches people how to be open-minded toward experiencing anxiety and fear when these experiences inevitably show up. Indeed, fear and anxiety (and other emotions in OCD such as disgust or guilt) are universal and even adaptive experiences, not something that need to be “fixed” or gotten rid of. Most importantly, even if they can be unwanted, intense, and distressing, these emotions and thoughts are safe. From an inhibitory learning perspective, fear extinction (and long-term improvement in OCD) depends not only on learning that feared stimuli are safe, but that it is also safe to experience the emotional response that is triggered by these stimuli.

And remember at the end of the day I AM NOT a specialist. I am discussing my own OCD journey and referencing the available material on OCD exposures.

I'm not always right, and I can't know what's best for you.

Which is why I haven't recommended any of the old workbooks I've completed, because some of them are old enough that there are better ones to follow that I haven't gotten to trying yet!

I recommend doing your own reading from OCD-aware organizations:

When You Look at Dr. Grace

When You Look at Dr. Grace

i got a similar ask about this a while back and i've been working on something to better explain what i mean because i'm not too happy with that guide anymore so i'm just gonna address both here!

in my original post i talk about choosing analogous colors rather than using layer settings, but you guys are asking about multiply layers so let's talk about that since frankly they do save up a lot of time and headaches AND they can help understand color more easily so we can pick the palette from scratch next time.

right, so we have our guy.

in the sunset example, a deep orange multiply layer would look something like this:

however, in my previous guide i said that usually warm lighting means cool shadows. this isn't always the case, however, because the color of your shadows are determined by your environment and bounce lighting. shadows on their own have no color because they're just absence of light, so the color we perceive them to be is what's being projected onto the subject.

this same sunset with cool shadows would look a bit like this:

if that looks more natural even though it doesn't match the orange of the background, it's because sunsets only look orange around the area the sun is in the sky, so the color of the sky that's facing our character here would not be projecting an orange glow onto him.

while it's not a hard rule, like i said, usually warm lighting comes with cool shadows. i think it's also worth keeping in mind that reference photos can look very different from one another because of editing, exposure levels, filters, weather and time of day, etc. so also take your own outdoors observations into account. always observe colors when you go outside if ever (don't be like me)

here's another sunset example except the sunset is now behind our viewpoint and facing the character from the front. he's not fully lit up, perhaps he's standing under something where the sun light doesn't reach him directly. i used a red glow to indicate sun this time only because i think it looks cool with the teal sky:

now addressing the ask with the "pikachu in a green house" example: yes, i suppose using a multiply layer that matches the color of the environment works. after all, like i said up there, shadows will usually reflect the color of the surroundings the subject is in.

this was a lot of blabbing about colors and i didn't even touch on values which is also super important!!! but i'd like to do some studies before i talk about that to make sure i'm not talking out of my ass. hope this helps though!!

Hey artists, C. Spike Trotman, founder of Iron Circus Comics, just posted an invaluable thread on depicting different types of black hair. I’d do the thing where you screencap the whole thread and post it but it’s just too long (which is great because it’s a whole lot of useful information!) Give her a follow while you’re there.