Equiping an armor tutorial
i'll prob make more bc i love talking ab armors
will byers stan first human second
trying on a metaphor
he wasn't even looking at me and he found me
TVSTRANGERTHINGS
Xuebing Du
Not today Justin

bliss lane
Claire Keane
Misplaced Lens Cap
we're not kids anymore.
"I'm Dorothy Gale from Kansas"
KIROKAZE
Keni
Today's Document

❣ Chile in a Photography ❣
noise dept.

Noah Kahan

Origami Around

seen from France
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seen from Russia
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@re-vault
Equiping an armor tutorial
i'll prob make more bc i love talking ab armors

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Couple of Thieves
I really like the colours you get on magpies, what at first glance looks like a other black and white bird is actually full of these wonderfully iridescent greens and purples
just a really spectacular animal
She got the idea for the study while walking with her advisor at Stanford to discuss her thesis topic, and the paper she eventually published in the Journal of Experimental Psychology in 2014 is sharp enough that it should have ended the seated meeting on the day it came out.
She ran 4 experiments on 176 people. Same person tested twice. Once sitting, once walking. The creativity tasks were the standard ones psychologists have used for decades to measure how good a brain is at generating novel useful ideas.
81% of participants in the first experiment produced more creative ideas while walking than while sitting. In the second experiment, 88%. In the third, 100%. Every single person walked into a more creative version of themselves. On average, people generated 60% more novel useful ideas the moment their legs started moving.
The skeptical question is the obvious one. Maybe it was the fresh air. Maybe it was the scenery passing by. Maybe it was the change of environment doing the work, not the walking itself.
Oppezzo killed every one of those explanations with one experimental decision. She put people on a treadmill facing a blank wall. No scenery. No fresh air. No environmental change. Just legs moving in place while staring at white drywall. The 60% boost held.
Then she ran the experiment that closed the case completely. She took participants outside in two conditions. Half of them walked through a Stanford courtyard. The other half were pushed through the exact same courtyard in a wheelchair. Same outdoor stimulation. Same scenery passing at the same speed. The only difference was whether the legs were moving.
The walkers produced dramatically more novel high-quality ideas than the wheelchair group. The outdoors did almost nothing on its own. The walking did everything.
She also tested the opposite kind of thinking. Convergent thinking. The kind where there is one right answer and you have to narrow down to it. Word puzzles where 3 words share a hidden fourth word that connects them. The seated participants did slightly better on these. Walkers got slightly worse.
Walking is not a general intelligence enhancer. It does one specific thing. It opens up the divergent search inside your brain. The part that generates options. The part that produces unexpected connections. The part that takes a problem and finds five ways into it instead of one.
When you need to converge on the single right answer, sit down. When you need to find the answer in the first place, get up.
The mechanism is now well understood. Walking selectively activates what neuroscientists call the default mode network, the system inside your brain that runs when you are not consciously focused on anything. The DMN is where mind-wandering happens. Where memories cross-reference each other. Where ideas that have been sitting in separate folders inside your head finally bump into each other.
When you sit at a desk and force yourself to concentrate, you suppress the DMN. When you walk at a natural pace, the executive part of your brain gets just busy enough handling the walking that the DMN comes online and starts doing the work that focus was blocking.
The most useful finding in the entire paper is the one almost nobody quotes. The boost did not turn off the moment people stopped walking. Participants who walked first and then sat back down stayed elevated. Their next round of seated creativity work was still significantly better than people who had been sitting the whole time. The rest lingered for at least several minutes after the legs stopped moving.
You do not need to do creative work while walking. You need to walk before the creative work. The brain holds the state.
Edited down a long tweet. (x)
Sketching out some ideas for a whale-themed painting I will one day create.
Gripping a sword overview
I like how this is both art reference and a guide to more efficiently smite your enemies
Tumblr is nothing if not practical

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ryland grace in my style !! what a pookie pie loser boy (open for more doodles)
landscape commissions open
Genuinely Drawfees “delete your art” philosophy has been so integral to my journey as an artist. If I’m unhappy with how something is turning out I don’t have to finish it. No sunk cost fallacy. I can cut it into pieces and keep the bits I like. I can erase it and start over. It’s literally my art there’s no reason to be precious with it. You don’t get better at something if you’re so afraid to experiment and make mistakes you never actually try anything new. It’s ok if you try and it sucks. Delete your art!!
[Here lies a child who was made into a monster and a mother]
There is joy in just picking the colours that feel good today and doing something, without really knowing what the result will be. Pure joy of painting. :D

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Australian natives 🌾
More personal art and just playing with stylized shapes and textures
i think another thing that will help you improve a lot as an artist is to develop a healthy curiosity for things you might otherwise consider boring or mundane. if you want to make an illustration look more deliberately stylized, you have to care about the different styles even small things can exist in.
knowing how to draw things you enjoy in your style is a great first step. but have you ever looked at the way the tongue of a sneaker feeds into the mouth of the shoe? how about the mechanics of a pair of scissors? how about the different styles a chair can be built in?
these are things you might 'remember' how they look, but actually caring about the individual items instead of just as background props can distinguish your work in ways you wont realize until you start doing it.
instead of drawing vague concepts of things, you have to think of the objects as characters themselves. the same goes for your backgrounds.
newbie's guide to comics
I made this comic because my art has always gravitated towards comics, but my one attempt at a longform more original project was disastrous. I decided that everyone has to start their learning somewhere, so I did! I chose Kid Icarus: Uprising because the episodic format with a web novel style felt perfect to learn from and expand on. Also because the game is a banger. Here's some simple stuff that I took 22 chapters to learn, that is probably going to be even simpler than planned because my ipad died dead so I can't go for all the examples I had planned (give me a few days to type it all out).
REFERENCE SHEETS
Reference sheets serve multiple purposes and are honestly the most important thing to invest your effort in before starting a big project. Mine looked like this:
This is a good place to start! it gives a nice handy list of colors on a layer you can copy/paste into any canvas where this character appears. This is also where you should be understanding your character's design in order to draw it consistently. Their hairstyle, anything weird about their outfit, any details or decorations, this is where you need to iron it all out. Understand how it actually functions because that's how you're able to draw something from any angle. For non-OCs, this is where 3D models can be a big help, or even stuff like this little guy, who has lived on my desk for this entire project:
Say hi, Pit!
But there's also another use for the reference sheets, which I didn't understand at the time. In a longform comic, characters with a lot of screentime are going to need to be simplified, both for your mental health and the health of your hands. That damn crown, that shows up all the time at the start and mysteriously disappears at the end? Should've simplified it down at the start, that way I would've had a nice consistent design:
Those two side-by-side examples reveal another problem: those two Pits look nothing alike! That's because simplifying stuff down also means putting it into a style you're more comfortable with. Kid Icarus's style is pretty dissimilar to my own, so while I'm able to stiffly replicate it, when you're doing hundreds of pages, it will go much faster and easier if you use your own. Similarly, I should've spent longer on the reference sheets, making a version of the character I actually felt comfortable drawing, so that it didn't slip further and further away from the original planned design. But unless you're selling your comics for money, don't be afraid to streamline and improve stuff as you go. That's how you learn!
PANEL COMPOSITION PART ONE
There's endless things to say and learn about panel composition (and I'm not pretending I've done any more than just started to learn). But one thing that's really easy to do and will really elevate your comics is keeping your characters' relative positions consistent. Here's what I mean:
The colors are taken out, and without colors both characters have an identical design. Why does this page not feel incoherent, then? Both characters' placements are kept consistent-- Pit on the left side of the panel, Dark Pit on the right side. This goes a long way towards subconsciously helping your reader follow the flow, and also helps YOU keep things straight as you work on the comic. Nothing worse than getting to the coloring stage and then not knowing which character is which, and yes I've had it happen a lot and you really feel like an idiot when it does :')
If this were a movie, if you didn't do this, it'd be akin to the camera swiveling wildly and characters running to different places around the room with each shot. You *can* do this if the goal is to create confusion or stage a disorienting scene, see here:
But unless that's a specific effect you're going for-- be kind to your cameramen :)
PANEL COMPOSITION PART TWO
What's the difference between these two panels?
Well apart from my wildly shifting and weird methods of drawing hair highlights. One zooms way out for no reason at all and includes aaaaallllll of Pautena's elaborate jewelry. And the other doesn't, and instead gives the reader a nice close shot of her expression, the actual point of the panel. See? Isn't that better?
When you've finished sketching out your chapter you should always then do a once over, and one of the things you should be checking for is superfluous compositions like that. If a panel's focus is on a character emoting (many of them will be!) and you've thrown their whole body in there when only half is relevant, zoom in so the focus can actually go where you want it, and not on their stupid 15 piece jewelry set that you regretted including the second time you had to draw it. Also probably simplify designs so you don't have to draw 15 piece jewelry sets.
Constant crazy dynamic panels and perspectives is overrated, at least for me. It's very impressive on a technical level but can also leave the reader scratching their head and struggling to follow what's going on when used inappropriately. In something like a simple conversation you'll instead want a lot of panels no more complicated than the one above, and so you want to be able to spice these up and make them fun to look at as well instead of just a necessary step to get the dialogue out. The "just getting the dialogue out" trap was actually way bigger than I was expecting and something to improve on avoiding for sure.
Speaking of dialogue and struggling to follow a page, stay tuned for tomorrow's update...
DIALOGUE BUBBLES
Don't do this. Don't ever do this.
Here's some quick and easy rules about dialogue bubbles: -don't ever do that -you don't want the bubble to touch (or go over) either the panel lines or the text inside -if the speaker is in panel, give it a little line pointing to the speaker, preferably their mouth -their mouth which should be open. dialogue bubbles to someone witha shut mouth just comes across weird -if you have multiple bubbles from the same speaker in one panel, connect them if it doesn't result in too much visual clutter -oh yeah and don't ever ever do that thing right there above
Look how much neater this is!
For text in general, if you're a beginner like me your text is probably either way too big or way too small. It needs to be large enough to easily read because aint no one on social media stopping to zoom in and squint unless they're already invested, but also not so big it's causing problems with your dialogue bubbles fitting. You also want to choose a clean font, no trills and swirls and whistles, and probably will want to poke at your settings to trim down the space in between the lines (the default is huge!). Changing your relative font size is also an easy way to communicate volume, like in panel 6 there.
And another thing about text. SOUND EFFECTS
It's probably hard to realize when you're reading your own stuff, because you have the whole thing playing in your head like a movie, but no one else has that movie in their head. Without sound effects your comic is, to everyone else, a silent movie with subtitles. Traditional comics/manga are FULL of pow! and zing! and kaboom! and *step* and wind lines and fwoom! for a reason. Even if you're not sure where to start just trying to include them a little will start to breathe life into every page.
BACKGROUNDS
I think this is the last one. Also this one is going to be way less than what I had planned since I no longer have access to the original files. But first thing's first! A little goes a long way:
Gradients and textures take like ten seconds to apply and are always a simple improvement on an otherwise bland panel! Unless they need more careful and selective usage. Which plenty do-- most vegetation type textures in general don't work unless you're careful about using them. But if your garden arts aren't working then honestly that means you just need to not do a garden in a comic until you've learned how, because instead of one garden it'll be seventeen. Easier backgrounds to handle are skies, rocks, and mostly anything that's far off in the distance.
Let's talk, assuming you're doing digital art, the perspective grid:
This chapter was the first one that took me weeks, and this setting right here is why. I can't show the process anymore, but if your background is any kind of interior, you NEED to turn on the perspective grid no later than the preliminary sketch stage and you need to get it right. If your room's proportions don't make sense, and they won't, because free handing that isn't happening, even the casual non-artist reader will notice something feels wrong.
The perspective grid takes a lot of time to get used to if you're like me but the tradeoff is you get a room with perfect proportions, like above, that you can then copy and paste into every other panel. It also makes it easy to quick add those great textures (in a room you're probably looking at bricks or floor tiles or wood paneling). That should be how you approach most interiors. Make a few great looking shots from different angles, and re-use them over and over. You can make the shots not feel so blatantly copy/pasted by zooming in/out, changing little knickknacks, changing the lighting-- but the only way you're getting that room is the perspective grid.
It's not cheating to copy/paste. It's not cheating to copy/paste. It's not cheating to copy/paste. No one is reading your comic to see you individually draw fifteen hundred bricks because "it's cheating not to" and you have never read a single comic in your life because you thought it was cool that they didn't copy/paste those bricks. Copy/paste religiously.
Also, don't put your furniture *on* the grid unless it's aligned with a wall. Your own furniture isn't aligned with the geometric proportions of your room, and unless you have a specific reason to make it so, Blorbo's isn't either.
SUMMING IT ALL UP
Okay now *this* is the last post on this, for real.
Here is comic because I didn't realize I wouldn't be able to edit earlier posts up the chain... I swear you used to be able to do that.
If anything in this write-up was big news to you, then honestly, I think that means you're not ready for a longform comic yet. Because all of this was big news to me when I first started this comic, and I WAS NOT ready to do one. I was in completely over my head from day one, and that stacked up with complete burnout by the time I reached the Chaos Kin arc to leave me fighting to make it through every single chapter. I wasn't learning and improving as much as I could have been otherwise because so much mental energy was devoted to comic (which has been known as evil vile comic among my friends for like a year now because of this).
But the other side of things is that none of us will ever stop improving. There's no point we'll ever reach that's "well that's as good as I'm going to get, NOW I can start that dream comic!" And the only way to really learn is to do. Though I'd still recommend shorter projects first over a massive one like this. Like I said above I think I improved a lot slower doing this than I would have if I'd not had to use so much of my focus and willpower to just keep drawing Pit and Palutena. But I also now have a much better process for how to draw a comic chapter and stave off burnout and I doubt I would've gotten that otherwise, so everything's a tradeoff.
If you do start your own big project, or small project, or whatever you want, remember there's no shame in stopping if you want to, and that however far you get, that is COOL and WORTHWHILE and NEAT. Every art exp point gained is one that will be put to use in the future and every art made is real cool and something that could put a smile on someone's face as they scroll on this hellsite in this hellscape :)
Speaking of I was absolutely expecting this comic to get no views at all, so seeing those familiar names pop up in my notifications every day was really nice. Thanks to all of you guys for reading, I hope it was fun!
ranowa out
until i get replacement ipad
and thank you so much to @hiding-in-the-vault for putting the finishing touches on this and comic after my ipad exploded also for editing all of comic even though you say you didn't raaaaaaaaaaaaaaaa you da best

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[shaking you violently] stop trying to "find your style" just draw just draw just draw just draw THE WAY YOU DRAW IS YOUR STYLE. YOU CAN'T FIND IT . IT IS INHERENT TO YOU . YOUR "STYLE" IS THE WAY THAT YOU DRAW . JUST DRAW WHATS FUN TO YOU
you are a liar