if any of yall are interested in poetry and learning how to read, analyse, and appreciate a poem, check out this free course by the University of York that goes in-depth about reading poetry! i’m taking it now and it’s really good, 10/10 would recommend to anyone who is even a little bit interested in poetry
An artist : Aw man! I saw my arts were reposted on Instagram. I’ve asked them to take my arts down but they ignored me.
Me : Say no more! Click this link, then click ‘fill out this form’. Fill the form and wait for about 1-2 days, the staffs will remove the image you were reporting from the reposter’s account :^)
hope you don’t mind me adding some more info :’D
Many websites have those complaint forms you need to fill out to submit DMCA notice. Here are some of them:
yo here’s a useful tip from your fellow art ho cynellis… use google sketchup to create a model of the room/building/town you’re trying to draw… then take a screenshot & use it as a reference! It’s simple & fun!
Sketchup is incredibly helpful. I can’t recommend it enough.
There’s a 3D model warehouse where you can download all kinds of stuff so you don’t have to build everything from scratch.
reblog to save a life
This is an incomplete tutorial, and it drives me crazy every time I see it come around.
We live in a pretty great digital age and we have access to a ton of amazing tools that artists in past generations couldn’t even dream of, but a lot of people look at a cool trick and only learn half of the process of using it.
Here’s the missing part of this tutorial:
How do you populate your backgrounds?
Well, here’s the answer:
If the focus is the environment, you must show a person in relation to that environment.
The examples above are great because they show how to use the software itself, but each one just kind of “plops” the character in front of their finished product with no regard of the person’s relation to their environment.
How do you fix this?
Well, here’s the simplest solution:
This is a popular trick used by professional storyboard and comic artists alike when they’re quickly planning compositions. It’s simple and it requires you to do some planning before you sit down to crank out that polished, final version of your work, but it will be the difference between a background and an environment.
Even if your draftsmanship isn’t that great (like mine), people can be more immersed in the story you tell if you just make it feel like there is a world that exists completely separate from the one in which they currently reside – not just making a backdrop the characters stand in front of.
Your creations live in a unique world, and it is as much a character as any other member of the cast. Make it as believable as they are.
Great comments and tutorials!
I’m a 3d artist and have been exploring the possibilities of using 3d as reference for 2d poses. I want to add a couple of tips and things!
Sketchup is very useful for environment references, and I assume it’s reasonably easy to learn. If you’re interested in going above and beyond, I highly recommend learning a proper 3d modeling program to help with art, especially because you can very easily populate a scene or location with characters!
Using 3ds Max I can pretty quickly construct an environment for reference. But going beyond that, I can also pose a pretty simple ‘CAT’ armature (known in 3d as a rig) straight into the scene, which can be totallycustomized, from various limbs, tails, wings, whatever, to proportions, and also can be modeled onto and expanded upon (for an example, you could 3d sculpt a head reference for your character and then attach it to the CAT rig, so you have a reference for complex face angles!)
The armature can also be posed incredibly easily. I know programs exist for stuff like this - Manga Studio, Design Doll - but posing characters in these programs is always an exercise in frustration and veryfiddly imo. A simple 3d rig is impossibly easy to pose.
By creating an environment and dropping my character rig into it, I have an excellent point of reference when it comes to drawing the scene!
Not only that, but I can also view the scene from whatever angle I could ever want or need, including the character and their pose/position relative to the environment.
We can even quickly and easily expand this scene to include more characters!
Proper 3d modeling software is immensely powerful, and if you wanted to, you could model a complex environment that occurs regularly in your comic or illustration work (say, a castle interior, or an outdoor forest environment) and populate the scene with as many perspective-grounded characters as you need!
reblogging to save a life
!!!!!!!!!!!!!!
Look at this amazing addition! This is fantastic!
Not just poses, you can also do this with lighting. Playing with lights in Blender is pretty fun.
Another cool thing: http://www.makehumancommunity.org lets you generate a human model. Like a character creator in a game, but more flexible, and the result is ready to import into a 3d editor like Blender.
This was a lot shorter last time it appeared here. Reblogging for the updated tips and to save a life!
What kind of sorcery is this?! I can never turn more than 10 cards in sequence because they just refuse to cooperate and you have like, what, 35? 40?! HOW?!?!
40 in the tree strap above! The most I ever tried was 44 for this ramshorn strap below - that was tough, but also ok because the groups turned separately? I think my hands would murder me if I tried to go any higher on my backstrap setup though ;) I think the trick is maintaining appropriate tension!
Yeah, that one looks real nice. What did you use it for?
@diamondot speaking for myself, i just decided to learn it one day a few years ago (i had a viking phase ok) and simply started with it. It’s surprisingly easy since all the info is available on the net. Honestly, i don’t remember where i started since it has been so long ago and now i just browse pinterest for patterns alone. Google tablet weaving or card weaving (same thing, different names) patterns and some basic explanations and yt vids for how to turn and weave the stuff. Things like
S and Z threading are there for a reason, so mind your card orientation. Start with some easy pattern like simple wave or diamonds above, 6 - 10 cards are good for your first project. Don’t lose hope in initial stage. Streching and threading all that yarn can take anything between 20 minutes and 3 hours depending on how big is the pattern and how skilled you are. Since you need some lenghts to secure ends and to turn cards, use about 40 cm more than wished lenght of your final product. Secure lose ends after threading through cards so you won’t end with a bundled mess. Streching/knotting them to something is one way. Taping each card threads together or using weights (check pictures below) is another way (good only for shorter stuff though). Cards could be made out of anything as long as they have smooth edges and rounded corners. Cardboard, thicker plastic sheet, literal cards cut into squares with holes punched through them, whatever. These are mine 2 decks, minus cards i am using atm.
When you start weaving and pattern looks like a total mess, try turning cards in opposite directions. It usualy solves the problem (all that forward/backward can be a bit tricky and mirroring motions/patterns/card orientation can be confusing at first seemingly messing all your work even though you are doing everything right technicaly, just in opposite order/direction). Don’t lose your hope. I still manage to mess up like first 5cm of every other work i start. It’s not an issue as that start usualy gets cut off anyway (the tension is not right for at least first 4 rows, aka 1 full card rotation, until all threads go up and down at least once no matter what you do. Don’t sweat it). You don’t need any fancy startup either. Historicaly, people used to weave like this and this and this:
I just strech the thing between 2 chairs myself. Door knobs work as well and so does staircase railing. Wherever you have some space. Long hair clips are your friend, especialy when you are done with weaving for the day and you don’t want stuff to tangle
And that’s about it. Have fun
Some of my favorite tablet weaving resources are :
This website is where I learned, twenty years ago while u was intending on Sturtevant Wi.
I love when people post things like this, then say, “ah ha ha, it’s not that complicated! ”
Itis complicated. You’re just really good at it!
Hi. I may be late to reply but i’m in a weaving mood so here we are.
The thing is that the technique looks complicated due to the fact that there is 100 something and that number alone is scary. But. Actually several buts.
But number 1 - the technique is OLD. Meaning - while being somewhat tedious just like any other textile craft, it has been used and learned for a long long time and there’s plenty of resources (check out links above or any youtube video explaining the process) of varying difficulty from complicated af to easy peasy lemon squeezy with closed eyes
But number 2 - there is only one core principle/step you need to understand and that is when some threads go from up to down or from down to up (aka when they cross), you need another thread going in between so they won’t simply snap back again. That’s it. That’s the basic principle behind every weaving ever. What card weaving does compared to standard weave is that instead of a single thread going up and down in the single row, you get 2 or 3 or 4 or 6 or whatever number of threads your pattern calls for in the same row
But number 3 - the number of rows = number of cards. Simple as that. Cards turn around to make a cord like when you are twisting 2 or 4 or whatever numbers of threads to make a rope. If some of those threads have different colours, you get a repeating pattern.
But number 4 - card orientation or S/Z orientation or whatever other fancy name for the twisting direction simply means that if you turn all your card in the same way at the same time, which one of them will make the twisted rope in this / angle and which one will do that in this \ angle. That’s it. That’s the whole mystery between S/Z threading.
But number 5 - you can start with as little as 4 cards to make a custom set of shoe laces or a key strap or whatever and call yourself a weaver. Because you did that. And it was nice. And it was easy. You just turn and thread and turn and thread and then you keep repeating this while watching a movie or something. There’s no need for the math finals level of concentration here.
But number 5 - no one, literally NO ONE starts with a pattern like this
No. Everybody starts with something like this
Keep it simple, keep it easy, make 10cm and be done if you want to. It’s perfectly fine.
But number 6 - you don’t need any fancy items for starting. No hooks, no needles, no loom, no anything. If you have 2 balls of yarn in different color or some remains of your old cross stitch project or whatever and some card-like stuff you won’t be sad for making holes in it, you are all set. Back side of the sketch pad is good. Poker cards cut to squares are good. A sturdy enough sheet of plastic is also good. You remember that old pexeso pairs stack you didn’t touch since you were 9? Guess what!
My point is that if this looks like something you may be interested in, then you can absolutely try doing it for literally zero cost other than your time.
when i tried it recently (…I need to look into backstrap setups maybe because the box and dowel inkle loom I muddled together from something online did not, ultimately, allow me to go past about 8-10" of length) I had been watching some of Elewys of Finchingefeld on YouTube, so there’s one more resource.
“This was no golden age for men or for women. The feudal world was a face-to-face society where men and women knew and intensely cared about one another’s abilities, character - and property. Their private arrangements were subject to public scrutiny and public control to an extent we find virtually impossible to imagine. But it was not a society in which women were thought inferior in intellect, or in which they were kept guarded from experience of the world. In fact, they were little if any more controlled than their brothers. They participated in important activities and were expected to submit to social discipline like their men.”
Regarding the treatment of women in the medieval period, Searle warns against “condemning the past wholesale. History is not a one-way path ascending to our perfection.” Medieval women endured many hardships and were denied many opportunities, but the notion that women were constantly brutalized and oppressed during the Middle Ages is a myth perpetuated to promote the idea of progress and enlightenment in today’s society.
“History is not a one-way path ascending to our perfection.”
Get yourself a fabric store that will light your fabric on fire for you
No but legit I asked what the fiber content of something was and the guy didn’t know so he cut a chunk off and lit it on fire and felt the ashes and was like. Yeah this is mostly cotton with a lil bit of silk. And that was the moment I knew. This is it. This is the fabric store for me. Also that guy is marriage material. Not for me but damn some person is gonna be so happy with him.
Ok but this is actually one of the easiest ways to tell what something is made of! I did a textiles degree and one day as part of a class we all went outside with a pile of scrap fabric and set fire to the little pieces and recorded how they burned. We were given a chart that looked something like this to tell what each fabric was (it gets a little tricky is it’s a mix of fabrics though). Why did we do this? There is very little regulation in the textiles industry so a lot of materials are mislabelled as something they aren’t and sold for more than they should be, also sometimes people buy fabric second hand or discounted which doesn’t have any label at all. If you have a fabric you are having doubts about, cut a tiny piece off and do the burn test and you should know pretty fast what you are dealing with. Anyways your fabric store should be lighting things on fire because this means that they are actually checking what the fabrics are and aren’t trying to pass cheap stuff off as more expensive than it is.
Ooh! I knew it was a standard test but I hadn’t seen a chart as detailed as this thank you!
“In #Anipoke Episode 114. Satoshi’s rival in the “Pokemon Diamond Pearl” anime Shinji makes an appearance⚡️. He also fought Satoshi in the quarterfinal match of the Shin-Ou League.
He’s cool, and sometimes hard on his Pokémon…
This time, Shinji and Satoshi will have a special training battle .
Stand by for the battle! / Stand by for battle!“
“He’s cool, and sometimes hard on his Pokemon”
…..We’re still going with thatbullshit, are we? -_-
Who wrote this episode, again?
Of fucking course.
That description might not be too off from the Paul was saw in this episode, but it doesn’t AT ALL fit with the Paul from the D/P series.
And it could be that Paul in this timeline wasn’t ever as abusive to his Pokemon, just like Serena might’ve never had a crush on Ash…but if that were the case, then what was the Ash VS Paul rivalry even for?
Thatdefinitelyisn’t the case, since we got flashbacks showing how Paul abused and ultimately abandoned Chimchar. Paul’s problem as both a horrible person in D/P and as a semi-decent person here is the same: Atsuhiro Tomioka. This character is his own take on Silver from the games, but he just did not understand that you were never supposed to see Silver as “cool” during his phase as an antagonist, you were supposed to loathehim and see his heartless, abusive treatment of people and Pokemon alike as exactly what it is. Whereas Tomioka didn’t allow other characters to react to Paul realistically, and really pushed for the viewer to see him as “cool” and view his treatment of Pokemon as a wrong-headed but still valid and understandable training method. And while it took Silver getting his ass handed to him several times for him to start changing his ways, Paul only lost twice (to Brandon and Ash), and didn’t show signs of changing his ways until after the second loss, which isn’t very believable given how he always beat Ash before and would be more likely to brush his victory at the League off as dumb luck. Lastly, Silver’s turnaround was full of visible remorse for what he used to be like and active attempts at reparations, and there’s none of that with Paul. Author favoritism is always a dangerous thing for characters, and Paul’s a prime case of it.
