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Of lately I've been posting almost nothing but art, but I do reblog music, fandom stuff and art references!

Current Fandoms I'm In: Final Fantasy, Game of Thrones, GW2, Pokemon, Sailor Moon, SnK, Star Trek, Sweet Fuse, Marvel and DC Comics (Plus some stuff I'm sure I forgot).

384,009 plays









This post gives me a level of happiness that I’m just not used to.

its back on my dash.

i always think of france when i hear this.



reblogging for the above gif that perfectly encapsulates the song somehow


How to make comics

My first vine

Weeeh, I miss all you guys! ;___; 

I am proud of this eyeball, okay? Damn proud.

I am proud of this eyeball, okay? Damn proud.


Firaxis Games’ concept artist Sang Han Sang on how to give your digital art a traditional look and feel. [source]


Many people have tried using brushes that simulate analogue bristles, but they may not have thought about how the paint is applied. Traditional painters take great care in applying each stroke of paint, which has been thoughtfully blended to the right colour and value on a palette.

Since the digital medium is so fast and forgiving, we tend to dive right in without much thought and noodle around until something happens. I think this leads to muddy colours, and the energy of the initial gesture gets lost.


I begin with a rough sketch, trying to keep it loose and gestural. It’s difficult to think about design, colour, lighting and composition all in one pass so I break it down into steps and keep it simple at the beginning. These early steps are important because not only are they the foundation for an entire painting, but some of these strokes may show through in the finished work.


Here I create a new layer and change the mode to Multiply. I then paint on this layer with a colour that resembles yellow ochre or burnt sienna. This will help to gauge value and colour more easily than if it was a white canvas. I could have simply filled the layer with a flat colour, but again, the painted strokes may show through and add to the final painting.


In this step, I block in the local colours and start rendering. As I do this, I try to remember not to overly blend or noodle around too much, as mentioned above. One of my goals is to retain the energy of each brush-stroke and put paint down with a sense of conviction. Sometimes I put a single stroke down, undo it and repeat this process many times until I’m satisfied.


Keep in mind that you don’t have to render everything. You’ll notice in traditional paintings, certain details are kept as abstract marks. This adds another level of interest to the viewer. As you get closer to the end of the painting, lay the strokes down with lower opacity to give the effect of thicker paint. I like to do this when rendering certain accents, such as highlights.



People will stare. Make it worth their while → Alexander McQueen | Pre-Fall ‘13

Always reblog Mcqueen


I want to own art that someone made with their own hands
not some bullshit print from a museum gift shop.
The care of paint that holds hands with someone
who doesn’t understand what it means to love something so pure,
so the paint just kisses them and walks them to the door,
and nods its head when they say, “I love you”
knowing that they don’t mean it, but really wish they did.

They had their first kiss at the easel,
struggling to capture the light.
They fight about the coffee shops that may or may not deserve to live forever.
They break-up and the paint goes on to love the walls it hangs on,
It never looks back and only remembers that romance
when someone else marvels at the paints beauty,
and with a soft smile the paint recalls how sweet the artist’s hands were
how strong their strokes were and how naive they were to think that they could capture
something pure in the way only people in love can.