I Had This Thought Occur To Me Today. They Say That Beauty Is In The Eye Of The Beholder. I Suppose Tho

Incase you really wanted it! This is the dragons den in the game. She isn't a gym leader anymore. But she does run the city. They haven't gotten to the elite four yet but I plan on making her a member. She is the mentor to a rival of the character players. She gave the rival an egg that hatched into a dratini and the player character one that will hatch into a bagon. The dragons den has ice type pokemon and dragon type encounters too. Every trainer there isn't a dragon Trainer but a dragon hunter or a dragon buster so they use dragon, fairy and ice type pokemon.

this really isn't an ask, but, a while ago I saw your concept of Claire as an ice type trainer, and I sorta ran with it. I gamemaster for a pokemon ttrpg, and in the game Claire founded her own Dragon's Den, but in an ice cave. My players thought it was cool spin on the concept, and you gave the springboard for some really cool environments so thank you for that!

aaaaaa that's so cool! so glad something i drew had such an impact! :D

feel free to keep me posted on how your sessions go!

I dreamt of a dark and failing world. Where I met an Artist who wept for his wife. "Oft people believe that better is a lingered life. I tell you different now, which of these would you prefer Rotting or Dying. Dead is better."

And later in this dream a giant disembodied hand that blazed and burned, took the man's aisle and turned it upside down. There he was burned and crucified. Leaving only ashes of an artist and a painting of his wife.

Do you have any advice for understanding hands better? I’ve been practicing them for years but feel like compared to other aspects of anatomy it’s the one thing I haven’t seen much improvement in. I draw both from life and images and draw nearly everyday but nothing I’m doing seems to help

I personally get by mostly from remembering poses that I’ve already practiced a ton, like I figure out how to draw it once and am able to file that away in my brain and use it again later, and tweak bits of the pose or the level of simplification to suit what I’m drawing. 

I’ve paid special attention to drawing hands for like.... most of my life so I have a LOT of poses I’m easy comfy with now, but when I need to figure out something complicated or new, I can usually work it out by breaking a hand down into shapes, remembering a few key points/”rules” from what I’ve learned about hands in order to help me break it down in a way that makes sense. And if that’s not enough either, then I take photo refs. 

^^^ here is a pose I use a ton. I have a quick way of drawing it from various angles. the first time I had to draw a pose like this, I had to think and figure it out, but in drawing it a bunch of times and having to use various angles like this, I’ve eventually come up with a quick, reliable way to draw it from a few of the most common angles that fits the style I like to draw in. I’m blessed with a good memory for observations, so when I see a beautifully posed hand, I can usually really quickly analyze what I like about that pose and why, and that helps me absorb it so I can recreate my saved impression later. But I know not everyone thinks the same way. it might benefit you to quickly scribble down a study in a sketchbook when you see a pose you find beautiful and want to learn from for later.

^^^ here are some poses I had to stop and spend time figuring out, calling up the “rules” for how hands are built to kind of logic-out how they should look from angles I’m less familiar with. results can be mixed, but... if I end up with something expressive that fits the style of the rest of the drawing, I’m usually really forgiving of fudged anatomy or slightly wonky proportions. as long as the thumb is on the right side and there aren’t too many fingers, that’s a great start lol.

^^^ and here are ones I had to take reference-selfies for. I try to use this as a last resort because 1) it’s a lot of trouble 2) interrupts my drawing and 3) if I’m not careful I stick too close to the reference, and the drawing ends up with the hand looking referenced and the rest of the pose not, which is jarring to me. not to mention I have tiny manlet wrists that without fail, look horrific and emaciated in photos, and the lens distortion makes my fingers look scary too... ugh, photo reference has definite flaws. I actually don’t like the look of drawings for which I can Really Tell the artist drew from photo reference, because most often that means they’re taking the ref too much at face value and incorporating ugly lens distortions into their drawing. so I have to think extra hard not only about interpreting the ref, but also might have to make multiple passes just to get the hand to look normal, AND match the style of the rest of the drawing.

Anyway, here are some of the ““rules””” I mentioned earlier that I fall back on to help me figure out more complicated poses:

1. probably seen this before, but basic proportions. the palm is usually half the total height of the hand. obviously you can mess with this purposefully. 

2. I think of joints as like, ball joints or hinges. I find that easier than trying to remember bones & muscles. here’s a drawing of the wrist as a hinge. note that when you’re thinking of it this way, it’s a shortcut, but a shortcut is only good if you use it with precision. notice the pin for the wrist hinge is not just halfway, it’s closer to the top of the hand. being precise about that is what allows this shortcut to work. the heel of the palm juts out, while the top of the hand transitions into the wrist quite smoothly.

3. simplified planes. planes are important yo. in super simple terms: top is flat, bottom is round. this works on the fingers too, actually. the tops are bony and tendony, and the bottom is where the fat is, so it’s rounder and soft

thinking of the hand as abstract shapes REALLY helps simplify the task of drawing hands, and is just as helpful even if you are drawing from reference. I can say “the palm is a box” and obviously the palm is not really as simple as a box, but if I think of the palm, wrist, and each finger joint as various shapes of box, then all of a sudden, psychologically, my task is SO much easier. I’m not drawing a Hand, which is hard, I’m drawing boxes, which is easy.

4. that prominent knob some people have on their wrist? that’s on the pinky side.

1. the knuckles aren’t really a flat row on top. the hand is like a cup right, so your palm can hold water and things. so we can think of the hand as a box to make figuring out the pose easier, but when it comes down to it, you’ll want to make it more of a curve. this curve is why you can see multiple fingers in a side view

2. when curled up, the fingers nestle together. the fingernails also turn slightly toward the center. even if I’m simplifying the hands significantly, I usually still draw the fingernails because they are SO useful for communicating the pose of the hand effectively.

3. lots of people suggest to think of the hand as a mitten, grouping the pinky/ring/middle fingers and singling out the index finger. this works great, the index finger is more independent from the other three. on the flip side, those three are really stuck together; if you’re drawing the pinky curled up all the way, then you better not draw the ring finger sticking straight up, cause that would HURT. anyway, singling out the index finger leads to more interesting poses in my experience.

1. this is another illustration of top = flat and bottom = curved. this is a really easy way to organize your line quality. straight lines and sharper angles where there is bone, and soft gentle lines where there is muscle and fat. your drawing as a whole will read very clearly if you find some guidelines like that to stick to, as it means all your lines are intentional and thoughtful.

2. this one’s about overlaps. when forms overlap, it makes a crease, and when you draw that crease you’re communicating which form is in front of the other. in the second drawing I reversed all the creases, and it looks.... messed up. think about how pieces connect.

so when you’re trying to make up a pose without using specific reference, I think it’s good to think about the.... flow of energy through the pose. honestly, I know it’s really abstract, but if I have an ability to make interesting poses that communicate weight and movement, the things that make people say your character feels ALIVE, like they really EXIST in a space... it’s because I started to think of poses this way. imagining streams of energy bouncing through the body, flowing down the limbs and out through the fingers. this is why hands are so important to me, cause they’re where the kinetic energy of the pose ultimately ends up. I talk about it when drawing the torso and arms and legs, but an interesting drawing has a bounce back and forth between opposites: for every curve, an opposing straight line, alternating back and forth down the entire body. if you’re sensitive to the energy of the pose, then even very simple poses will be interesting to look at.

anyway, with regards to hands, I imagine the energy getting sort of cinched in as it passes through the wrist, and then emanating out through the fingertips. I hope my drawing at least SORT of communicates this imagery. it makes sense because that’s BASically how the bones in the hand are anyway. and then the right side of the image above is just demonstrating some highly simplified gestures. see how the fingers fan out and curl in, rarely parallel to eachother. when you’re figuring out the pose, using a line to stand in for the row of knuckles is super valuable.

aaand finally, here’s two hands where I intentionally neglected correct anatomy and proportion because I felt it worked better for the style of the whole drawing. Left side: since this is a really simple and cartoonish style, I was thinking back to kids’ and shoujo manga I have read where the style was very solid and distinctive, but definitely NOT overly concerned with correct anatomy, or even really drawing hands, uh, “well” at all. to me, that sort of approach has a Look that I like to invoke sometimes, since for years I felt like I learned a bunch of anatomy and proportion and drawing from life actually in detriment to the liveliness and appealness of my drawings. this hand is mushy and makes very little sense, but it turned out as intended. Right side: sometimes I like to pretend fingers only have 2 bones in them, cause i am a Queen and i do what i want

and there you go. I hope that helped, like, at all? Look at real hands and photos of hands and hands in motion, but also look at drawn hands as well. find what you like, and work towards expressing that yourself. and remember the hand is part of the whole drawing. not only in the art style like I’d been talking about, but because the angle and placement of the hand is reflected in the angles of the arm, which in turn reflects on the angles of the shoulder, which affects the whole torso, etc etc etc. and the techniques you can use to understand and draw the rest of the body, works on hands too. as you improve everything else, your hands will improve as well.

DISCLAIMER: I whipped up these diagrams quickly, they’re not meant to be good drawings or accurate refs, just diagrams to illustrate my thought process lol

what are some really good female led horror films? i know some classics but im only now getting into horror and ill take any rec (can be as obscure as u want, idk)

shock (1977), carnival of souls (1962), nekromantik 2 (1991), baby blood (1990), opera (1987), black christmas (1974), the blood spattered bride (1972), cat people (1942), the entity (1982), the haunting (1963), dans ma peau (2002), kissed (1996), let’s scare jessica to death (1971), the night of the hunted (1980), daddy’s deadly darling (1972), hausu (1977), lisa lisa (1974), der fan (1982), the witch who came from the sea (1976), the living dead girl (1982), thirst (2009), possession (1981), suspiria (1977), the beyond (1981), raw (2016), daughters of darkness (1971), dumplings (2004), the demon (1963), cathy’s curse (1977), taste of fear (1961), messiah of evil (1973), symptoms (1974), absentia (2011), starry eyes (2014), bug (2006), the iron rose (1973), lake mungo (2009), the grapes of death (1978), night of death (1980), the birds (1963), alice sweet alice (1976), the long hair of death (1980), the house on sorority row (1982), alucarda (1977), kitchen sink (1989), a nightmare on elm street (1984), a tale of two sisters (2003), images (1972), may (2002), femmine carnivore (1970), dark water (2002), phenomena (1985), one missed call (2003), the slumber party massacre (1982), blood and roses (1960), the psychic (1977), ms .45 (1981), hotel (2004), full circle (1977), macabre (1980), vampyres (1974), lisa and the devil (1973), the house that cried murder (1973), succubus (1968), i walked with a zombie (1943), tomie (1999), the seventh victim (1943), the obscene mirror (1973), all the colors of the dark (1972), the girl who knew too much (1963), daughters of fire (1978), the diabolical dr. z (1966), the perfume of the lady in black (1974), evil dead trap 2 (1991), dream demon (1988), folies meurtrières (1984), fatal frame (2014), the queen of black magic (1979).

Who knew feelings were this hard to understand, sort and satisfy.

C'mere sweet child a hard truth is that sometimes you will write whole chapters for a person in your life, but all you will ever be is only scribbles in their margins. An after thought, an editors note.

So a while back I heard someone say that we appropriated our ability to speak from God. And whether or not this is true, humor me.

I guess let's start from the beginning. In Genesis, it talks about how there was a formlessness , and God spoke "Let there be..." and suddenly there was things that there were never before. Formlessness Defined by Words Divine. Light, Dark, Land, Sea, Skies, and every living thing from just God's "Let there ..." . And then later in the Gospel John it reads "In the beginning was the Word, and the Word was with God, and the Word was God." That's how John starts his Gospel, that's how he opens his message that's how important it is. That God is Word. From the very beginning.

So now picture this God creates us, Humans. And we are created in God's Image. So we desperately try to communicate with God, and how do we do that? Feebly, I guess. Because what do we do? Speak. God had just created everything with words.

Now that's Blasphemy. Because would it not be? Blasphemy, is using Words Sacrilegiously. And Sacrilegious is the misuse of anything Sacred. Words are the Tools of Creation. So Words are Sacred. Our Words or Use of Any Speech is Blasphemy!

Now, most of that is me, way over thinking and stretching that to the extremes. But do you see what I mean? Words are powerful. With tact they can sway minds and hearts, and some words are carried across time. They build relationships, people, promises, companies, and nations and according to the bible all of Creation. Words are powerful things, and once dispensed they can't be returned or given back. Just as much they can build and create, they can destroy and take. And that was everything I was trying to convey.

I wonder how many per mutations I am from my daydreams? Michael Faudet once wrote "I am hopelessly in love with a memory. An echo from another time, another place." I would modify this to "I am hopelessly in love with a memory I dont yet have". How many decisions, or indecisions, a moments wembling, a pause, a misplaced stutter, getting caught in traffic red when it should have been green. A vain attempt at times to scry into futures yet unseen. Has my own ambition tripped me up from my own success? Some other version of me is also on this couch right now, somewhere. and there is laughter his rooms. McAlpine would sing "Somewhere I lost all my senses, I wish I knew what the end is. Over and Over, I am watching it all Pass... I wish I knew what the end is" Dostoevsky would say, "I am not angry at him. I know his thoughts. His heart is better than his head." I am not angry at him; I knew what the end is

In our world for some reason we do things , for a main reason. And that's for our own gain or advantage. I do this, I get money, I do that, I get connections. I complete this task I obtain something of value to me. And if somehow we give out love, usually that's a byproduct. Meaning that was not purposeful, and not the intention.

But what if that was not the case, what if our reason was love, and love solely? And anything else is gain? I don't think it'd matter honestly. Because if we treasured those that we love like the treasures they are, we would know we have what we need. We've lost sight of those ideas, our virtues are corrupt. Even our actions lie.

As got out of my car and bolted for the front door I prayed I wouldn't drop my keys because it was just pouring rain. Every inch of me was already covered by the time I got the door open. I realized I was laughing as I went to go shut it. I thought of you and your smile as I slid down the door frame and god do I miss you.