Gah, Skittens EVERYWHERE
Do you find Mikey (2003) to be the type to accept people at first glance and want to be bff because he truly craves it?

Hmmm, I’m not sure I’d really put it that way, heh. While Mikey is definitely a very friendly, easygoing kinda guy, I never really got the feeling from him that he craved friends. The thing about Mikey is that he’s a positive thinker. He doesn’t waste time thinking about stuff he doesn’t have - he focuses instead on what he does have. Which is his family, and for him, that’s enough. Mikey’s family means everything to him, and he’s not going to put them at risk by trying to make friends with people at first glance, when he has no idea if they’re going to end up being a threat or not. 

Don’t get me wrong - if the opportunity arises, and if he figures it’s not a threat to his family, then Mikey’s usually pretty willing to become friends - but he’s not desperate to make new friends, and he doesn’t jump headfirst at every single opportunity. Take Casey Jones, for example. To start with, Mikey actually kept his distance a bit, and even referred to Casey as “the thing that wouldn’t leave~!

Another example is Angel - again, Mikey doesn’t throw himself at her in a rush to try and become BFF with her. He’s friendly, sure, but he doesn’t push himself at her or anything. Similar kind of story with Renet and Jhanna - Mikey made no special effort to try and befriend either of them.

Even when they were in the future during the BttS season, and they could walk the streets openly, Mikey didn’t immediately head out and begin making new friends all over the place. He stuck with his family, because they’re what matters most to him. He probably also realised that they’d be heading back to their own time sooner or later, so any friends he made here would eventually end up being left behind, never to be seen again - and that’s not something he wants to put himself or other people through.

All this isn’t to say that he doesn’t enjoy making new friends though! Because we’ve seen that he does enjoy it when he becomes friends with someone - and sometimes he’ll befriend people who others might never even consider befriending, like Leatherhead for example.

Mikey’s the kind of guy who enjoys being sociable and finds it easy to get along with pretty much anybody. But there’s a difference, I think, between being friendly and becoming friends. Being friendly is easy, for Mikey at least, but becoming friends requires trust. And while Mikey’s not the type to judge solely by appearances, he’s still going to take the time to get to know a person and figure out if they’re trustworthy before he’ll start considering them an actual friend

It’s just not something I think he really craves. If the opportunity arises, he’ll usually take it, but if there’s no opportunity, he doesn’t waste time dwelling on the lack. He’s happy with what he has with his family, and anything else he ends up getting beyond that is just a bonus. 

I hope this all made sense! 



I mentioned before some of my favorite character designs in the world of comics and have been meaning to tackle this subject again.  I came to realize, however, that “character design” is itself a fairly massive subject, and that it would be best to break the topic down into separate installments.  Today, true believers, we’re going to talk about outfits and costumes, which are often a pivotal part of a character’s design.

3 Essential Questions

Clothing can convey quite a bit of conscious and unconscious information to the reader, but it should never be doing 100% of the legwork.  Body language, shape and overall behavior all come into play when building a character, and the trick is to figure out what clothing can do that these other elements can’t.  To get started, it’s important to ask some basic questions about your character before jumping into costume design.

1) Costume Hierarchy


How often does this character appear?  Is it a main character or a side one? Primary characters have more complex needs than side characters, which is to say that the more information you have about your character, the more that can be conveyed in their appearance.  Additionally, the more frequent the character appears, the more versatile the design needs to be.

2) Environmental Relationship


If it’s a side character that only ever appears in one setting, for example, you need only design the outfit to fit in that environment.  If they are a main character, though, chances are you’ll need the outfit to mesh with more than one setting.  

3) The Naked Test


Is your character recognizable without any clothes on?  Body types, especially those of the main cast, should be distinctive even without the help of any outfits.  The naked form is the foundation of all character design.  Before you start dressing your body, make sure it’s a body worth dressing.


Once you’ve sufficiently answered these questions, it’s time to jump into the actual design phase!



Every character, no matter how complex, should be designed around an overal unique visual shape.  This theme should not repeat in any other character.  This shape should be readable enough that if you were to shrink all your characters into a super-simplified cartoony state, they should still be distinguishable.  Character designs follow a hierarchy: you grab the reader’s attention with the most essential information and then invite them to investigate the details.  If important elements of your design are only evident in the details, then it needs to be reworked.  If your character is not completely distinguishable in silhouette, it needs to be reworked.  Detail should always radiate from the core theme.

Kim and Vonnie stay distinct in a few ways.  



The primary difference in shape between the above two characters is one of curves versus triangles.  Vonnie is very angular, and her clothing’s angles mimic the scaffolding of an art deco building to emphasize her height and posture.  Kim’s outfit makes her look shorter, but jaunty.  There are a lot of soft curves going on there to make her seem younger and more innocent.



What does your character do?  In what way would their clothing reasonably convey how they spend their time?  This is an easy question if it’s a uniformed occupation, but it certainly doesn’t stop there.  A more bookish or socially inept character is often prone to mismatched clothing, while a person of a very high social status is often wearing clothing that is physically less practical than those of the working class.

How does your character move?  What are their default postures and body language?  A good outfit should accentuate the body movements that you deem most important.  If a character stoops and hunches a lot, their clothes can augment that behavior.  For example, Kim is frequently hunched over, so I tend to dress her with a hood that’s shaped to go with poor posture, as well as a repeating “arch” shape to suggest this basic form.



How much does the character wish to communicate with their clothing?  Not everyone wears their personality on their sleeve, nor is everyone especially fashion-conscious.  Nothing’s worse than having a cast where everyone is immaculately dressed and overdesigned.  A more outgoing character might be more aware of their appearance, while a more introverted one may be less concerned.  To add another layer, a character may dress a certain way to disguise something they don’t want to show to others, just as someone might act overconfidently to hide their insecurities.  You can tell your audience a lot about your character through what that character chooses to display to others.


Core shapes and patterns should repeat on the outfit.  The entire design should exhibit some bilateral cohesion, which is to say if you were to cut the character in half horizontally or vertically, each part should look like it belongs to the other.  



As mentioned, Kim has a lot of solid colors and arch shapes which are broken up by fabric and metal seams, with very few sharp edges.  


Vonnie, on the other hand, is structured almost like a building, with vertical lines and triangles that take the shape of supporting beams on the surface of her outfit.  Her triangles and broad horizontal planes repeat throughout her outfit, including her glasses.


This extends to multiple costumes worn by the same character.  Even if a particular character changes clothes, the core shapes should still be evident.  Scott Pilgrim is a good example of this.  Most of the cast change clothes frequently, but in each scene it’s generally easy to recognize the characters by the “type” of clothing they choose.  The details change, but the essential shapes do not.

Color and Contrast


Different colors can imply different moods.  ”Winter” colors like cooler blues and purples can suggest an introspective or reserved personality, while warmer colors like yellow or red can imply a more energetic attitude.  If your character only ever interacts in one type of setting, you only have to worry about how those colors will fit in one environmental color palette.  If, however, your character needs to mesh well with more than one environment (as is usually the case with protagonists), you have to make sure your character’s colors will fit with multiple settings.


Also, don’t be fooled by superhero comics: it’s generally bad form to have two dominant colors in a single costume.  My personal rule of thumb is to have no more than one prime color in an outfit design, followed by a secondary and then supporting colors.  


In the case of Kim’s outfit in Dark Science, the primary color is black, with the secondary being off-white.  These are then supported by the muted blue and silver accents that appear in both her prosthetics and clothing.  Color and value contrast is very important, especially for a main character, which is why Kim’s basic palette can be reduced to black and white without losing any essential information.  


Vonnie’s outfit is more colorful, but less contrasted as a whole.  Green dominates and is blocked in by a secondary, warmer black.  Green is the complementary color of red, and so her clothes naturally bring attention to her hair and reddish skin tone, inherently highlighting more sexual elements than Kim (whose black outfit essentially matches her hair).  White is also present, but it’s only a supporting color here.



Above all else, keep it simple.  Comic characters are not pin-ups or other illustrations; you have to draw them over and over again, from various angles.  If you pile on too much detail, you’ll wear yourself out slogging through all the bits every time you have to draw them.  

If you follow all these rules, good costume design should create this basic pattern when presented to a reader:

  1. Read:  Silhouettes and essential shapes should be instantly recognizable
  2. Inform:  The costume should then tell the reader essential things about the character
  3. Compel:  The costume should then invite the reader to learn more about the character
  4. Move:  The costume should never impede the flow of action within the comic

If you stick to these basic guidelines, you’ll never fail.  Next up on character design: bodies and faces!




Foam and Worbla armour MEGA TUTORIAL

Tutorial by AmenoKitarou

Super duper awesome and helpful! I am totally going to try this out for my Garrosh cosplay.


holy shit

The Elephant Technique or How Not To Break Your Momentum During NaNoWriMo And Beyond


So there’s this thing, National Novel Writing Month, where a person writes a 50,000 word novel in 30 days. These people are referred to as crazy. I am one of them.


And there’s this guy, Chris Baty. Baty helped make NaNoWriMo a thing. He even wrote a book about it. A book about writing a book. It’s meta. In this book he gave advice on just how to write a book in 30 days. Lots and lots of advice. Because writing is hard.


Really hard.


Really, REALLY hard.


But this guy, Baty? He’s pretty smart about it. One of the things he talks about is to know your weakness as a writer. I have a bunch, but the main one is getting distracted by internetz.

See, the thing is, I try. I really do. I try to research all the things and stuff I need to research before I write, but sometimes I’ll be going on my merry way and BOOM I forgot what I named that hospital. Or BOOM I don’t know what the parts to a horse’s saddle is. So I go to Google and Google tells me. But it never stops there. I always go, “While I’m here, I might as well check [insert your time-wasting social media site of choice].” And then, BOOM - an hour has passed and I haven’t touched what I was writing.

This is no good. I need to focus and not break my momentum while I’m writing. Stopping to open a browser and searching on Google breaks my momentum. So what do I do? Research even more? As much as I’d like to think I can predict everything that happens in my plot, some things I just can’t foresee. And that’s a good thing! No, it’s great! That’s one of the best things about writing, when I’m surprised when X, Y, or Z happens. 

Instead of extensive, mind-numbing research, I do this. Whenever I find myself stalling to think of a name or an adjective or literally anything else, I write elephant instead. Elephant. And then go on my merry way.


It felt really stupid when I started. The worse is when I read what I’ve written and forgot that I slapped on an elephant in the middle of an intense scene.

But it works!


I promise, I wouldn’t do it if it didn’t.


And when I edit, all I do is find each “elephant” with the search option of whatever word-processor I’m using and insert it’s rightful word - the well-researched-after-I’ve-written-the-book word. I’ve told a few people about my Elephant Technique, and I knew a few people who use different words: cantaloupe, poodle, febreze. It all works. 

BOOM, distraction gone. Please enjoy BMO dancing as you go forth and write all the things.




Just in case you forget this exists.
It exists.

I did forget.Thank you for reminding me.



Just in case you forget this exists.

It exists.

I did forget.
Thank you for reminding me.

Buying Time


My dog was snoring the other night, so I wanted to write a cute a fluffy story about Raphie snoring.  And then Skits happened.  So there is still floof, but there is also SAINW. :3

Buying Time

Mikey could see the storm brewing.  Not that Raph was particularly difficult to read anyway, but this was something different.  The dark clouds hovering over his head were practically visible, and with every day that passed, Raph became more tense, as if he held lightning within his body and he was struggling to keep it in.

Mikey glanced down at his bandaged stump and sighed a little.  He’d hoped that Raph would begin to settle now that he was starting to - literally - get back on his feet.  He’d seen the way relief had nearly broken Raph when he’d finally blinked his eyes open and knew where he was…although when Mikey had looked at the calendar, the date was several weeks later than he remembered.  He’d seen the lines of worry and anger on Raph’s face, but all of that had disappeared when Mikey’d managed to say his name.  Raph had buried his face in the blanket and pressed his head against Mikey’s side, and the tension had crumbled away from his shaking shoulders.

But ever since then, the anger had been creeping back in day by day.  Raph wasn’t always a walking storm cloud; Mikey could usually tease a chuckle out of his brother, and April had been commandeering Raph more frequently to babysit.  Holding Maria never failed to bring a smile to his scowling face, even if Raph was still too nervous to stand up once the baby was in his lap.  Even so, the brief moments of relaxation began to help Raphael less and less, and it was only a matter of time before something had to give.  

Read More


Shirt here
the members of an orchestra
violins I: we're the superstars fuck everyone else its all about us
violins II: why do we always get the boring parts
flutes: we're so lonely
piccolo: lol fk your ears
french horns: and im not even french hONHONHON BAGUETTE
trumpets: wats 'p'
trombones: wats quiet
cellos: im either boring af or exciting af and there is no in between
bassoons: im so posh but i really just honk like a truck
clarinet: *squeaks*
bass clarinet: lol where am i
tuba: *waits for a wagner piece to do something exciting*
harp: im just a more sophisticated piano
english horn: im literally only useful for dvorak's 9th like what am even i doing here
basses: semibreves, tied to a semibreve, tied to a minim, tied to a crotchet, oh wait a quaver wow exciting ok back to semibreves
cornets: trumpet wannabe
saxophones: i never get a good part until a jazzy piece is performed which is never
xylophones: am i meant to be here?


If you liked this tutorial, pleas check out my Facebook page for more of my work!

Larger Size avaliable on my Deviantart 

PSA for everyone writing term research papers right now


Mendeley is the greatest program ever

I want to weep with joy every time I use it

Just click a button when you pull up an article and it will automatically save it to your library

And cite it for you

And you can use it on your mobile devices

And it’s free

Just download it and you won’t have so many urges to kill everyone in sight while writing a research paper

Are you going to live stream the new episodes still? I don't want to sound rude what-so-ever!!! but I haven't seen you post any and..uh yah just wondering 😊

Unfortunately, as far as I know, the episodes are no longer being released early on iTunes, so I don’t have access to them to stream them like I used to. :( I pretty much have to find them online like everyone else now.

I’ll try to remember to post links when I can find them though!


Australian Photoset #17

Want to see more?

Canadian Photoset #16

Do you have any tips or tricks for drawing dragon wings in any folded/half foldes pose? I find the wing skin folds to be the most difficult thing when drawing dragons, they usually cover up half the image and just look wonky when I try ;w;



Alright, you’re about to see some diagrams that are not 100% biologically accurate but hopefully they’ll illustrate my points. Also, most of this I am basing on bat wings because that’s the closest real life reference we have to dragon wings. 


First let’s talk about what’s going on with the edges of the wing membrane. The whole membrane is like one giant stretchy piece of spandex. When all the digits are extended the membrane gets stretched taut, but when the wing relaxes the membrane retracts into itself. What does this look like?


The edges pull inward, like this. 

What they don’t do is fold up like a piece of fabric. 


The very edge of the membrane often has a tiny ridge. This is caused by the folding of the skin, as well bundles of elastin fibers that we won’t get into right now! On occasion there will be some wrinkles, but they are generally on the membranes themselves and don’t present themselves much along the edge. 


Check out these wrinkles here. The pink arrow shows a pretty “large” wrinkle, which is present on the plagiopatagium (membrane between the body and the last digit of the wing hand.) This is a very large piece of skin, so if there are going to be any large wrinkles they will be here! But even still, it’s not nearly as extreme as the floppy “fabric” example I drew above. 


Here you can see more wrinkles on the wing surface that don’t really express along the edge nearly as much as you might expect. All things considered, they’re pretty subdued!


This wing is half-folded and it still just looks like big smooth shapes. They have to get pretty darn folded before wrinkles start happening. Until then, the edges of the wings are just gentle curved lines. Nothing to worry about!

As for poses, remember that a dragon wing is just like your arm. It has a shoulder, an elbow, a hand, and fingers. They are just really elongated versions of each. Just like on your hand, the fingers are flexible and can bend at the joints. Here are three quick steps for drawing crazy wing poses:

1. Sketch out the arm and finger parts. 

2. Draw a deeply curved line to represent the edge of the wing membrane (blue.) Also draw curved lines between each pair of knuckles (pink.) This will help you see where that membrane is going. 

3. Erase the parts that are invisible from the viewer’s angle. 


This was kind of just a fast overview. I hope it answered your question, and if it didn’t, shoot me another note and I’ll try to be more thorough! 

Rah explains dragon wings. Patagiums are important!


I saw this step-by step tutorial of how to Gird Your Loins and it needed to be readjusted. 





The first one. With references. 

Full View Here

Edit: some people have been asking me if i have any more tutorials, which is why i’m reblogging this again :D;;. Hope you guys don’t mind ^^;

More of my tutorials on tumblr here

More of my tutorials on dA here

I’m “Filing” this away for later….GET IT?! LIKE FINGERSNAILS?! HAHAHAHA

fucking dies

I’m just going to steal this…