Hi, there! I’m back with an extremely short guide to kimono!
Disclaimer: I do not pretend to know everything there is to know about kimono and this guide only covers the smallest fraction of information. What is in this guide comes purely from my own knowledge and research, and I am very sorry if I made any mistakes. Let me know if I did and I’ll fix it asap :). I’m also sorry for the terrible drawing of the girl on page 4(rilly rilly bad) :T
Lastly, these pics are massive! Forgive me! m(__)m
(All of these will be in Japanese. There are lots of pictures so it’s okay if you can’t read it!)
1) Kimono (this is the page I referenced for my drawing on page 4. It is a wonderful breakdown of kimono structure and the artist shows much more detail than I did. Check this link out for sure!)
5) Moar obi!1!
7) Google Japan image search results for ‘obi musubikata’ (obi how to tie)
And that’s all! I hope this was useful for anyone wanting to draw kimono but perhaps having a little trouble with the details :)
/SHAKES ON THE FLOOR IM HAVING
AN ART ATTACK
OMFG I… I will try this out asap wow
What a good idea
Sitting Poses References
Little nugget of advice that really changed the way I approached painting. When I started blending like this it was a real turning point for my art quality.
Forgot to add that lighting conditions and other factors in a piece make the hardness you want to choose somewhat variable. Drawing things like skin is more of a hardness range than it is a hard rule.
Eheh…get it? Hard rule? (aaaaaaaaaand i’m done).
Such a fantastic resource!!
Okay so I followed this video about foreshortening and…
Sycra. I love you so much for making this video.
YOU GOTTA BE FUCKING SHITTING ME
Part 2 of 2!
The next tutorial will be on drawing clothing.
1. Ice, 2. Sky, 3. Turquoise, 4. Pine, 5. Olive, 6. Topaz, 7. Chocolate, 8. Mocha
Eyes. They are one of the most integral parts of your character. They portray emotions and thoughts that people often don’t verbally express, especially the main feelings that humans experience such as joy, anger and sorrow. Other emotions that eyes convey can include uncertainty, confusion, exhaustion and fear.
The eyes are also a very important aspect of a character/person because no two sets are exactly alike, even on identical twins. There are different flecks of color, different shades and shapes in every eye. This is why I, as a writer, stress that the eyes on a character are one of the most important pieces.
There are hundreds of shades of each eye color, so to simply state that one’s eyes are “blue” or “brown”, in my personal opinion, is boring. It’s generalized and can be given so much more depth. Are their eyes mocha-brown? Or deep, dark chocolate? Perhaps they’re light, like cocoa power? Or even such a dark shade of brown that they appear black unless under direct light?
Now, it’s wonderful to get into the shade and detail of a character’s eyes, but there is such a thing as too detailed. Don’t go overboard with it, because it can seriously turn off the reader/your roleplaying partner.
Heterochromia Iridum: This refers to the difference in coloration of one’s irises. Keep in mind that it is very uncommon in humans.However, it is more common in species such as dogs like the Australian Shepherd.
Heterochromia can be developed, however. It has specific causes and forms. It’s best to do your research on the trait before giving it to a character.
In conclusion: This has been an Emmy rant/guide on eyes. Remember that they are just as important to your character as their personality and background, in my opinion. Have a fine ass day, ladies and sirs.
Woah, number 5, who’s eyes are they? Because they look a lot - a /lot/ - like my eyes.
Degrees of Emotion
It annoys me to no end when people have a bad day and talk about how “depressed" they are. So, I made some emotional scales. These show the extremes of emotions and the most minimal state of the emotion.
These are wonderful for writers~
THE WORST PART ABOUT CONSTRUCTING YOUR OWN FICTIONAL UNIVERSE IS
A friend in my writing group passed this along to me. A bible of sorts for aspiring writers:
In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.
From this point forward—at least for the next half year—you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.
The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.
Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”
Instead, you’ll have to Un-pack that to something like: “The mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”
Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.
Instead of saying: “Adam knew Gwen liked him.” You’ll have to say: “Between classes, Gwen had always leaned on his locker when he’d go to open it. She’d roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her butt. And the next break, Gwen would be leaned there, again.”
In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.
Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later). In a way, they state the intention of the paragraph. And what follows, illustrates them.
“Brenda knew she’d never make the deadline. Traffic was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”
Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.
If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.
Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.
Don’t tell your reader: “Lisa hated Tom.”
Instead, make your case like a lawyer in court, detail by detail.
Present each piece of evidence. For example:
“During roll call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just as Tom was saying, ‘Here’.”
One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.
For example: Waiting for the bus, Mark started to worry about how long the trip would take…”
A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”
A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.
Oh, and you can just forget about using the verbs Forget and Remember.
No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”
Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”
Again, Un-pack. Don’t take short-cuts.
Better yet, get your character with another character, fast. Get them together and get the action started. Let their actions and words show their thoughts. You—stay out of their heads.
And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”
“Ann’s eyes are blue.”
“Ann has blue eyes.”
“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”
Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.
And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”
Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.
For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.
Then, pick through some published fiction and do the same thing. Be ruthless.
“Marty imagined fish, jumping in the moonlight…”
“Nancy recalled the way the wine tasted…”
“Larry knew he was a dead man…”
Find them. After that, find a way to re-write them. Make them stronger.
- posted by KD.
Penis Tutorials and References
A collection of penis references and tutorials I’ve ran into. If anyone knows the sources for any of these please tell me so I can pay credit where it’s due.