omg HOW DO U DRAW HAIR.... I've been trying forever to draw this one characters hair rt and it's driving me nuts
funny thing
I am notorious for not drawing a character's hair consistantly
I look at a lot of references, but things are always chaging lol
BUT ANYWAY, I'll show ya'll how I do it (:
using V as the victim model *click the read more*
starting off with the head
I'll mark off the hairline, but in the case of the Workers and DDrones, I'll use their helmets or headbands for their hairline
after that, I figure out where I will place their part, if needed
I'll block out their bangs using large shapes
add any side bangs
then fill out the main body of their hair
next I'll clean up any intersecting lines, so I don't have to fight them later, and add any little extra details
then I'll start adding randomish lines, breaking up the main peices
and add more to fill in the gaps
And done!
I tend to use quick, flowing lines when drawing hair, and encourage y'all to try the same
also practice with different lengths and types!
Had to draw these two-
technically I ship them both with Thad and Doll too, but I just wanted to draw these two for rn-
I am so proud of this-
Show, Don’t Tell – The golden rule! Instead of flatly stating emotions, reveal them through actions, dialogue, and sensory details. Like, don’t say, “She was angry.” Show her slamming a door or clenching her fists.
Head-hopping – When you switch POVs in the middle of a scene without clear demarcation. It's confusing and jarring, like taking a sudden detour while driving.
Purple Prose – Over-the-top, flowery writing that can come off as trying too hard. A little flair is fine, but don’t smother your reader with excess.
In Medias Res – Starting a story in the middle of the action. No boring build-up, just bang—we’re already in the heat of things.
Foreshadowing – Dropping subtle hints about what’s coming next. A small detail now could be a huge reveal later. It’s like dropping breadcrumbs leading your readers to an epic twist.
Chekhov’s Gun – If you introduce an object or detail, it better serve a purpose later. No random things just hanging around. Everything matters.
Canon vs. Fanon – Canon refers to the original source material, while Fanon is the fan-created version. You can take liberties with Fanon, but Canon needs to stick close to its roots.
Saturation Point – That place in your writing where things become too repetitive, too familiar. You’ve got to find a way to push beyond it to keep your writing fresh and engaging.
Bait and Switch – Leading your reader to expect one thing, then suddenly giving them something unexpected. It’s like pulling the rug out from under them.
Plot Device – Any element (object, event, or person) that drives the plot forward or allows the resolution of the story. It’s the item or moment that has to exist for the plot to make sense.
Vignette – A brief, evocative scene that focuses on one moment or idea, often without a formal plot. It's about capturing a snapshot of a bigger picture. Think of it like a small, poetic portrait within a larger narrative.
Mise-en-Scène – A French term used to describe the setting or visual elements within a scene, especially in film and theater. It refers to how everything is placed or designed to create a specific atmosphere.
Framing Device – A structure or technique used to tell a story within a story. It's like having a character tell their experiences through flashbacks or letters, giving the plot a layered, nested feel.
Endowment Effect – When writers unintentionally overvalue a character or plot point simply because they created it. It’s the I’m so proud of this, it’s got to stay! mindset. Sometimes less is more, so watch out for this.
Conflict (Internal/External) – Internal conflict is the emotional struggle within a character (e.g., wanting something but being afraid of it), while external conflict comes from forces outside of the character (e.g., fighting an enemy or dealing with societal pressures).
Pacing Breathers – Moments in the story where the action slows down to allow the characters to breathe and reflect. These help balance the high-energy scenes and give readers time to process.
Symbolism – Using objects, actions, or settings to represent larger ideas. Think of a wilting flower symbolizing the decay of a relationship. It’s subtle but adds layers to your story.
Subtext – The hidden or underlying meaning in a scene or dialogue. What isn’t said, what’s implied but not directly stated. Like that tension between two characters that’s so obvious but never spoken aloud.
Red Herrings – Misdirection! These are the details or clues that seem significant but lead readers down the wrong path. It’s like planting a fake trail to keep your reader guessing.
Narrative Whiplash – When you suddenly change tones or perspectives, jerking the reader’s expectations. It’s like riding a bike and then suddenly taking a sharp, unexpected turn. Used well, it adds suspense, but too much can feel disorienting.
To those readers who became writers, we intuitively know what works and what doesn’t, but just in case I’m putting it out here so writing becomes easier!
you think the story forgets you when you’re gone. it doesn’t. it waits. patiently. then bites your ankle the second you log back in.
oh boy.
Little keychain concept I made- thought I’d share it-
Glad to see the ecosystem of the Pixar lamp creators is doing good
KHori as dragons-
I literally had to screenshot the drawings just so that would upload, because this a beast size and background wise-
how- how did I manage this?-
[TwT, I know this’ll be lost in the Tumblr archives, but at least I am able to post something I’m really proud of, even if it’s not seen-]
Day 2 of chaggie week 2025 🎊🥳 theme is Beach and charlie’s unhinge thoughts!