COULD YOU IMAGINE THE COSPLAY SHIT ONE COULD DO WITH THIS????
Hey guys, just wanted to butt in here.
This is exactly the same stuff as Instamorph. And guess what? Instamorph is actually cheaper. A 400g (gram) bag of Plastimake is $30 (Can you say ouch?) Where as a 12 ounce jar of Instamorph is only $17. Why is this important? 12 ounces = roughly 340 grams. That’s almost that same amount, but wayyyy cheaper. Not only that, but it seems Plastimake is currently out of stock? Further, Instamorph also has colour packets for $12, and Plastimake’s are $15.
I’m not saying Plastimake is bad, i’m just saying if you aren’t exactly rich, it’s good to have a cheaper alternative that’s just as good.
There’s your daily dose of marketing info for the day, happy crafting! :D
I wanted to add that not only can you use this stuff straight up (and there are quite a few companies out there making it now at different price points), you can ALSO use it to make homemade Worbla, which is way cheaper than the stuff you can buy online for armor and other crafting (all you really need is some flour, the moldable pellets, and heat to make it)
In the 80′s when I was a kid this material caught on for a while under the name “fantastic plastic” and came in rectangular sheets of various colors and even patterns and I wondered what the heck ever happened to it
17 dollars for 340g is still too much, don’t buy at a high cost because of brand names.
Look for Polycaprolactone/thermoplastic pellets. You can easily get this stuff for 5 dollars per 200g online.
Valuable information if some of your prized books were affected by recent flooding. The video even shows you what to do if you can’t dry the book out right away.
So I have recently got up to speed with My Brother, My Brother and Me, it took me about 5 months to do it but I did it! Along the way I made notes of all the best episodes I listened to. I thought this would be helpful for new fans who want to get into MBMBaM but find the extensive catalog daunting.
There’s a lot of premium goofs and I’m sorry if your favorite didn’t make the list.
39 Peepum’s Nastygum
89 Grab the Merkin
104 I Hate You Ron
108 The Garfield Monstrosity
109 Flapjack Nickelsack
147 The Legend of Corn Cob Boy
151 Orb is Horse
164 Gaperboy
174 Starbucks Castle Doctrine
175 Torsey
193 Journey to the Center of the Bear
204 Bait Kids
206 Thank Travis for Travis
211 Mrs. Doubtfire 2
215 Glass Shark
219 Pizza Delivery Clone
221 Jareth Defense Tactics
222 The Rich Kids Camp
228 Sex Draculas
229 A Premium Swallow
234 The Legend of Cracker Barrel
242 In the Mouth of Mango
251 Cycle 2.0
253 Bye-Bye Boy
257 Swag Dads
258 OOH, MOMMY!
259 Birthday Surprise Hole
261 Island Boy Begins
261.5 The McElroy Family Fun Hour brought to you by Totinos
265 The Ballad of Tit Liquid
269 Face 2 Face: Loose Gravy
281 Sisterball of the Dribbling Shorts
286 Coyotes Ate Our Dad
300 The Three Hundredth One
302 Honkin’ On Bruno
304 Chicken Soup for Boys
309 Here Comes Ray Donovan
321 Which One Vapes?
326 Open-Source Burger King
333.5 The MBMBaM Guided Sleep Experience for Spiritual Harmony
340 Doritos-Blasted Crow
349 Face 2 Face: Remembering How to do Live Shows in Portland
thank you both for such nice messages, I’m so glad you like my art…!! hopefully I can help at least a little bit!
anon 2) my brush settings can be found here! anon 1) wrinkles can get pretty complex! it depends on the type, weight, thickness, and cut of the fabric, whether the character is in motion, etc; I wish I could get into everything, but it’s a huge subject that I don’t think I could possibly cover…!! but I can at least give you some very very basic tips on building up a dress (and the lace underneath!)
here are some examples of dresses I’ve drawn recently. they might seem complex, but when broken down to their most basic form, they’re actually very simple shapes that follow very similar rules!
are you seeing any patterns between them? while they do differ a bit, they’re by and large made from the same long line that curves into itself and back out. learning where this line goes and how it changes under different circumstances is learned largely through practice and intuition, but there are some steps you can take to begin building a foundation to work from! (or at least to sort of break down the process!)
determine the shape/angle of the dress itself.in this example, I’m using a big poofy dress shown from slightly below!
use this as a guide when adding that curving line from before. think of how the fabric folds, and keep in mind that the direction of the curve (and how harsh it appears) depends on where it falls on the dress and the angle at which it’s being viewed from. in this example, it’s more pronounced on the edges, and is facing different directions on the left and the right sides.
wherever cloth folds, wrinkles appear! wrinkles will be more abundant where the cloth is more compact; in this case, that’s toward the waistline. on a dress line this, a fold will originate at the waistline and radiate downward; this means that on an uninterrupted fold, the line that you draw should (if you were to continue it all the way, which is not always necessary) reach cleanly back to the waist. I added one translucent line to help illustrate this idea!
want to add a lace layer? it’s the same concept!! add your basic curving line underneath, keeping in mind that the cloth above will likely mirror whatever it’s falling over. (not perfectly, but somewhat!) so try to keep it a little consistent!
details are easy now!! you can add any sort of lace pattern you want by just tracing over that first line! I used a basic scallop shape here
want even more lace? just repeat step four as many times as you want underneath your last layer of lace!
once you get the hang of this part, figuring out more complex stuff gets much easier! I’m not great at explaining things, but hopefully you were able to come away with some kind of new information, haha…!! I’m wishing you both the best with your art!!!
I was looking for an easy map creator that makes beautiful maps for a while now to make a visually stunning map to go along with my book. And now, after such a long search i have finally found one that suits my needs! Because i like it so much, i thought i’d share it with you guys! Just go to inkarnate.com and start creating! I have to warn you though, it is still in beta so a lot still needs to be added, but already it looks great and is easy to use!
I mean just look how beautiful some of these maps are!
And it is so much fun too! Someone even created a game of thrones map that is simply amazing!
So check it out and start creating your visual aid for your story. I promise you, it really is super easy and you will make one in no time!
Writing with Color: Description Guide - Words for Skin Tone
We discussed the issues describing People of Color by means of food in Part Iof this guide, which brought rise to even more questions, mostly along the lines of “So, if food’s not an option, what can I use?” Well, I was just getting to that!
This final portion focuses on describing skin tone, with photo and passage examples provided throughout. I hope to cover everything from the use of straight-forward description to the more creatively-inclined, keeping in mind the questions we’ve received on this topic.
So let’s get to it.
S T A N D A R D D E S C R I P T I O N
B a s i c C o l o r s
Pictured above: Black, Brown, Beige, White, Pink.
“She had brown skin.”
This is a perfectly fine description that, while not providing the most detail, works well and will never become cliché.
Describing characters’ skin as simply brown or beige works on its own, though it’s not particularly telling just from the range in brown alone.
C o m p l e x C o l o r s
These are more rarely used words that actually “mean” their color. Some of these have multiple meanings, so you’ll want to look into those to determine what other associations a word might have.
Complex colors work well alone, though often pair well with a basic color in regards to narrowing down shade/tone.
For example: Golden brown,russet brown, tawny beige…
As some of these are on the “rare” side, sliding in a definition of the word within the sentence itself may help readers who are unfamiliar with the term visualize the color without seeking a dictionary.
“He was tall and slim, his skin a russet, reddish-brown.”
Comparisons to familiar colors or visuals are also helpful:
“His skin was an ochre color, much like the mellow-brown light that bathed the forest.”
M o d i f i e r s
Modifiers, often adjectives, make partial changes to a word.The following words are descriptors in reference to skin tone.
D a r k - D e e p - R i c h - C o o l
W a r m - M e d i u m - T a n
F a i r - L i g h t - P a l e
Rich Black, Dark brown, Warm beige, Pale pink…
If you’re looking to get more specific than “brown,” modifiers narrow down shade further.
Keep in mind that these modifiers are not exactly colors.
As an already brown-skinned person, I get tan from a lot of sun and resultingly become a darker,deeper brown. I turn a pale, more yellow-brown in the winter.
While best used in combination with a color, I suppose words like “tan”“fair” and “light” do work alone; just note that tan is less likely to be taken for “naturally tan” and much more likely a tanned White person.
Calling someone “dark” as description on its own is offensive to some and also ambiguous. (See: Describing Skin as Dark)
U n d e r t o n e s
Undertones are the colors beneath the skin, seeing as skin isn’t just one even color but has more subdued tones within the dominating palette.
Mentioning the undertones within a character’s skin is an even more precise way to denote skin tone.
As shown, there’s a difference between say, brown skin withwarm orange-red undertones (Kelly Rowland) and brown skin with cool, jewel undertones (Rutina Wesley).
“A dazzling smile revealed the bronze glow at her cheeks.”
“He always looked as if he’d ran a mile, a constant tinge of pink under his tawny skin.”
Standard Description Passage
“Farah’s skin, always fawn, had burned and freckled under the summer’s sun. Even at the cusp of autumn, an uneven tan clung to her skin like burrs. So unlike the smooth, red-brown ochre of her mother, which the sun had richened to a blessing.”
Here the state of skin also gives insight on character.
Note my use of “fawn” in regards to multiple meaning and association. While fawn is a color, it’s also a small, timid deer, which describes this very traumatized character of mine perfectly.
Though I use standard descriptions of skin tone more in my writing, at the same time I’m no stranger to creative descriptions, and do enjoy the occasional artsy detail of a character.
C R E A T I V E D E S C R I P T I O N
Whether compared to night-cast rivers or day’s first light…I actually enjoy seeing Characters of Colors dressed in artful detail.
I’ve read loads of descriptions in my day of white characters and their “smooth rose-tinged ivory skin”, while the PoC, if there, are reduced to something from a candy bowl or a Starbucks drink, so to actually read of PoC described in lavish detail can be somewhat of a treat.
Still, be mindful when you get creative with your character descriptions. Too many frills can become purple-prose-like, so do what feels right for your writing when and where.
Not every character or scene warrants a creative description, either. Especially if they’re not even a secondary character.
Using a combination of color descriptions from standard to creative is probably a better method than straight creative. But again, do what’s good for your tale.
Now before you run off to compare your heroine’s skin to the harvest moon or a cliff side, think about the associations to your words.
When I think cliff, I think of jagged, perilous, rough. I hear sand and picture grainy, yet smooth. Calm. mellow.
So consider your character and what you see fit to compare them too.
Also consider whose perspective you’re describing them from. Someone describing a person they revere or admire may have a more pleasant, loftier description than someone who can’t stand the person.
“Her face was like the fire-gold glow of dawn, lifting my gaze, drawing me in.”
“She had a sandy complexion, smooth and tawny.”
Even creative descriptions tend to draw help from your standard words.
F L O W E R S
Pictured above: Calla lilies, Western Coneflower, Hazel Fay, Hibiscus, Freesia, Rose
It was a bit difficult to find flowers to my liking that didn’t have a 20 character name or wasn’t called something like “chocolate silk” so these are the finalists.
You’ll definitely want to avoid purple-prose here.
Also be aware of flowers that most might’ve never heard of. Roses are easy, as most know the look and coloring(s) of this plant. But Western coneflowers? Calla lilies? Maybe not so much.
“He entered the cottage in a huff, cheeks a blushing brown like the flowers Nana planted right under my window. Hazel Fay she called them, was it?”
These ones are kinda odd. Perhaps because I’ve never seen these in comparison to skin tone, With the exception of amber.
At least they’re common enough that most may have an idea what you’re talking about at the mention of “pinecone.“
I suggest reading out your sentences aloud to get a better feel of how it’ll sounds.
“Auburn hair swept past pointed ears, set around a face like an acorn both in shape and shade.”
I pictured some tree-dwelling being or person from a fantasy world in this example, which makes the comparison more appropriate.
I don’t suggest using a comparison just “cuz you can” but actually being thoughtful about what you’re comparing your character to and how it applies to your character and/or setting.
W O O D
Pictured above: Mahogany, Walnut, Chestnut, Golden Oak, Ash
Wood is definitely an iffy description for skin tone. Not only due to several of them having “foody” terminology within their names, but again, associations.
Some people would prefer not to compare/be compared to wood at all, so get opinions, try it aloud, and make sure it’s appropriate to the character if you do use it.
“The old warlock’s skin was a deep shade of mahogany, his stare serious and firm as it held mine.”
These are trickier to use. As with some complex colors, the writer will have to get us to understand what most of these look like.
If you use these, or any more rare description, consider if it actually “fits” the book or scene.
Even if you’re able to get us to picture what “rutile” looks like, why are you using this description as opposed to something else? Have that answer for yourself.
“His skin reminded her of the topaz ring her father wore at his finger, a gleaming stone of brown, mellow facades.”
P H Y S I C A L D E S C R I P T I ON
Physical character description can be more than skin tone.
Show us hair, eyes, noses, mouth, hands…body posture, body shape, skin texture… though not necessarily all of those nor at once.
Describing features also helps indicate race, especially if your character has some traits common within the race they are, such as afro hair to a Black character.
How comprehensive you decide to get is up to you. I wouldn’t overdo it and get specific to every mole and birthmark. Noting defining characteristics is good, though, like slightly spaced front teeth, curls that stay flopping in their face, hands freckled with sunspots…
G E N E R A L T I P S
Indicate Race Early: I suggest indicators of race be made at the earliest convenience within the writing, with more hints threaded throughout here and there.
Get Creative On Your Own: Obviously, I couldn’t cover every proper color or comparison in which has been “approved” to use for your characters’ skin color, so it’s up to you to use discretion when seeking other ways and shades to describe skin tone.
Skin Color May Not Be Enough: Describing skin tone isn’t always enough to indicate someone’s ethnicity. As timeless cases with readers equating brown to “dark white” or something, more indicators of race may be needed.
Describe White characters and PoC Alike: You should describe the race and/or skin tone of your white characters just as you do your Characters of Color. If you don’t, you risk implying that White is the default human being and PoC are the “Other”).
PSA: Don’t use “Colored.” Based on some asks we’ve received using this word, I’d like to say that unless you or your character is a racist grandmama from the 1960s, do not call People of Color “colored” please.
Not Sure Where to Start? You really can’t go wrong using basic colors for your skin descriptions. It’s actually what many people prefer and works best for most writing. Personally, I tend to describe my characters using a combo of basic colors + modifiers, with mentions of undertones at times. I do like to veer into more creative descriptions on occasion.
Want some alternatives to “skin” or “skin color”?Try:Appearance, blend, blush, cast, coloring, complexion, flush, glow, hue, overtone, palette, pigmentation, rinse, shade, sheen, spectrum, tinge, tint, tone, undertone, value, wash.
I tried to be as comprehensive as possible with this guide, but if you have a question regarding describing skin color that hasn’t been answered within part I or II of this guide, or have more questions after reading this post, feel free to ask!
I’ve noticed that a lot of other witches also enjoy fiction and writing! Tarot itself tells a story, and you can do so much with using tarot to outline your story and characters! So here’s a 13 card spread that can be shortened down to six if you need to. The order in which you lay them really depends on if you’d rather do a six or thirteen card spread.
1-6 are the main points of the story.
Beginning - What are things like at the beginning of the narrative? Where do your characters start?
Climax of Act One - Something has drastically changed in your MC’s life. What is it? What do they need to do now?
Midpoint: big twist! - Need a plot twist? Someone is hiding a secret? Things aren’t going as planned? This is where something unexpected happens.
Climax of Act Two - It looks like the bad guy is winning, nothing is going right. What does the most intense part of your story look like?
Wrap up - What loose ends need tied up?
End - Where are things now at the end of the story?
Now, the other cards go in between those main six points.
Beginning
Inciting Incident - What happens that shakes up the status quo?
Second Thoughts - What’s your character thinking now with these events looming on the horizon?
Climax of Act One
Obstacle - No one said this journey was easy
Obstacle - Yup, more things to keep your hero from meeting their goal
Midpoint
Obstacle - Getting frustrated? Good.
Disaster - The “oh shit” moment
Crisis - The “no no no no no this isn’t happening” moment
I’m pretty sure this is probably something a lot of long
time crafters and cosplayers know, but I thought I would talk a little bit
about using freezer paper for fabric painting templates.
What is freezer paper?
It’s a type of paper that has a normal paper texture on one side,
and waxy on the other. You can get this at any grocery store (for not too much
money, probably not more then $5-6) and you get anywhere between 50 – 175 yards.
Which means it will take a pretty long time before you’ll ever run out of it.
“Of the” is almost always unnecessary and can be simplified.
Examples:
The owner of the restaurant.
The restaurant owner.
The wheels of the skateboard.
The skateboard’s wheels.
One of the nails came loose.
A nail came loose.
2. That
This one seems innocent enough, but again it can almost always be cut without any damage. If you have “that” in a sentence remove it, and if what’s left still makes sense then it’s unnecessary.
He said that he was coming.
He said he was coming.
Our teacher promised that there wouldn’t be any homework.
Our teacher promised there wouldn’t be any homework.
3. Adverbs
Most adverbs are either redundant or superfluous. For example:
“I have to go,” she whispered quietly.
Whispering implies being quiet, so “quietly” is redundant and can be cut.
He moved quickly across the lawn.
If we choose a strong verb the adverb becomes unnecessary and the writing becomes tighter and punchier:
