Ive Been Thinking About That Noise Bobby Makes For Like 2 Days Now What The Fuck

working on the stormbringer timeloop au but it ended up with just a lot of doodles

i will say that how the “ability” works is similar to Homura’s time powers with the going back in time aspect, but Chuuya is not limited to one month. still toying with different ideas, but i do have a lot of attempt ideas on Chuuya’s part and how they end up. some are more outlandish than others but thats the wonders of making an au

Verlaine and Rimbaud custody battle over Chuuya while the Flags watch will forever be dear to me /j

• letters 'nd symbols :

𖨸 𖨷 𖨬 𖨧 𖨦 𖨥 𖨤 𖨡 𖨛 𖨙 𖨘 𖨖 𖨕 𖨎 𖨋 𖨊 𖨈 𖨇 𖨆 𖨂 𖧾 𖧽 𖧻 𖧺 𖧹 𖧷 𖧶 𖧵 𖧰 𖧯 𖧭 𖧪 𖧩 𖧨 𖧧 𖧢 𖧡 𖧛 𖧗 𖧖 𖧕 𖧑 𖧐 𖧋 𖧉 𖧁 𖦾 𖦽 𖦹 𖦸 𖦴 𖦳 𖦲 𖦭 𖦬 𖦩 𖦨 𖦧 𖦥 𖦣 𖦟 𖦞 𖦛 𖦖 𖦓 𖦒 𖦐 𖦏 𖦋 𖦉 𖦇 𖦅 𖦄 𖦃 𖦀 𖥿 𖥾 𖥻 𖥹 𖥸 𖥷 𖥵 𖥳 𖥲 𖥱 𖥰 𖥭 𖥩 𖥨 𖥧 𖥦 𖥥 𖥣 𖥞 𖥝 𖥚 𖥙 𖥖 𖥕 𖥎 𖥍 𖥋 𖥉 𖥇 𖥆 𖥅 𖥁 𖤿 𖤾 𖤺 𖤷 𖤵 𖤴 𖤳 𖤱 𖤰 𖤫 𖤩 𖤨 𖤦 𖤥 𖤣 𖤠 𖤟 𖤞 𖤝 𖤜 𖤛 𖤘 𖤖 𖤕 𖤓 𖤐 𖤏 𖤍 𖤋 𖤊 𖤅 𖤃 𖤂 𖣿 𖣼 𖣻 𖣺 𖣸 𖣶 𖣵 𖣳 𖣲 𖣯 𖣭 𖣦 𖣤 𖣣 𖣡 𖣠 𖣟 𖣙 𖣎 𖣍 𖣂 𖢻 𖢯 𖢨 𖢦 𖢥 𖢡 𖢠 𖢜 𖢖 𖢔 𖢊 𖢆 𖢄 𖡼 𖡰 𖡥 𖡣 𖡜 𖡛 𖡙 𖡘 𖡗 𖡖 𖡔 𖡓 𖡐 𖡏 𖡎 𖡌 𖡍 𖡋 𖠿 𖠾 𖠽 𖠹 𖠶 𖠴 𖠳 𖠲 𖠱 𖠫 𖠪 𖠩 𖠣 𖠢 𖠡 𖠟 𖠞 𖠜 𖠛 𖠚 𖠘 𖠗 𖠕 𖠔 𖠓 𖠑 𖠐 𖠏 𖠎 𖠌 𖠋 𖠉 𖠈 𖠇 𖠆 𖠅 𖠄 𖠃 𖠂 𖠁 𔙆 𔘾 𔘺 𔘹 𔘸 𔘷 𔘶 𔘴 𔘲 𔘱 𔘰 𔘯 𔘮 𔘭 𔘫 𔘪 𔘥 𔘤 𔘡 𔘠 𔘟 𔘞 𔘜 𔘛 𔘘 𔘓 𔘒 𔘏 𔘍 𔘄 𔘂 𔗾 𔗸 𔗷 𔗵 𔗴 𔗲 𔗱 𔗫 𔗩 𔗨 𔗦 𔗟 𔗞 𔗔 𔗓 𔗒 𔗑 𔗐 𔗌 𔗆 𔗂 𔗁 𔖨 𔖢 𔖜 𔖛 𔖚 𔖙 𔖘 𔖗 𔖖 𔖇 𔖃 𔖂 𔖀 𔕹 𔕸 𔕷 𔕳 𔕱 𔕥 𔕡 𔕠 𔕞 𔕛 𔕚 𔕙 𔕔 𔕒 𔕇 𔔻 𔔱 𔔮 𔔬 𔔩 𔔧 𔔦 𔔤 𔔣 𔔢 𔔡 𔔠 𔔙 𔔖 𔔕 𔔔 𔔒 𔔑 𔔎 𔔍 𔔆 𔔂 𔔁 𔔀 𔓾 𔓷 𔓶 𔓯 𔓨 𔓜 𔓘 𔓗 𔓕 𔓒 𔓐 𔓏 𔓎 𔓇 𔓆 𔓅 𔓄 𔓃 𔓂 𔓁 𔓀 𔒿 𔒾 𔒽 𔒹 𔒸 𔒶 𔒴 𔒲 𔒱 𔒯 𔒮 𔒫 𔒨 𔒥 𔒣 𔒡 𔒜 𔒙 𔒍 𔒋 𔒈 𔒇 𔒅 𔒃 𔑾 𔑺 𔑶 𔑵 𔑲 𔑯 𔑮 𔑬 𔑪 𔑘 𔑗 𔑐 𔑏 𔑈 𔑇 𔐯 𔐡 𔐙 𔐕 𔐓 𔐉 𔐄 𔐀 🝳 🝱 🝰 🝯 🝮 🝭 🝩 🝧 🝦 🝥 🝣 🝢 🝚 🝙 🝘 🝖 🝕 🝔 🝓 🝏 🝎 🝍 🝌 🝊 🝆 🝅 🝄 🝃 🝁 🜿 🜾 🜽 🜼 🜻 🜺 🜸 🜷 🜶 🜵 🜴 🜳 🜲 🜰 🜨 🜣 🜛 🜗 🜖 🜕 🜔 🜉 🜄 🜃 🜂 🜁 𑶧 𑶦 𑶣 𑶤 𑶢 𑶠 𑱗 𑱐 𑱘 𑣿 𑣲 𑣱 𑣰 𑣫 𑣪 𑣩 𑣨 𑣧 𑣥 𑣤 𑣢 𑣡 𑣠 𑣜 𑣛 𑣚 𑣗 𑣖 𑣕 𑣓 𑣒 𑣑 𑣏 𑣍 𑣎 𑣌 𑣉 𑣈 𑣇 𑣄 𑣃 𑣀 𑑛 𑑙 𑑘 𑑗 𑑕 𑑔 𑑑 𑑐 𑑏 𑊥 𑊢 𑊡 𑊟 𑊤 𑊝 𑊕 𑊔 𑊒 𑊑 𑊐 𑊊 𑊂 𑊁 𑈽 𑈨 𑈧 𑈤 𑈞 𑈛 𑈗 𑈕 𑈔 𑈏 𑈆 𑈀 𑇝 𑇜 𑇛 𑇙 𑇘 𑇗 𑇖 𑇒 𑇑 𑇐 𑅃 𑅀 𑄾 𑄽 𑄼 𑄻 𑄷 𑄤 𑄝 𑄙 𑄆 𑂼 𑂻 𑂯 𑂪 𑂧 𑂦 𑂥 𑂢 𑂡 𑂠 𑂟 𑂞 𑂗 𑂔 𑂑 𑂇 𑁯 𑁭 𑁬 𑁪 𑁨 𑁥 𑁤 𑁠 𑁘 𑁍 𑀯 𑀬 𑀣 𑀠 𑀞 𑀙 𑀍 𑀄 𑀃 𐴒 𐴐 𐴏 𐴈 𐴂 𓐭 𓐡 𓐗 𓐖 𓐐 𓐎 𓐍 𓏹 𓏸 𓏳 𓏲 𓏡 𓏠 𓏚 𓏘 𓏗 𓏖 𓏔 𓏓 𓏑 𓏏 𓏌 𓏊 𓎾 𓎻 𓎺 𓎶 𓎵 𓎲 𓎫 𓎧 𓎥 𓎠 𓍼 𓍱 𓍯 𓍢 𓍕 𓍔 𓍊 𓌱 𓌛 𓌆 𓋱 𓋰 𓋭 𓋪 𓊸 𓊬 𓊪 𓊗 𓊖 𓊕 𓊔 𓊓 𓊒 𓊌 𓉿 𓉸 𓉴 𓈟 𓈒 𓈑 𓈊 𓈅 𓈀 𓇼 𓇸 𓇷 𓇳 𓇯 𓇬 𓇨 𓇤 𓇣 𓇞 𓇕 𓇚 𓆩 𓆪 𓆠 𓆇 𓆂 𓄼 𓄹 𓄰 𓄧 𓃿 𓂋 𓂅 𓂁 𓂃 𓂂 𓂄 𐦟 𐦞 𐦝 𐦜 𐦖 𐦕 𐦒 𐦑 𐦏 𐦍 𐦉 𐦈 𐦅 𐦃 𐦂 ︎𐪞︎ 𐪜 𐪚 𐪔 𐪓 𐪒 𐪐 𐪏 𐪎 𐪌 𐪆 𐪅 𐪁 𐪃 𐩿 𐩾 𐩺 𐩳 𐩲 𐩰 𐩥 𐩣 𐩕 𐩔 𐩒 𐩇 𝞎 𝞋 𝞉 𝝵 𝝳 𝝯 𞥙 𞥘 𞥗 𞥖 𞥕 𞥔 𞥑 𞥂 𞥀 𞤹 𞤥 𞤤 𞤦 𞤗 𞋹 𞋸 𞋶 𞋵 𞋴 𞋲 𞋱 𞋫 𞋪 𞋩 𞋨 𞋧 𞋥 𞋣 𞋢 𞋡 𞋠 𞋟 𞋞 𞋝 𞋚 𞋙 𞋘 𞋗 𞋔 𞋓 𞋋 𞋈 𞋇 𞋅 𞋄 𞋃 𞋂 𝈉 𐠦 𐠥 𐠤 𐠡 𐠟 𐠗 𐠓 𐝡 𐝈 𐜳 𐜲 𐜮 𐜭 𐜬 𐜧 𐛒 𐛑 𐛏 𐛌 𐚽 𐚹 𐚲 𐚱 𐚰 𐚯 𐚮 𐚭 𐚬 𐚪 𐚩 𐚨 𐚧 𐚦 𐚥 𐚤 𐚣 𐚢 𐚞 𐚜 𐚔 𐚒 𐚐 𐚍 𐚉 𐚈 𐚆 𐚁 𐙿 𐙾 𐙼 𐙸 𐙷 𐙵 𐙱 𐙯 𐙮 𐙬 𐙩 𐙦 𐙥 𐙤 𐙣 𐙡 𐙠 𐙟 𐙞 𐙝 𐙜 𐙒 𐙔 𐙐 𐙌 𐙋 𐙆 𐙄 𐙀 𐘿 𐘾 𐘺 𐘷 𐘱 𐘰 𐘫 𐘦 𐘃 𐑷 𐑶 𐑴 𐑳 𐑰 𐑱 𐑲 𐑯 𐑬 𐑌 𐑉 𐑆 𐑀 𐐿 𐑁 𐑂 𐐺 𐐸 𐐷 𐐶 𐐵 𐐴 𐐳 𐐲 𐐯 𐐭 𐐬 𐐫 𐐪 𐐩 𐐨 𐐘 𐐗 𐐐 𐐏 𐐎 𐐍 𐐌 𐐊 𐐇 𐐅 𐐄 𐐃 𐐂 𐐁 𐐀 𐇼 𐇻 𐇺 𐇹 𐇸 𐇷 𐇶 𐇵 𐇴 𐇳 𐇲 𐇰 𐇯 𐇮 𐇭 𐇬 𐇫 𐇪 𐇩 𐇨 𐇧 𐇦 𐇥 𐇤 𐇣 𐇢 𐇠 𐇟 𐇜 𐇛 𐇚 𐇙 𐇘 𐇗 𐇖 𐇕 𐇔 𐇓 𐇒 𐇑 𐇐 ﹫ ﹪ ﹩ ﹨ ﹦ ﹤ ﹥ ﹣ ﹢ ﹡ ﹠ ﹟ ﹝ ﹞ ﹛ ﹜ ﹙ ﹚ ﹘ ﹗ ﹖ ﹕ ﹔ ﹒ ﹐ ﹆ ﹅ ︘ ︗ ⫐ ⫏ ⪦ ⪧ ⩟ ⩔ ⩓ ⩐ ⩍ ⩌ ⩋ ⩊ ⩉ ⩇ ⩆ ⩅ ⩄ ⩀ ⨾ ⨷ ⨃ ⨂ ⨁ ⨀ ⧠ ⧟ ⧜ ⧉ ⧈ ⧇ ⧆ ⧅ ⧄ ⦾ ❋ ❊ ❉ ❈ ❆ ❅ ❃ ❂ ❁ ❀ ✿ ✾ ✽ ✼ ✻ ✺ ✹ ✸ ✷ ✶ ✵ ✲ ✱ ✰ ✯ ✮ ✭ ✬ ✫ ✪ ✩ ✧ ✦ ❍ ❏ ✑ ✐ ✎ ✄ 𐃹 𐃸 𐃷 𐃴 𐃳 𐃲 𐃰 𐃯 𐃮 𐃭 𐃬 𐃫 𐃩 𐃨 𐃧 𐃦 𐃤 𐃣 𐃢 𐃡 𐃠 𐃟 𐃞 𐃙 𐃗 𐃔 𐃓 𐃒 𐃑 𐃏 𐃋 𐃊 𐃉 𐃄 𐃃 𐃁 𐂾 𐂼 𐂻 𐂵 𐂴 𐂲 𐂬 𐂪 𐂨 𐂧 𐂤 𐂣 𐂢 𐂡 𐂞 𐂜 𐂖 𐂒 𐂐 𐁙 𐁑 𐁍 𐁋 𐁇 𐁂 𐁃 𐀼 𐀷 𐀶 𐀴 𐀬 𐀤 𐀣 𐀢 𐀔 𐀒 𐀏 𐀊 𐀉 𐀅 𐀁 �  ꩜ ꩐ ꥟ ꣘ ꣗ ꣙ ꣒ ꣑ ꣁ ꢾ ꣀ ꢸ ꢮ ꢭ ꢬ ꢫ ꢤ ꢢ ꢡ ꢜ ꢘ ꢐ ꢏ ꘫ ꘪ ꘩ ꘧ ꘥ ꘣ ꘡ ꘟ ꘜ ꘖ ꘓ ꘎ ꘏ ꗱ ꗯ ꗬ ꗦ ꗡ ꗝ ꗜ ꗛ ꗚ ꗓ ꗑ ꗏ ꗇ ꗃ ꗄ ꖹ ꖸ ꖷ ꖴ ꖨ ꖢ ꖡ ꖛ ꖘ ꖏ ꕺ ꕸ ꕮ ꕪ ꕢ ꕠ ꕕ ꕔ ꕊ ꕈ ꕃ ꔷ ꔵ ꔮ ꔫ ꔪ ꔧ ꔡ ꔛ ꔚ ꒿ ꒾ ꒻ ꒺ ꒹ ꒸ ꒷ ꒳ ꒰ ꒱ ꒫ ꒪ ꒩ ꒨ ꒧ ꒦ ꒥ ꑘ ꐪ ꐑ ꐎ ꐇ ꈔ ꈊ ꅔ ꄃ ꂔ ꁚ 𝇒 𝇌 𝇋 𝇈 𝇇 𝇆 𝇅 𝇄 𝇃 𝇂 𝇁 𝆹𝅥𝅮 𝆺𝅥𝅮 𝆹𝅥 𝆺𝅥 𝆹 𝆺 𝆸 𝆵 𝆴 𝆳 𝆯 𝆮 𝆬 𝆭 𝆫 𝆩 𝆤 𝆣 𝆥 𝆢 𝆘 𝆗 𝆕 𝆑 𝆐 𝆏 𝅕 𝅔 𝅓 𝅒 𝅑 𝅐 𝅏 𝅎 𝅍 𝅌 𝅋 𝅊 𝅉 𝅈 𝅇 𝅆 ⚠︎

ᰓ  ᰍ  ᰋ  ᰈ  ᯽  ᪥  ᪤  ᨵ  ᨴ  ᨳ  ᨭ  ᨩ  ᨧ  ᨦ  ᨡ ⛻︎  ⛭︎  ⛨︎  ⛧︎  ⛘︎  ⚢︎  ⚘︎  ⚝︎  ⚣︎  ⚕︎  ☋︎  ☊︎  ◷  ◶  ◵  ◴  ◳  ◲  ◱  ◰  ◡  ◠  ◟  ◞  ◜  ◝  ◎  ◍  ◌  ◊  ◈  ◃  ◂  ▿  ▾  ▹  ▸  ▵  ▴  ▩  ▨  ▧  ▦  ▥  ▤  ▢  □  ⎚  ⎙  ⎔  ⎊  ⎉  ⎈  ⍳  ⍵  ⍰  ⍝  ⌾  ⌫  ⌨︎  ⌦  ⌧  ⌘  ⌗  ⌖  ⌕  ⌔  ⌓  ⌂  ⌁  ⋄  ⋃  ⋂  ⊸  ⊰  ⊱  ⊲  ⊳  ⊞  ᧉ  ᧈ  ᦸ  ᦣ  ᦢ  ᦞ  ᦒ  ᦈ  ᦊ  ᦑ  ᦏ  ᢧ  ᢦ  ᢄ  ᢃ  ᢁ  ᢀ  ᠗  ᠀  ៹  ៵  ៙  ᗢ  ᗣ  ᖘ  ᖗ  ᕳ  ᕲ  ᕱ  ᕰ  ჲ  ფ  უ  პ  ი  ၜ  ၈  ၀  ဧ  ဝ  ဗ  စ  ࿉  ࿈    ࿆  ࿄  ༗  ༖  ༕  ໒ ໑  ๘  ๖  ๓  ๒  ๑  ๐ ๏  ෬ ෧ ෦ ෂ ර ඵ බ ප ථ ඨ ධ ඉ ඊ ഭ  ദ  ೯  ೬  ೪  ೩  ೨  ౿  ౸  ୱ  ୭  ୬  ୪  ୨  ୧  ୦  ୡ  ୠ  ଡ଼  ଳ  ଭ  ବ  ପ  ତ  ଡ  ଘ  ଙ  ଜ  କ  ଓ  ଋ  ଌ  ଈ  ଉ  ૮  ૭  ૧  ૦  ઈ  ઉ  ઇ  ੭  ੧  ੦  ৹  ৶  ৵  ৬  ৫  ৩  ২  ১  ০  ৎ  ও  এ  ঌ  ঀ  ॽ  ९  ८  ७  ५  ४  १  

- pack by me, sukitos.

• nature :

𖡼.𖤣𖥧𖡼.𖤣𖥧 𓋼 𓍊 𓋼 𓍊 𓋼 𓍊 𓋼 𓍊 𐇵ꎺ𖥧𖡼 ~εïз~ ⋆ ࣪. ˖ ࣪⭑ ᓚᘏᗢ ⋆ ࣪.* ࣪.⋆   ᖭི༏ᖫྀ Ƹ̵̡Ӝ̵̨̄Ʒ 𐀔 ᘛ⁐̤ᕐᐷ

• symbols :

༺☆༻ ꙳⸌♡⸍꙳ 𓆩 ♥︎ 𓆪 ʚ♡ɞ ꒰ა★໒꒱ ︎ ︎ঌ︎ ♥︎ ︎ሬ ︎ ︎

ঌ︎ ♡ ︎ሬ ᗣ⑅ᗣ 𖣠𖦹⭗ ᡕᠵ᠊ᡃ່࡚ࠢ⸝່ࠡࠣ᠊߯᠆ࠣ࠘ᡁࠣ࠘᠊᠊ࠢ࠘𐡏 ︎  ︎⑅ ׁ 𓈒 ° ය ‧  ۪ ∘  ៹

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⫘⫘⫘⫘⫘⫘⫘⫘⫘⫘

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⏝꒷۰꒷⏝꒷۰꒷⏝꒷۰꒷⏝꒷۰꒷⏝

꒷꒦꒷꒦꒷꒷꒦꒷꒦꒷꒷꒦꒷꒦꒷꒦꒷꒷꒦꒷꒦꒷꒷꒦꒷꒦꒷꒦꒷꒷꒦꒷꒦꒷

• kaomojis :

⋆𑣈⋆ ૦ࡇ૦ (˃ᴗ˂)ദ(⌙.⌙ᶻᶻ ⌤ ᵕ⌔ᵕ ꢁ𖠗 ( _ _)zZ ^0^ (　-_･) ︻デ═一 ( 𖦹﹏𖦹 ) ´¬`) ~ Zz(_ _ ) ଘ(੭ˊ꒳ ˋ)੭‎ ( ˘ ᵕ˘(˘ᵕ ˘ ) 。゜゜(´Ｏ`) ゜゜。 (っ ̫-) ᜊ( ´ ˘ `) ੭♡ (˘ᗜ˘ ) .ﾟ(›⩊‹)ﾟ+.ﾟ ₍ᐢ..ᐢ₎

Color Saturation guide by AlaiGanuza

3rd reblog

Myths, Creatures, and Folklore

Want to create a religion for your fictional world? Here are some references and resources!

General:

General Folklore

Various Folktales

Heroes

Weather Folklore

Trees in Mythology

Animals in Mythology

Birds in Mythology

Flowers in Mythology

Fruit in Mythology

Plants in Mythology

Folktales from Around the World

Africa:

Egyptian Mythology

African Mythology

More African Mythology

Egyptian Gods and Goddesses

The Gods of Africa

Even More African Mythology

West African Mythology

All About African Mythology

African Mythical Creatures

Gods and Goddesses

The Americas:

Aztec Mythology

Haitian Mythology

Inca Mythology

Maya Mythology

Native American Mythology

More Inca Mythology

More Native American Mythology

South American Mythical Creatures

North American Mythical Creatures

Aztec Gods and Goddesses

Asia:

Chinese Mythology

Hindu Mythology

Japanese Mythology

Korean Mythology

More Japanese Mythology

Chinese and Japanese Mythical Creatures

Indian Mythical Creatures

Chinese Gods and Goddesses

Hindu Gods and Goddesses

Korean Gods and Goddesses

Europe:

Basque Mythology

Celtic Mythology

Etruscan Mythology

Greek Mythology

Latvian Mythology

Norse Mythology

Roman Mythology

Arthurian Legends

Bestiary

Celtic Gods and Goddesses

Gods and Goddesses of the Celtic Lands

Finnish Mythology

Celtic Mythical Creatures

Gods and Goddesses

Middle East:

Islamic Mythology

Judaic Mythology

Mesopotamian Mythology

Persian Mythology

Middle Eastern Mythical Creatures

Oceania:

Aboriginal Mythology

Polynesian Mythology

More Polynesian Mythology

Mythology of the Polynesian Islands

Melanesian Mythology

Massive Polynesian Mythology Post

Maori Mythical Creatures

Hawaiian Gods and Goddesses

Hawaiian Goddesses

Gods and Goddesses

Creating a Fantasy Religion:

Creating Part 1

Creating Part 2

Creating Part 3

Creating Part 4

Fantasy Religion Design Guide

Using Religion in Fantasy

Religion in Fantasy

Creating Fantasy Worlds

Beliefs in Fantasy

Some superstitions:

Read More

Color Theory Basics

Color Theory Basics for Beginners

A growing artist's understanding of color theory

Introduction

     I don’t know about you, but the understanding of color and more so learning how to apply it to art feels intimidating and perhaps even scary. I’m going to try and avoid overwhelming your brain with technical facts about color theory and focus more on applying it to your artwork, because if you’re anything like me…you’ve been avoiding this topic in fear that it’s too linear and technical for us creatives to grasp. Color theory shows us how colors mix and contrast with one another, so I believe it’s essential to have some idea of how to implement it in your work. 

  The Color Wheel

     The color wheel is based on red, blue, and yellow. Sir Isaac Newton developed the first circular diagram of colors in 1666. There are a lot of opinions regarding the color wheel and how to use it, but I’ll just give you the basics so you know what terms to use when discussing your art and some ideas on how to implement them into your work. 

Categories of the colors based on the color wheel: 

Primary colors: These colors are used as the base for the color wheel, Red, Blue, and Yellow. All other colors are derived from these three colors.

Secondary colors: Green, Orange, and Purple. These colors are formed by mixing the primary colors.

Tertiary colors: Yellow-Orange, Red-Orange, Red-Purple, Blue-Purple, Blue-Green, and Yellow-Green. These colors are formed by mixing a primary and a secondary color.

Properties of Color:

Value: Describes the lightness or darkness of the color. 

Hue: Refers to color in its pure state, it also determines a color's position on the color wheel.

Intensity: The brightness or dullness of a color based on its saturation. A color is most intense in its purest form, (or hue). Intensity becomes lower when a pure hue is mixed with a complementary or neutral color. 

Complementary Colors

     A complimentary color is a color that is the opposite of a color on a color wheel. If you choose any color on the wheel, you’ll be able to find its complement by just dragging your finger straight through the center until you reach a new color. The complimentary color for red is green, the complimentary color for blue is orange, and so on. 

Color Temperature:

     Color temperature can greatly impact the mood of a piece, it can be

used to create contrast between subjects or separate pieces. Warmer colors are usually deemed striking, energetic, or happy. Cooler-themed pieces are often considered peaceful, sad, or moody. 

    If you draw a line across a color wheel, half of it will be considered ‘cool’ and the other half will fall into the ‘warm’ category. 

Examples of cool colors are Purples, blues, and deep greens.

Examples of warm colors are Reds, Yellows, and Oranges.

     Warm and Cold are not limited to bright colors, greys can even have a warm or cool tone to them. 

                Shadows and highlights in art:

    A common way to use color theory is in how you apply it to shadows and highlights in your artwork. For example, it’s common that in an environment that has warm highlights (like a bright sun), then the shadows will actually reflect the complementary color of the highlight. If the sun is your highlight source, then your highlight color is probably yellow. The complementary color to yellow is purple and blue, so you can use this knowledge to find the color that best suits the mood of your scene. -show some examples-

     You can also swap this around if your highlight color is a cool icy light in the blueish-grey range, then sprinkling some deep yellows and oranges throughout the piece will help it pop. 

     You’ve reached the point in color theory where it’s up to opinion and preferences. If you want a really ‘cold’ and ‘dreary’ feeling, then only using cool colors might benefit you more than attempting to use a blue-complimentary color. Rules in art only exist so we know the fundamental structure of how they work, once you have that understanding, breaking the rules can be beneficial to your art. Don’t be afraid to get creative and try something new once you’ve figured out the basics. 

How Color changes based on the environment

    Colors will obviously look different depending on the setting of the subject. Human skin is a fascinating topic when it comes to this logic. For example, it is redder in areas where the skin is thin. It picks up the blood and veins underneath it, or the warm glow of the sun behind it depending on its transparency. 

     Color and light bounce off of different objects in different ways, so that’s where photo reference comes in. If you can find images of your subject in the environment you’re wanting to paint, you’ll have a better understanding of how color interacts with itself. If something is sitting outside in the grass, for example, it will have the warm yellow highlight of the sun. However, it may also have green gently bouncing up from the grass and onto your subject. It may also have blues from the sky reflecting off of the grass and onto your subject. Color is truly fascinating when you start observing it from an artist's perspective. 

    A lot of this isn’t directly linked to color theory, but rather lighting, ambient occlusion, and so on. I just thought it would be good to hint at it here as well. I plan to write more on the topic of lighting and ambient occlusion in the future so be on the lookout for that if this subject interests you. 

Using other Artists as a reference

     I always recommend beginners, and even non-beginners, to look at their favorite artists to better understand their process. Color is no different when it comes to that. Look at your favorite artists with the knowledge you’ve taken from this article and see how they’ve applied it to their works. Did they use primarily cool colors, with just a patch of warm colors to emphasize a point as they did here? Did they use saturation or desaturation to help draw the eye into where they want your attention? There are many different ways to use color to your benefit, and the more you expand your visual library by looking at other artists' work, the more you’ll be able to imagine unique color combinations and set-ups to benefit your work and growth as an artist. 

Summary

    Color is an extensive topic that could span across many many articles and fills multiple encyclopedias, however, the basics are pretty simple to grasp and I feel that unless the topic calls to you–are all you need to get started with color in your art. Your eye for color will develop over time as you look at the work of artists you admire and challenge yourself to try new things. 

New holiday

It’s in my calendar now

cristali getting arrested should be a fucking holiday

Mouth Breather

most weirdest headcanon i got is that some of Lippmann’s fans would post about him like this despite the fact he’s a grown man in the mafia

i feel bad about myself until i realize my sister has 36 minutes worth of youtube apology videos and im feeling all better because at least im not as bad as her where i go “i manipulated those people because im bisexual”

this isn’t me dissing bisexuals btw that was just her genuine excuse. she cheated on her bf and manipulated people… because she was bisexual… like girl please you’re making me the only hope in our family bloodline

lowkey cooking with my writing of the stormbringer au but when letting my friend read it they said they shipped Lippmann and Chuuya’s mama…

girl that’s a lavender marriage you can’t look at Lippmann and think he likes women. his name is LIPpMANn. he wants to TOUCH LIPS with MEN