Posted 2 weeks ago



Hey! There’s a lot of disjointed info out there about making puffy sleeves, and I thought it might be helpful to gather (ha) everything I’ve learned/found online in one place. Puff sleeves, more accurately known as “leg o’ mutton sleeves,” were popular between 1890 and 1906, and they’re a pretty common feature in fancy/ball gown costumes. 

Under the readmore: how to draft & sew puff sleeves and tips and tricks for maximum puff! Featuring really shitty pencil-on-Post-It diagrams by me!

Many thanks to all the people whose brains I’ve picked about this, as well as all the Internet resources I’ve trawled to make this possible.

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Posted 1 month ago
His butler, the bastard // Book of Circus // Vimoravec Edit.
Posted 1 month ago
Posted 1 month ago


conquer yourself

Posted 1 month ago
Posted 1 month ago
What sort of stitching do you usually use to finish inside seams? Mine always end up ugly and frayed.
Anonymous asked



You have a number of options depending on what’s available to you, how much work you feel like doing, and what the costume calls for!

We use whatever is most useful for the project… usually clean lining these days, but serging is the easiest to fall back on for unlined projects :) 

This post is a treasure for the cosplaying masses.

Posted 1 month ago


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.

(Source: alltheawesomecosplay)

Posted 1 month ago




bisexual candycorn: thoughts on skintones



people ask me a lot about drawing poc, more specifically “how” to do it. my kneejerk reaction is to get frustrated by it, because the answer is “just like you’d draw anything else.” it’s like the main excuse artists and writers use to not include poc in their art and in their worlds — they “don’t know how,” implying that we somehow operate by a separate set of rules, that while white characters don’t require a special set of considerations to be varied and textured and interesting, non-white characters are just an elusive series of step-by-step instructions that most creators just can’t be assed to learn or to include

i still feel that way


i guess i can understand that most instructive media focuses specifically on white aesthetics, proportions, skintones, and features, so there really is a need for more instructive material that is more inclusive

i can dig it

that said, there is a lot that i don’t know and am not good at and i don’t really feel comfortable trying to instruct other artists, but i’m fine with taking you through my thought processes a little

SO here’s some stuff about skintones. it’s not perfect, and there will never be a better teacher than the world around you for showing you what things look like and how to express them

first off, if you’ve ever seen me stream you know i don’t usually block in my shading with hard lines like this. i like to paint and sample colors as i go, but i’m trying to communicate my ideas about color a little better

but i’ve always used the same basic process for coloring skintones, any skintones, forever and always:



this is going to change up a little bit with directional lighting, colored lighting, environmental lighting, shit like that, but this is your basic procedure. the biggest mistake i think artists make is using skintone+black for shadows and skintone + white for highlights, and that results in pretty dull looking skintones


in the former image, i only varied the value of the main skin color, but in the latter i also varied the hue and saturation. doing so gives you more of an opportunity to add warmth and depth to your colors, as well as bring in environmental colors if you need to

you want to sample around the palette, use reds and purples and oranges, don’t just stay within the range of your base tone!

this applies for all colors, not just skin, but especially skin! you want skin to look alive, not plastic and dull

these same rules apply for most skintones


though it’s always going to be incredibly helpful to just look at references of the skintone you’re trying to draw, for little details like (for example), very dark skin, because there is a more extreme light/dark variation, will often look much more reflective than very light skin under the same lighting conditions

like so


because of this, you’ll want to work on using light more than shadow to describe form on dark skin


again, this is true of all colors, but especially skin, because you don’t want skin to look flat and lifeless!

the same rules can apply to fantasy skin tones. start with a base tone, then use warm, saturated colors to add light and shadow. sampling around the palette becomes really important for fantasy skintones if you are trying to make them look realistic/believable


this is especially true if, for whatever reason, you wanted to make a character with grey skin that looks alive and believable




Another helpful note is that darker skin tends to be shinier, which is especially easy to see on the super-dark people in the pics above. My rule of thumb is to use larger swaths of highlights on light skin, and more focused, smaller ones on darker skin.

(Though this is no more a hard-and-fast rule than anything else in art, but it’s a decent shortcut.)

Sharing another drawing tutorial for any interested. :)

Posted 1 month ago


My cosplay wing tutorial is now complete!  I tried to cover as much of my process as possible for making feathered wings. I hope you find this helpful :)

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Posted 2 months ago


A lot of people have asked how I got the cross pattern on the skirt and sleeves so uniform.  It was actually very simple: I made a rubber stamp! 

I made a paper template the shape and size of the design I wanted, then traced it onto a hard rubber eraser. I then carefully cut away from around the design with a box cutter, removing half the thickness of the eraser (not all the way through). And voila!

To use the eraser, I found it more effective to paint a thin layer of fabric paint onto the eraser with a brush than to dip it into a tray of paint like you would with an ink stamp.  Painting it on with a brush ensured it wasn’t on too thick and minimized bleed when I transferred it to the fabric.  A few of them at the start didn’t have enough paint, but that’s easy to touch up with a brush afterwards.

Every so often I had to stop and use the box cutter to cut away some of the paint that had built up and dried on the edges/corners of the stamp to make sure that the design remained the same.  But otherwise, that’s it!  This stamp sped up the processes enormously—it only took me about 3 hours to paint the entire skirt and both sleeves, and that includes the time spent making the stamp.  Hope this trick saves some of you some time as well!

(Source: shnou)