#i draw rouge i render rouge | Explore Tumblr Posts and Blogs

adarkrainbow · 16 days

Text

Edmund Dulac's Fairy Tales go to War

Jstor Daily published an article with the catchy title "Edmund Dulac's Fairy Tales go to War". Of course I had to read it. The original article is here if you want to check it out, but I'll still copy-paste it below because it's crazy info. (And given it is quite long I will put two thirds of it under a cut)

Edmund Dulac’s Fairy Tales Go to War One of the best-known illustrators of the “golden age of children’s gift books,” Dulac was also a subtle purveyor of Allied propaganda during the Great War.

By: S. N. Johnson-Roehr and Jonathan Aprea ; December 16, 2022

Once upon a time, there was a young artist named Edmund Dulac, who built his early reputation on his illustrations for J. M. Dent & Company’s 1905 edition of Jane Eyre. Almost instantly, he became a leading name in the book arts, producing illustrations for the Brontë sisters and popular magazines. Annual exhibitions of his drawings and paintings at the Leicester Galleries, London, drew the attention of both the European and American art world. In 1910, critic Evelyn Marie Stuart, writing for Chicago’s The Fine Arts Journal, described his work as “rich with poetry and imagination, and strong in the possession of that decorative element which renders a picture universally pleasing.” His drawings were like "things seen in a vision or a mirage; or traced by the fancy of a child in the lichens on the wall, the water discolorations upon a ceiling, or the light shining through a broken crumpled shade; or, even like the things we try to decipher in the leaping flames and glowing embers of an open fire—many of these delightful sketches suggest to our fancy in some detail a variety of objects."

Dulac’s themes tended toward the fantastical—scenes from the Arabian Nights and Omar Khayyam’s Rubáiyát—with roots in the Pre-Raphaelites and not far removed from the work of Arthur Rackham and Kay Nielsen.

Born in France and naturalized as a British citizen in 1912, Dulac understandably awarded his loyalties to the Allies during the Great War. To support the war effort, he contributed his art and design skills to several charity books, including Princess Mary’s Gift Book and King Albert’s Gift Book, both published in 1914. If there remained any doubts as to his feelings about the Axis powers, they were surely erased when he published Edmund Dulac’s Picture-Book for the French Red Cross in 1915, with its cover proclaiming “All profits on sale given to the Croix Rouge Française, Comité de Londres.”

Even more convincing—and more inventive—was his use of fairy tales to not just further his charitable efforts but to possibly encourage the United States to join the war. Published in 1916, Edmund Dulac’s Fairy-Book was a subtle but persuasive example of wartime propaganda. Subtitled “Fairy Tales of the Allied Nations,” it included Dulac’s own adaptations of folk tales gathered from the nations fighting with Great Britain: France, Russia, Italy, Belgium, Serbia, Japan, and China.

Below, courtesy of the Minneapolis College of Art and Design, are reproductions of some of the illustrations from Edmund Dulac’s Fairy-Book, accompanied by brief explanation of each story.

Snegorotchka: A Russian Fairy Tale

Snegorotchka (more commonly transliterated Snegurochka), the “The Snow Maiden,” is a recurring character in Russian folklore, playing various roles, from child to adult, in stories bounded by the winter and spring seasons. By the late nineteenth century, Snegurochka had blended fully with the traditions of Christmas, often serving as a helper to Grandfather Frost (Ded Moroz).

In Dulac’s version of a common tale, Snegurochka is a girl made from snow, brought to life to add joy to the waning years of a childless couple. An elderly man and women all but will the girl into being as they shape a tiny body of snow in the woods. Snegurochka leaps to life, filling their home and souls with warmth throughout the winter. Tragically, the little girl disappears with the heat of spring weather, leaving the parents bereft.

Another version of the Snegurochka tale formed the basis of a play by Alexander Ostrovsky, which was subsequently adapted into an opera by Rimsky-Korsakov.

The Buried Moon: An English Fairy Tale

Sometimes known as The Dead Moon, The Buried Moon highlights the dangers of living in the bog country of Northern Europe.

Traveling through a bog, a personified Moon becomes entangled in magical, malevolent branches. After some struggle with “all the vile things” that love darkness (witch-things, bogle-bodies, creeping things, and the Scorpion King, to name a few), the Moon finds herself buried deep in the mud, held down with a black stone.

Of course the humans miss the Moon, lamenting her failure to appear in the sky on schedule, but who even knows where to search for her? Even the Wise Woman of the Mill can’t see any trace of her. Fortunately, just before her entombment, the Moon had managed to briefly shine her light to guide a lost and wandering human out of the treacherous marsh. Remembering this moment, the man spreads the word. Emboldened by the Wise Woman’s words of encouragement as well as the Lord’s Prayer, the local people march to the bog, fight off the Horrors of the Darkness, and rescue their beloved Moon

White Caroline and Black Caroline: A Flemish Fairy Tale

Folklorist Antoon Jozef Witteryck collected White Caroline and Black Caroline (Wit Karlientje en Zwart Karlientje) and included it in his 1899 Old Flemish Folktales (Oude Westvlaamsche volksvertelsels), an annotated version of which was republished by Hervé Stalpaert in 1946. The story can also be found in the Annales de la Société d’Emulation pour l’Étude de l’Histoire & des Antiquities de la Flandre (Bruges, 1889).

White Caroline and Black Caroline depends on the familiar figure of the evil stepmother, a woman who loves her ugly daughter (Black Caroline) more than her beautiful stepdaughter (White Caroline). Everyone and everything, from townspeople to lambs to dancing dogs, love White Caroline and equate her beauty with good. But the mother prefers her own daughter, noting “Black Caroline was so ugly;—but she was good all the same!”

And indeed, Black Caroline is good. Her mother tries no fewer than three times to murder White Caroline, and each time, Black Caroline intercedes. Poison thorns in the pillow, poison in her meatball dinner, an “accidentally” falling millstone—none manage to kill White Caroline, thanks to Black Caroline’s quick thinking.

The abrupt entrance of White Woman, queen of all the water and the woods, brings the murder attempts to a close. Not surprisingly, White Woman also loves White Caroline and promises to give her whatever she wishes—beautiful grapes, a dress of silk, a nice sailboat. Luckily, White Caroline is also good: she wishes to have Black Caroline with her. More than that, she wishes they could look alike. The White Woman has an idea:

“Little white feathers appeared on their shoulders and spread until they were entirely covered; and there they stood together, two beautiful white swans! And ever after they swam up and down on the peaceful water and no one could tell one from the other.”

The Seven Conquerors of the Queen of the Mississippi: A Belgian Fairy Tale

While there may be an actual fairy tale underpinning The Seven Conquerors of the Queen of the Mississippi, the story’s title reveals Dulac’s probable agenda. It takes no large leap of the imagination to read the “seven conquerors” as Great Britain, France, Russia, Italy, Serbia, Japan, and China, all seeking an alliance with the Queen of the Mississippi—the United States—on the fields of Belgium.

The story is straightforward and structurally repetitive—each conqueror swears an oath of loyalty, and their individual strengths combine to win the Queen and kill the King (hello, Kaiser Wilhelm II).

Dulac, or some unnamed collaborator, has penned a verse that cuts through the first half of the tale with a modern rhythm and vocabulary.

“Will you travel with me, my pippy?” “Oh! Whither away? To Botany Bay?” “But no; to the far Mississippi, Where a Queen—tooral-ooral-i-ay— Is waiting for what I’m to say.” “I am yours! And the bounty?” “Either here or in Botany Bay!”

‘Will you travel with me, my pippy?” “Oh! Whither away? To Rome or Pompeii?” “But no; to the far Mississippi: There’s a Queen of great beauty that way, And there’s no one but Cupid to pay.” “I am yours! And the bounty?” “Name your price: it shall be as you say.” And so on. Travel with me, my pippy!

The Serpent Prince: An Italian Fairy Tale

The Italian poet Giambattista Basile collected The Serpent Prince (sometimes translated as The Enchanted Snake) in the seventeenth century, including it in The Pentamerone: Lo cunto de li cunti (The Tale of Tales). Folklorist Andrew Lang drew upon Basile’s version for The Green Fairy Book (1892).

Dulac has created his own prefatory material for the familiar story, opening with the popular nursery rhyme:

The old woman who lived in a shoe, Who had so many children she didn’t know what to do,

allegedly “lived about the same time in another part of the country” even though The Serpent Prince was collected in Naples.

As the story goes, a forester’s wife, Sapatella, finds a tiny serpent in her firewood. Childless, Sapatella is startled but amenable when the serpent offers himself up for adoption (“she was a kind-hearted woman and very, very lonely”).

The serpent grows—as children do—and soon demands a wife. And not just any wife! The serpent must marry the king’s daughter. Surprisingly, the king agrees to meet this demand. Or does he? He will give his daughter in marriage only if the adopted son-serpent can turn all the fruit in the royal orchards to gold.

It’s not clear why anyone is surprised that a talking serpent can wield the magic necessary to turn fruit into gold. Nor is it clear why the king would think the serpent would fail at any additional challenge placed before him. Turn the walls into diamonds and rubies? No problem. Turn the entire palace into gold? Absolutely (“not gold plate either: it was all solid gold of the purest kind.”). The king is forced to cede the battlefield. The princess will marry the serpent.

Of course, the serpent is really an enchanted prince, and here you would think the story would end: the affianced are wed, their kingdoms allied. But thanks to an additional foolish act by the king, the prince is again enchanted (and worse), and only the princess can save him. But will she be able to outwit the wily fox standing between her and her beloved?

The Hind of The Wood: A French Fairy Tale

Dulac offers a faithful retelling of The Hind in the Wood (La Biche au bois, also translated as The White Doe or The Enchanted Hind), written by Marie-Catherine Le Jumel de Barneville, Countess d’Aulnoy. A talented and creative storyteller, Countess d’Aulnoy gave us the very words “fairy tale” in 1697, when she published her first collection under the title Les Contes des fees (Tales of the Fairies).

Though the titular hind is the star of the story, the scene opens with an unhappy, childless queen encountering a talking crayfish. Though “hearing a big Crayfish talk—and talk so nicely too—was a great surprise to her,” the queen listens carefully to the crustacean.

The reward for her attentiveness is a kingdom transformed. Beneath her feet appears “a carpet of violets, and, in the giant cedars above, thousands of little birds, each one a different colour, [singing] their songs; and the meaning of their melody was this: that cradle, woven by fairy fingers, was not there for nothing.” Soon she will be a mother!

A troupe of fairies gather around the suddenly expecting queen and ask that she welcome them on the day of birthing so they can give special gifts to the babe, who will be named Désirée. And on that special day, the queen indeed remembers to bid them come to the palace. Sadly, she neglects to invite the talking crayfish (who is really the Fairy of the Fountain) to the celebration.

Curses. But only small ones, in the scheme of things. The Fairy of the Fountain warns the royal parents to keep Princess Désirée from seeing daylight until she turns fifteen. That’s all.

Alas, the Warrior Prince lies on his death bed. Just a portrait of Désirée is enough to make him fall in love and abandon his plans to marry Black Princess. Yet he cannot see her—she will not be fifteen for a few more months. To save the Warrior Prince, Désirée agrees to travel with her two ladies-in-waiting by darkened carriage to his kingdom.

Unfortunately, one of those ladies-in-waiting, Long-Epine, is a traitor. She slits the cover of the carriage, exposing Désirée to daylight. Just a drop of sunlight turns the princess into a dazzling white hind. She instantly runs off into the forest. And that is the curse: by day, a doe; by night, a lonely princess.

The Warrior Prince wanders this very forest and soon spots the white deer. Annoyed that the animal tries to keeps its distance from him, he looses an arrow and pierces her flank. He’s sorry! Especially when he finds out the hind is his beloved, enchanted.

She isn’t enchanted for much longer, however. The Prince, even knowing all, loves her. And that is enough to break the spell

Ivan and the Chestnut Horse: A Russian Fairy Tale

Variations of Ivan and the Chestnut Horse are abundant in Russian folklore. Sometimes Ivan rides a chestnut horse, sometimes a dun. A common version of the story, known as Sivko-Burko, was collected by A. N. Afanas’ev in the mid-nineteenth century. Included in Jack V. Haney’s comprehensive The Complete Folktales of A. N. Afanas’ev (Tale #179, Vol. II), this version gives Ivan a magic black steed.

Ivan and his brothers have just committed themselves holding daily prayers over the grave of their recently departed father when they hear that Princess Helena the Fair has decided to wed. To win her favor, her suitor must leap on horseback to the top of the shrine on which she sits, kissing her as he flies through the air.

Ivan, the youngest of the siblings, offers to take on the burden of graveside prayer for a week so his brothers can curl their hair and train their horses for the challenge. One week stretches to two, and then to three. The brothers ignore their filial duties to dye their mustaches. So much attention is paid to their appearance that they even neglect to feed their horses.

And yet, when the day of the leaping contest arrives, the older brothers dash away on their mounts, leaving Ivan alone to pray and weep over his father’s grave.

It was thus that two out of three brothers miss their father’s resurrection. Shaking himself free of the damp earth, the father offers to help his youngest son. He begins to call out in a loud voice—one time, two times, three times. Ivan discovers his father is summoning a beautiful chestnut horse!

Yes, this is the enchanted steed that will take Ivan to the shrine of Helena the Fair, where—after two failed attempts—it rises to the leap, allowing Ivan to press his lips to those of the princess “in a long sweet kiss, for the chestnut horse seemed to linger in the air at the top of its leap while that kiss endured.”

After summoning the steed, Ivan’s father immediately vanishes. No matter, because Ivan is soon welcomed to supper with the father of his bride, Princess Helena the Fair.

The Blue Bird: A French Fairy Tale

The Blue Bird (l’Oiseau Bleu) is another tale that comes to us by Countess d’Aulnoy. Though there are many variants of the story found across Europe, scholar Jacques Barchilon notes that d’Aulnoy’s version is remarkably robust, appearing in a French Canadian collection, “word for word the version of Mme d’Aulnoy’s with all details,” as late as 1960. Andrew Lang also included it in The Green Fairy Tale Book.

Our story opens with a rich but miserable king. He’s inconsolable, having only recently become a widower. Hoping to comfort him, his courtiers present him with a woman dressed in mourning clothes and possibly crying even louder and longer than the king himself.

Finding solace in their similar sorrows, they decide to wed. Each brings into the marriage a daughter from their first marriage. The king’s daughter: “one of the eight wonders of the world,” the young and lovely Florine. The new queen’s daughter: “neither beautiful nor gracious,” the young Truitonne, with a face like a trout and hair “so full of grease that it was impossible to touch it.”

The queen loves Truitonne much more than she loves Florine, which wouldn’t matter if the king didn’t love the queen so much that he cedes to her every wish. For instance, he allows her to dress Truitonne in jewels and Florine in rags when Prince Charming appears at court. Despite the heavy-handed costuming, however, Prince Charming only has eyes—and love—for Florine.

The queen schemes. The queen plots. She enlists maid, frogs (“for mind you, frogs know all the routes of the universe”), and fairy godmothers. And yet the Prince will not be deflected from his plans to be with Florine. Finally, exasperated with his stubbornness, Truitonne’s fairy godmother turns the prince into a blue bird—for seven years!

It’s not too bad, at first. In bird form, the prince finds it easier to woo Florine—until the queen discovers that he flies to her window every night. Wielding her dark magic, Truitonne’s fairy godmother sends the blue bird to his nest to die.

Fortunately, every bad fairy seems to be balanced by a good fairy. This bright character finds the dying blue bird in his nest and heals him. It doesn’t seem to help much—the queen is determined that Truitonne will marry the prince even if only by trickery and deception.

The queen’s shenanigans never seem to end—this is a long fairy tale—but eventually the universe, or at the least the good fairy, finds a way to bring Prince Charming and Florine together.

The Friar and the Boy: An English Fairy Tale

The Friar and the Boy, also known as Jack and his Stepdame, reaches back to the poetry of medieval England. In volume three of Remains of the Early Popular Poetry of England (1866), William Carew Hazlitt records a c. 1585 London imprint of the chapbook verse that underpins the modern version of this tale.

The story begins with Jack, a young lad wronged by his stepmother. She starves him, she yells at him, she altogether doesn’t care for him.

One day, sent to the fields to watch the sheep, Jack encounters a hungry old man. Jack’s lunch isn’t much, as his stepmother is loathe to feed him decent food, but he gives it to the stranger. In return, the old man gives Jack three wishes.

Wish one: a bow and arrow, charmed such that the target will never be missed. Wish two: a pipe, its magic strong enough to make anyone dance who hears its tune. Wish three: an enchantment that will turn his stepmother’s harsh words into laughter.

Jack instantly puts his granted wishes to work. When his stepmother begins to scold him, her words turn to laughter. She laughs herself sick. When the Friar is sent to chastise Jack for his impudence, he ends up dancing through the brambles to Jack’s piping. Soon Jack has the entire village dancing to his tunes!

Alas, his poor old father begs for a rest. Jack loves his father, so he ceases to play. Not surprisingly, the Friar takes advantage of the pause to have Jack called before the Judge, “be-wigged and severe.”

The Friar makes his case: “the prisoner here has a pipe, and, when he plays upon it, all who hear must dance themselves to death, whether they like it or not.”

Intrigued, the Judge asks to hear this so-called Dance of Death. Jack is happy to oblige and takes up his pipe to play. Soon everyone in court is on their feet, dancing madly to the tunes. Even the judge joins in, “holding up his robes and footing it merrily.” He’s a believer, but he soon asks the boy to stop.

Jack agrees, but only if everyone promises to treat him properly.

“I think,” says the Judge, “if you will put your pipe away, they will consent to an amicable arrangement.”

Court is adjourned.

The End.

#edmund dulac #fairytale illustrations #fairytale art #french fairytales #british fairytales #english fairytales #edmund dulac's fairy book #world war I #wwI #fairytales and war #fairytale propaganda #russian fairytales #belgian fairytales #flemish fairytales #edmund dulac's fairy-book #italian fairytales #political fairytales

9 notes · View notes

wonderinc-sonic · 5 days

Text

Quick Rouge while my coffee boils on the hob.

If you ever want a drawing from me, make a donation of any size to Palestinian aid causes. Details here.

She is still one of my weakest characters I regularly draw. I thought Omega would be hardesr when propaganda Team Dark Week, but actually Rouge is my weak link. I have improved but still, side my side - I drew Silver better in her clothes than her!

Sure he's more rendered but like, sorry girl I suck at letting you serve!

#wonderincs #drawincs #rouge the bat #scribbles

8 notes · View notes

ghostlysodo · 1 year

Text

little sketch for my nobleflower Moulin Rouge AU

i don’t get how people in this fandom fully render every single drawing they make and make it absolutely fabulous every time

#fanart #noble flower moulin rouge au #nobleflower #narcissa x alice #rosekiller #barty crouch junior #narcissa black #alice fortescue #peter pettigrew #andromeda black #lucius malfoy #marauders #fanfic #marauders era

26 notes · View notes

kinopioa · 7 months

Text

900th Adventure notes (not much about Ian and Evan!)

-Nigel Kitching, from Sonic the Comic, interestingly returns. His writing is more dramatic at first, but it was all a ploy to distract Metal and ease off the effects of the Topaz

His mannerisms are a little snappier, which given StC makes sense, same for brief descriptions cuz he British. Sadly Knuckles didn't do anything, but I like Sonic's characterization. He's cheeky, but not obnoxiously dissing like Flynn's, and his ploy exposes a good context intelligence unlike most of IDW

The art's weird. Apparently both Fonseca and Rik Mack worked on it, and while I see Fonseca's influence, it deviates from his still at bits. Not bad, though Knux's anger seemsmore exaggerated than what the writer intended

-Daniel Barnes has Sonic a bit more mouthy to Eggman/bots specifically. I like the idea that Eggman's testing out mechas in remote locations. If they fail, he won't be penalized. His mecha also is actually new, about time! Oddly, the city seems to be based on OVA...

Sonic noticeably isn't too bothered by the bots, and his priority of the Topaz over Eggman is seen. Only fault I can think of is fans misreading this as him not taking Eggman seriously out of context (note this further shows that Sonic can deal with Eggman not existing unlike Boom)

Art by Min Ho Kim (Dee Gee Min) once again is very detailed both drawing and rendering. .

-Aaron Hammerstrom. So the first thing I noticed, Cream!

She's been weirdly absent before this for Blaze use, you know, Blaze's first friend. That said, don't like the >told me I shouldn't help cuz dangerous. Feels counter to both games and that Annual, but this is IDW so bleh

Despite Rush refs, noticed Zero Gravity here. Also the first Aaron draw Sonic from the front

Also not a fond of the "Blaze be solo" retread. Brief, but still bleh

Shame, I love Aaron's art, especially with Foundraine coloring. Sonic's characterization is also better than Ian's, so double shame Cream got the short end of things initially, and Blaze too

Caleb

first, yikes. No offense to Abby Bulmer, but her art...isn't too good for chars and color. First I've seen their name though, for a 900th adventure issue special that's...odd. Wonder if this was done last minute...

That said, BG and perspectives are nice, and action/flow is good

As for writing, I like how Caleb references this even art BG wise (issue 15)

The scuffle with the Rogues is more comedic (also hey, Storm actually has a say here unlike Summer special), though I like this note

Of Rouge actually wanting to save the world, with treasure being secondary. Too often fans and Ian flanderize the treasure love

Shadow also is mostly decent, though I hated this. This is obnoxiously egotistic

In tune with Rivals though otherwise; He doesn't hate Sonic, but will not be afraid to beat him for the greater good

He also accepts Sonic making an option 3 (very much Sonic to say fuck da limits), and beats the Rogues from attempting to chase after they insult him. A little juvenile at bits, but "muh mandates" are further proven to be horseshit

So the end is Ian, and I won't talk much cuz it's basically Sonic putting the Topaz in its original spot, but this

Kinda cute in a "muh senpai" kind of way. Now if only I can forget how much Starline quickly soured

So overall, interesting filler, worst of Flynn didn't bog it down. Now here's the actual problem

It's filler

For a hyped 900th Adventure special, the fact it boiled down to "Sonic met friends and scuffled very briefly while running to an end" is...kinda nothing. There are other issues

-Eggman is here! So is this after or before IDW 57-60 arc?

-Richard Elton for cover made me think he was gonna do inner art too. Sadly no

-Same for Yardley

-IDW Sonic's continued tradition of lack of page numbers

-Knux again did nothing

-Rip Amy

Though a pro

-Credits are actually specified

-No OCs!

-ABT despite ehhh art for once isn't having chars weirdly talk when they shouldn't (the the yeah last page being closed mouth is hmm...). Actions are easier to read too!

It's overall ok as an anniversary filler story, but sadly is hyped to be much more

#idw sonic

14 notes · View notes

michsartgallery · 5 months

Text

Dream Team Knuckles render

I tried to draw Rouge, but she wasn't coming out so good. So I only did Knuckles

#knuckles fanart #knuckles the echidna #sonic games #traditional art #3d render

4 notes · View notes

artsy-hobbitses · 1 year

Note

Did this years ago but thought you might enjoy it.

Also what recommendations do you have for someone used to paper but wanted to try digital?

Oh they look great in your style! I love that Rouge has full-on batty wings, I did cheat making mine a pair of separate limbs :’3

There’s going to be a period of getting used to how smooth a tablet pad or screen is compared to paper, but there are covers you can get for both which mimic the feel/roughness of paper when you draw on it.

Using a stylus is ideal, but I come from an era where using the mouse is more common and it CAN be done, it’s just more tedious as you have to manipulate the curve of each line separately.

Get used to the idea of layers. I didn’t even know they were a thing until about two years into using Photoshop and a friend of my asked in mounting horror if I had been working on fully-rendered art on a single layer before this (I had).

Honestly digital art has saved me so much time and materials though! Haven’t really drawn traditionally for years now, and I don’t really miss it either.

#inbox

14 notes · View notes

mayordoi · 5 months

Text

huzzah! 2023 art review!

it’s almost the end of the year, wowzers! i always do one of these art review thingies since i always like looking back at the art ive made :> last year i posted the review on my other account and left it at there, but this year i want to actually review each month and notable pieces i made… just for fun!

this post is very much just for me lol, but i hope someone out there enjoys it. month-by-month review + previous year in reviews will be under the cut! 🩷

(also, shoutout to tumblr for going rouge and posting this way way earlier than i had scheduled 😍 luckily tumblr post editor is weirdly based and kept all my embedded links when i pasted it from the old one? hell yeah)

Jan: started off the year with a painting of my beloved ocs after ending last year with one! (and i will be talking about my older year in reviews, rest assured). this was my obligatory cute shared scarf art, and i wanted to try attempting to render something more involved like two characters and draping cloth. i don't think the result was too shabby, though this was before i discovered my favorite rendering brush for procreate, so in hindsight, it looks kinda flat and boring now. where's all the crunch? ah but anyway, starting a whole year with your art in a mid place compared to what you made later on is par for the course.

Feb: probably the month where i had the least art to put here, i remember scraping a little to find one. this was a chrobin piece i made in my sketchbook! nothing too noteworthy... i think i tried doing a slightly different approach to coloring with markers (applying the color before the lineart) and incorporating paint, but i remember this one giving me trouble. first of all, the size i drew this in was really small (it was in a small sketchbook and i decided to mask the margins with comparatively wide masking tape), and second of all the paper was absolutely NOT built for gouache, so it ended up a kind of wrinkly and muddy mess. i mean i'm still not the best with gouache now but still, not my best.

March: a redraw of a robin piece i made back when i was still on amino. i probably won't share the old versions because they're crap, so just trust me on the redraw part. anyway, the last iteration of the concept was in 2019 i think? and while i was proud of it for a while, its luster finally faded and i decided to try doing it again in procreate. this was when i discovered my love for the soft chalk brush in the jingsketch basics brush pack. for a while i've been using the hard render brush in that pack to render, but this one's texture and chalkiness totally changed the game. i was in love!! also tried to be a little more crazy and vibrant with how i applied the base colors, using saturated colors across the board. this process didn't consistently stick, but i think it yielded some neat results here. another hit from this month was my piece of grandmaster robin, since i'm really proud of the detail here!.

Apr: guys, april was MY MONTH! i remember making so much art in just a few weeks, something just clicked in my brain i guess. i chose my drawings of hagane rin and len since this was when i truly began to get comfy in my lineart era (after the grandmaster drawing). this month was full of detailed line drawings at that, but this one was what made me both enjoy the process a lot and do more of it. hell yeah. other hits: vocaloids at mcdonald's (i drew a background omg!!!), alice in ny fanart (just the euphoria of finally nailing a composition for this piece after struggling with it in november was great), and the end-world normopathy fanart (it's a line drawing, and a traditional one at that. i was happy with incorporating gold accents into my typically monochromatic style when it comes to my line-focused drawings as well as getting tamari's mechanical details nailed).

May: hell yeah. evil power couple time. this one was another line-art heavy one since i thought it fit the vibe. the softer colors in the background i feel like could have been executed a little better, but i do like how this came out, especially the armor (good god fe armor is a pain to render, but i think i've gotten better at it this year! middle school me would be so jealous). not much else to say here. Other hit this month would be my alice of human sacrifice fanart, another line-heavy traditional drawing. i think it turned out nice, especially for a crammed composition lol.

Jun: another end-world normopathy-centered fanart. i mentioned it in my og post but i was trying out a slightly different painting style where i did a black-and-white base first and then added colors as an overlay (also in the initial upload of the post i was so fucking meek about posting fanart of mariyam's alternate design teased at the end of the mv?? 😭 sorry about that, i've edited it out but it's still in early reblogs. kind of cringe on my part). i didn't end up committing to this consistently cuz the beginning process was kind of tedious (plus i'm too inept to pay close attention to values anyway), but laying down all the colors after the long rendering process was rewarding! it's a nice alternative with i get bored with my other method to yield basically the same-looking result lol. this month featured some more pieces that tried using this process, like the one with my oc alice, lucina and dark pit hanging out, and f!robin's resplendent design from feh.

Jul: ah yes my typical flavor of "improvised oc art that i invent new symbolism for on the fly that i apply meaning to after i'm finished". kinda just wanted to paint something again because i've been doing a lot of line drawings lately and to go back to my old painting process again. honestly, i mainly picked this one because i wanted more oc art and non-lineart drawings to be in this chart lol. art i made this month that i'm real proud of is this family pic of some young cryptonloids (i really like how the colors came out on this one!) and my birthday drawing for miku's sweet 16, which was originally completed this month. i opted out of considering it for my july art to avoid confusion. also also, this very whack pathological facade fanart (plus some doodles i didn't post) opened my eyes to the beautiful world of NOISE and HALFTONES and just slapping crazy textures onto my art like nobody's business. hell yeah.

Aug: ok this one is kind of another piece i picked to represent this month that isn't quite my favorite but i chose anyway for the sake of variety (in this case, i wanted more traditional pieces and non-vocaloid stuff). for once, i used my bigger sketchbook to make a big n detailed piece for my boy's new brave alt in feh (that game has zero significance to me outside of cool alt costumes for my faves). my actual fave from this month was young miku/meiko/kaito chillin in their house; i'm real proud of the background and lighting! but i still like this robin too ofc, big fan of how the colors came out ;3

Sep: another traditional drawing! felt compelled to draw kandy again, specifically her evil miitopia great sage incarnation :> this one was pretty standard in terms of process, and not much was really done to experiment. just wanted to draw something cool of my girl for my sketchbook. other fave from this month is this sketchy miku i did, i like how loose it came out and how the colors pop.

Oct: pretty palutena!~ i think i went into this trying to do something a little different with my painting process (i think it was to try incorporating more colors in the shading like the blue in the dress or more saturated colors near the focal point, but i can't remember LOL) or try rendering a more detailed character w/ a background (even if the background was pretty vague). i like this one! especially the color cohesion, it's pretty swag imo. other faves from this month was fanart i made for the song "orbit" since i also like how the color cohesion came out for this one, and the maid dress/crossover drawing i made for cringetober. no other words needed to explain why.

Nov: another digital painting! it's yet another ghost song, this time "uncanny". i really loved the aesthetic of this song, especially its bold colors and simplistic shapes, so i wanted to try capturing it in my style. i really love how the colors turned out on this, though i've yet to truly recreate what i like about this particular painting again? regardless, it's one of my faves, deserving of one of my favorite ghost songs. few other highlights from this month would be my obligatory purple robin drawing for the month, my sketchbook drawing of my luka design, and my fanart of utsu-p's song "ga". i like how i was able to do a couple of my different "styles"/processes this month rather than just sticking to just one. they all have their own feel to them that i like to play around with depending on the idea.

Dec: and finally, we're at the end. like july, we have another heavily improvised oc drawing with symbolism i came up with on the spot. that's just how i do things. anyway, this turned out really good in my opinion! i tried to stick to a color palette i saved in procreate a long time ago, and damn is it a fine palette. it helped me get a little loose with the colors and solely focus on creating a strong composition with colors and contrast rather than get hung up on sticking to typical color palettes. i also really like how i did the background by essentially using the liquify tool to swish all the colors around and then polished it a little on top. made for a really cool effect. other notable work would be the companion piece i made with my other oc that had a similar style since i liked the process of this one. there will probably be more as of when i'm drafting this (at the beginning of december) but i just wanna be finished w this post already bro

all around, very satisfied with this year. there was kind of a lot of song fanarts (something that i am somewhat guilty about because it feels like i'm unoriginal or something, but i swear it's cuz i'm really passionate about vocaloid music and need to act on what my braincells do when i listen to certain tracks), but overall i'm happy i was able to maintain some slight variety in the art i made this year through my chosen mediums and "styles" or processes i use.

this was the first year where i really wanted to have a fully rendered piece i'm proud of to represent every month. now, i wouldn't recommend this since forcing yourself to make art is not a good mindset to be in (sometimes, with how early i pushed some pieces out in certain months to get the monthly quota over with makes it seem like i'm getting paid to have a pretty year-in-review LOL). i was pretty lucky to not really have much burnout i guess?

~~~

ok now that all that boring stuff is out of the way, here’s my previous years! this is the sixth year i have made an art review chart.

lightning round review time! (probably just gonna be more boring stuff)

2018: ok, so this was the year where my prime art hosting platform was… amino… specifically smash amino. as much as i could rant about how much i hate that place now, i cant deny that it got me creating a lot of stuff. also it was an actual date archive for my traditional art because i never got in the habit of dating my physical art 🙃 uh don’t mind the absolute horrid graphic design on this one. i grabbed a template which was probably saved from a bunch of other places from amino and… didn’t really know how the formatting was supposed to work. first of all, i edited this in picsart on my phone and the chart wasn’t transparent, and second of all i didn’t know you were supposed to crop only the main focus so it could fit and be a little more clear. hence why its such a visual eyesore. i've been meaning to remake it to make it a little less bad (once i get my hands on the traditional pieces again), but i guess its shoddiness adds to its charm, much like amino. but anyway, 2018 was a bit of a turning point year for me in the smash amino art biz. on amino, i mostly made copies of official artwork from smash (character renders and so forth), and this year i actually tried experimenting with my own original ideas and scenes (my copying roots were still around at this time tho, seen in the november drawing which is based on ssbu’s mural art. i mainly moved on to copying artwork from feh). this was also the year i got my ipad and finally got into making digital art. i didn’t have the knowledge of digital art that i have today obviously, so colors and lighting were usually on the plain side. i also hit my stride with making more ambitious traditional art that incorporated backgrounds and such, and they’re pieces i’m still really proud of!

2019: so, i actually made this chart some time in 2021 or 22 because i didnt make an actual chart in 2019 officially (i forgor). which bums me out because i deleted my amino account by then, so a lot of dates for traditional pieces were flushed down the toilet the one time i needed them. so, to compensate, i tried scraping any digital piece i could to fill in some spaces, which is why some are more underwhelming than others. but yeah since this isn’t fully accurate to my art progress that year, 2019 is a bit fuzzy. main thing of note that year is midway through i got really REEAALLY into fire emblem: three houses and drew a lot of art of the characters (not shown much on the chart because they were mostly sketches and whatnot). imo there’s not much improvement or stylistic changes from 2018 in this year to note. 2020 on the other hand…

2020: if it wasn’t clear, this was my jojo phase. i got into jojo at the end of 2019 and my downward spiral into jojo hell bled into 2020 :p as such, i made a lot of jojo art. and because i made a lot of jojo art, this was the year where my style shifted drastically. i feel like it’s a common phenomenon for artists getting a total stylistic makeover after getting into jojo. whether it’s to imitate araki’s style or just trying to accommodate the characters’… features, i ended up facing the same thing. gone were big round heads with tiny mouths and in were tree trunk necks and higher effort placed in learning anatomy, both for the full body and well as the face. it was around may of this year i got procreate and moved on from ibis paint for digital art. while i still have my personal hangups with procreate, im glad i ended up investing in it since it really just works for me!!

2021: around summer 2020 in peak pandemic mood, i decided to indulge in some nostalgia and listened to some old vocaloid tunes from my middle school days. and then i kept rediscovering more stuff, and then i ended up browsing producers' individual discographies, and uh yeah i am still suffering the consequences of my vocaloid renaissance to this day. while it wasn't prominent in the 2020 chart, it really started to leak its way into my art subjects in 2021. however, i still primarily stuck to my roots with fe/"smash"/jojo fanart. this year was mainly trying to find my style again i suppose? i had already learned the ropes of procreate, its limitations, and the options it has to aid with the art making process, so it was just a matter of flinging a bunch attempts at a ~style~ to see which one i liked the most. i did try finding a painting/rendering style a lot by way of copying (mainly guessing based on speedpaints) other artists' styles and process with digital painting which ended up growing into my own thing. i know they all sort of look the same, but march, april, and october of this year all had slightly different ways of doing all the shading n rendering for painting that i liked experimenting w/ in the future.

2022: by this point, i had fully gotten used to procreate and the methods i used to make art, and the vocaloid train had no signs of stopping. i think the main thing of note this year was that i was able to break out of the "5 million overlays of pink and purple color vomit" box my digital art was set it. while it used to amuse me when i first began abusing it in my art, i guess i just sort of grew out of it? it ended up making a lot of my art look homogeneous, and it took out the fun trial and error of picking the colors to match the atmosphere myself. i also tried to get more experimental with my compositions, mainly in trying to make them more dense with Stuff as well as finally get a little more comfortable with drawing backgrounds. besides those things however, i remember feeling my art progress was very stagnant this year, with not much noticeable change from january to december. perhaps i've gotten a bit comfortable with the state it's in. regardless, still a good year all around.

~~~

whew. THAT'S finally done with. if you made it to the end of this very me-centered ramble, congrats. i will probably make reblog additions in future years to continue this little saga. idk if i'll be as detailed as i was for the 2023 lineup, but we'll see.

#not art #year in review #year in review 2023 #art review #fanart #mayors ocs #traditional art #digital art #long post #art #artists on instagram

6 notes · View notes