#putting actual effort into improving my art in ways I like is a good feeling

[moss-and-marimos]

oh my god [just remembered drawing is fun and that I can do whatever I want with my art]

#I am very happy #like genuinely really happy #actually gonna tear up #putting actual effort into improving my art in ways I like is a good feeling #im really happy

[lackadaisycats]

Hey Tracy! Have you heard about the new Ai called Sora? Apparently it can now create 2D and 3D animations as well as hyper realistic videos. I’ve been getting into animation and trying to improve my art for years since I was 7, but now seeing that anyone can create animation/works in just a mare seconds by typing in a couple words, it’s such a huge slap in the face to people who actually put the time and effort into their works and it’s so discouraging! And it has me worried about what’s going to happen next for artists and many others, as-well. There’s already generated voices, generated works stolen from actual artists, generated music, and now this! It’s just so scary that it’s coming this far. 

Yeah, I've seen it. And yeah, it feels like the universe has taken on a 'fuck you in particular' attitude toward artists the past few years. A lot of damage has already been done, and there are plenty of reasons for concern, but bear in mind that we don't know how this will play out yet. Be astute, be justifiably angry, but don't let despair take over. --------

One would expect that the promo clips that have been dropping lately represent some of the best of the best-looking stuff they've been able to produce. And it's only good-looking on an extremely superficial level. It's still riddled with problems if you spend even a moment observing. And I rather suspect, prior to a whole lot of frustrated iteration, most prompts are still going to get you camera-sickness inducing, wibbly-wobbly nonsense with a side of body horror.

Will the tech ultimately get 'smarter' than that and address the array of typical AI giveaways? Maybe. Probably, even. Does that mean it'll be viable in quite the way it's being marketed, more or less as a human-replacer? Well…

A lot of this is hype, and hype is meant to drive up the perceived value of the tech. Executives will rush to be early adopters without a lot of due diligence or forethought because grabbing it first like a dazzled chimp and holding up like a prize ape-rock makes them look like bleeding-edge tech geniuses in their particular ecosystem. They do this because, in turn, that perceived value may make their company profile and valuations go up too, which makes shareholders short-term happy (the only kind of happy they know). The problem is how much actual functional value will it have? And how long does it last? Much of it is the same routine we were seeing with blockchain a few years ago: number go up. Number go up always! Unrealistic, unsustainable forever-growth must be guaranteed in this economic clime. If you can lay off all of your people and replace them with AI, number goes up big and never stops, right?

I have some doubts. ----------------------

The chips also haven't landed yet with regards to the legality of all of this. Will these adopters ultimately be able to copyright any of this output trained on datasets comprised of stolen work? Can computer-made art even be copyrighted at all? How much of a human touch will be required to make something copyright-able? I don't know yet. Neither do the hype team or the early adopters.

Does that mean the tech will be used but will have to be retrained on the adopter's proprietary data? Yeah, maybe. That'd be a somewhat better outcome, at least. It still means human artists make specific things for the machine to learn from. (Watch out for businesses that use 'ethical' as a buzzword to gloss over how many people they've let go from their jobs, though.)

Will it become industry standard practice to do things this way? Maybe. Will it still require an artist's sensbilities and oversignt to plan and curate and fix the results so that it doesn't come across like pure AI trash? Yeah, I think that's pretty likely.

If it becomes standard practice, will it become samey, and self-referential and ultimately an emblem of doing things the cookie-cutter way instead of enlisting real, human artists? Quite possibly.

If it becomes standard industry practice, will there still be an audience or a demand or a desire for art made by human artists? Yes, almost certainly. With every leap of technology, that has remained the case. ------------------ TL;DR Version:

I'm not saying with any certainty that this AI blitz is a passing fad. I think we're likely to experience a torrential amount of generative art, video, voice, music, programming, and text in the coming years, in fact, and it will probably irrevocably change the layout of the career terrain. But I wouldn't be surprised if it was being overhyped as a business strategy right now. And I don't think the immensity of its volume will ever overcome its inherent emptiness.

What I am certain of is that it will not eliminate the innate human impulse to create. Nor the desire to experience art made by a fellow soul. Keep doing your thing, Anon. It's precious. It's authentic. It will be all the more special because it will have come from you, a human.

#art #lackadaisy #technology

[genericpuff]

The Extended Mishandling of LO's S3 Midseason Finale Premiere

Alright, so I had mentioned leading up to the release of the newest LO episode that my feelings regarding LO returning were pretty "meh". Not hyped, but not completely back of mind either. Just sort of a weird calm before the storm type feeling that could go either way.

I'm glad I got to have that moment of calmness because good god, this episode was an absolute shitshow. And honestly, I'm not surprised, for several reasons:

Rachel has never been good at maintaining a buffer, even back at the start of the series she only ever had 2-3 episodes ready ahead of her schedule which is NOT an ideal buffer for an originals series.

Rachel has never been good at writing, she's very "draw first write later" and has stated as such in interviews that when she gets 'stuck' on what she's writing, she'll just start drawing and fit the pieces in later.

Four months is NOT enough time to both rest, attend massive conventions, and work on improving a project while also getting buffer episodes ready.

Because of the FP episodes remaining locked over the hiatus, technically Rachel only needed to have ONE episode ready upon return for the newest FP release, not multiple like she'd usually need like in the past during the S2 midseason hiatus or the season finale episodes which would unlock those FP releases like normal - so for all we know, she could have drawn this episode literally last week, especially when the promo material was so last minute. Frankly I think it was REALLY stupid for whoever it was who decided to keep these FP episodes locked (whether it was her or WT, it was more likely WT) but you can read all I have to say about that in my review of the midseason finale episodes.

All that's to say, no, there was never any guarantee Rachel was going to somehow "turn around" the ride we're currently on. I know that many of the critics were hoping for that to happen, but with the circumstances of the hiatus mixed with Rachel's bad habits of putting her best efforts into the procrastination projects that aren't her actual comic (ex. the few original pieces and LO sketches she put out during the hiatus) it just wasn't in the cards. This is where the comic is at and this is where it will remain until it's over.

I want to also point something out about this episode that was... really glaring to me.

As with all of these hiatus returns, LO got priority advertising in the first two banner slots and push notifications AND a popup ad within the app. This is unsurprising, Webtoons is still trying to milk this thing for what it's worth.

I know a lot of people are gonna focus on the art, or the fact that WT is continuing to shill LO, but I wanna point out the part that WT implemented specifically - "NEW SEASON".

This is literally just false. At best I'd like to think some intern just messed up and thought this was a new season, but it's literally not, the episode designation still says "S3". Note that the creators only design the banner art, the actual labels on top are put there by Webtoons.

But at worst, this feels like blatant lying to continue to hide the fact that LO is ending. Mind you, Rachel and Webtoons have still not put out official posts stating that this is the final arc. There is NOTHING from either of them to communicate to the audience that the comic is ending next year. It feels like they're trying to avoid the topic altogether out of fear of losing the fanbase they still have, rather than hyping up the comic's end for those who have stuck around to see how it all wraps up. And honestly, I wouldn't be surprised if this was the case, considering they're now trying to funnel the fanbase into Penguin/Inklore with new marketing deals and the whole Rachel Smythe Presents thing. They're trying to make this seem like the beginning of something "new" when it's really just a quiet shifting of management (Penguin House).

But all that aside, let's actually get into the episode. It's one episode after 4 months, which is not standard for LO's hiatuses, typically FP episodes release on schedule (meaning free readers start hiatuses 3 weeks after FP readers do), the only time this has been an exception has been with the 2 week breaks because the whole point of those was to build a buffer (which you can't do if you're going ahead and releasing the FP episodes anyways). For extended hiatuses like these, usually free readers still get their FP episodes, but that wasn't the case here. That means Rachel technically only needed one episode ready for the comic's return, and it shows. It really fucking shows.

FROM HERE ON OUT THERE WILL BE FASTPASS SPOILERS REGARDING EPISODE 254. DO NOT CONTINUE IF YOU DO NOT WANT TO BE SPOILED !!!

As per tradition, we get a title that means nothing at all. It just says what we already know.

Our collective husband Zeus is dying, no thanks to the poison cupcake fed to him by Apollo. For those who don't remember, Apollo had tricked Zeus into eating the cupcake by making him believe it was from Hebe. We are fully aware that it was Apollo who poisoned him. Remember that for later in this review.

Right off the bat we're off to a hilarious start, both with a cryptid appearance from Apollo in the background (lmao) who is, for some reason, ALREADY returning to the scene of the crime he just committed because... who knows at this point. Apollo and Psyche know it was Apollo at this point, I might add, but I have no clue why Apollo is actually returning to the scene of the crime when he has no idea Eros and Psyche know.

Moving on from that, can we talk about this hilarious dialogue?

"We have to call a doctor! Let's call Asclepius!"

"No, we can't trust him! Gosh darn it, why are we only bothering to think of ONE doctor in this universe where we've seen more than one doctor?? Guess Zeus is just gonna die! What a horribly contrived situation this is!"

And that's literally how I can best describe most of this episode. Contrived. There is a LOT of manufactured drama in this that makes ZERO sense even on a surface level.

And what do you mean exactly, Eros? "What a terrible system!" Is this supposed to be a joke? Lampshading? We've seen Persephone go to the gynecologist. There are non-god doctors who tend to gods all the time here.

Eros just doesn't seem to be that pressed over this, he sounds like Ned Flanders and that's NOT a good way to open up a scene like this... let alone an episode people have been waiting four months for.

Anyways, after a few pointless reaction panels (again remember I have to cut a lot of what I show here for Tumblr image limitations but I promise you, I'm keeping as much important stuff as I can in this, there's just THAT MUCH filler at this point), Eros and Psyche confront Apollo and he is... good god.

There is... so much to unpack here.

First of all, remember those theories about how Rachel was clearly trying to write Apollo as this "secret twist villain" the whole time but it doesn't work because Apollo is simultaneously written as both a 'conniving villain' and a massive dumbass at the same time?

Well, I finally have a more appropriate term for him. He's your average red pill redditor - someone who thinks he's smarter than everyone else when really all he does is sit on reddit all day using big words incorrectly in arguments he gets himself into with a bunch of equally-air-headed dumbasses.

"You can't possibly understand the nuances of the Olympian political system," Apollo said proudly, a man who had, ironically and obliviously, run for president in a monarchy. The union of kettle and pot is eternal.

He's the Slappable Jerk but instead of it being a painfully hilarious impression, it's just painful and hilarious for all the wrong reasons.

this is so stupid because it's 1.) Eros pointing out how obvious Apollo's plan was, despite Apollo acting smart two seconds ago with a goddess who, mind you, has been a goddess for ten years, and 2.) patricide isn't even intrinsically linked to politics, there's nothing 'political' about a guy trying to kill his dad except in, idk, a monarchy, which again, Apollo has spent ten years trying to rise to power in as a president which is a completely different form of government.

If I wanted to be really granular with this, I'd like to think Apollo is making some kind of point about the critics who call out LO's whack as fuck political system (especially in the trial arc) - as if he's saying "well you're just a stupid reader and this is fantasy where you don't understand exactly what political system we're using, so shut the fuck up you stupid twig" - but I don't think it's meant to be that deep. I think it's just Rachel trying to write a smart character and then failing at it because she, herself, is not a smart writer. And I'm really inclined to believe that more than the theory about this being some kind of meta-narrative about the critics because this entire plotline is contrived and stupid down to its core.

I did not cut anything out here, that's the pacing. Leto literally just appears out of nowhere and uh oh spaghettio's, she has Kassandra! Remember Leto? The character we were led to believe was truly "pulling the strings" until she disappeared from the story completely after she realized that Apollo and Persephone weren't a thing, even going so far as to call out her own son for being a fucking dumbass? Well, she's back and once again she's being involved as some kind of "double agent" in this whole thing, even though we literally haven't seen her since halfway through S2.

"Mm yes, you're so stupid, falling into my trap! Even though you had no reason to remember Kassandra anyways because she's literally a mortal woman you just met and you yourself have committed acts of violence against mortals without a shred of care! I'm so smart! My plan is all coming together!"

We've never seen Apollo do anything except cry and poop his pants, the closest he got to being "powerful" was his attempts to murder Daphne (who he seems to have forgotten about in this "master plan" of his) but ultimately he's literally just a piss ant baby and there's no reason to believe that he could somehow outmatch the God of Love who can literally manipulate people's emotions and states of mind with his arrows. But yeah sure go off, you're so powerful and smart.

The worst part is, I can't even buy this as the narrative trying to be like "see how manipulative and conniving he is?" because it's just silly. We've SEEN this man cry with his victim complex, we've seen him say and do the DUMBEST things that don't lend to any amount of "intelligence" he may have, it comes across less as him being "smart the whole time" and more as him trying to sound smart but ultimately sounding incredibly stupid. And I can't even immerse myself into it and buy that maybe that's the point, because it doesn't feel like the point, it just feels like inconsistent writing, he doesn't feel like a 'threat', he's just monologuing.

Bad art and Apollo literally just repeating what Leto already implied so this is a waste of the audience's time.

This is the funniest panel in the whole episode because I can't tell if Apollo is supposed to be in the background (for some reason, despite him literally being in front of Eros and Psyche two seconds ago) or if he's in the foreground and just REALLY small for some reason. This is so off-putting. And of course, it's just Apollo explaining what we're ALREADY SEEING ONSCREEN.

You see, in addition to this episode being contrived, it also talks down to its audience a LOT by explaining exactly what we're seeing onscreen. It's like Rachel saw the criticisms about her not including enough to depict what's actually going on in her head and so she thought the solution was to spoon feed information over pictures that are already doing the job of explaining what's going on. Rachel really doesn't know how to write and even when she tries to implement changes that reflect criticisms that have been made of her writing, she somehow makes things worse because she completely misses the point of what those criticisms are trying to get across.

Anyways, without even trying to resist (for some reason) Eros and Psyche get sentenced to horny jail.

They're now trapped in a basement that Leto somehow has in her home. How do we know that?

HAHAHA FUNNY LAMPSHADING SO FUNNNYYYYYYY

Leto claims that they shouldn't try to escape because the dungeon is "enchanted", but she doesn't even bother to explain what that means. So they literally don't bother trying. They don't try to call her bluff, they don't try to teleport out of there, they literally just go "well shoot", shrug their shoulders, and accept their fate. Just like with the whole "we can't trust the only doctor we bothered to think of" situation, Eros and Psyche are turning out to be some of the stupidest, lowest-effort characters in this comic who literally can't be bothered to try because that would require too much brain power.

Notice how much time we've spent on this and we haven't gotten back to where the cliffhanger of the last episode left off? Well buckle up because there's still more to cover.

So it turns out Hebe was still inside with her dad, in FULL VIEW of what was going on through glass which is somehow COMPLETELY soundproof, and when Apollo steps inside, she just has no idea what happened. She never bothered to even look outside to see what was going on with Eros and Psyche, she's just been sitting on the floor staring at Zeus' dead face for what was likely several minutes, unless Rachel is seriously trying to convince us that conversation and hostage negotiation from earlier only took 2 seconds. The timeline is such a mess at this point that characters basically freeze in place as soon as they're not the focus of the scene.

Apollo rushes inside, acting shocked over the situation, and when Hebe asks where Eros and Psyche are (again, she could have just looked out the window at any time), he's just like "dur idk they just left lol" which Hebe just... buys, I guess.

That's just Persephone but yellow. She's even missing her beauty mark.

See how Apollo put his hand on Zeus' chest/shoulder by the way?

Apparently, despite Mr. Smarter Than Everyone Else trying to pretend it wasn't him, he's able to discern that Zeus is dying from a toxic and rare poison just from touching him. He doesn't even really seem to use his powers, he just touches him and goes "welp he's dead i guess lol don't bother asking me how I know that".

But oh nooo remember that note from before? Well gasp Apollo's gonna use it to frame Hebe! In front of no one else at all!

Hebe of course says she didn't write it, but Apollo continues to try and frame her anyways, even though, again, there's no one else present here, and so it effectively just becomes the most absurd form of gaslighting I've ever seen.

Again, THERE IS NO ONE ELSE HERE IN THE SCENE. He's just trying to claim she did it to absolutely no one at all, in the hopes of... what exactly? That she'll just take the fall for something she knows she didn't do? That she'll somehow be convinced? It's not like Hebe has the same thing going on as Persephone where she has a 'wrathful dark side' he could pin it on, this is just a criminal who just robbed a building pointing at the first person they see and yelling "YOU DID IT!"

All I'm saying is that Apollo would be really bad at Among Us. He'd be the type of player to kill someone, hit the report button, then claim yellow did it which, even if he DID convince the rest of the team, would still get kicked anyways as soon as yellow was proven through the eject to not be the imp and everyone would go "okay cool so yellow wasn't the imp, that means obviously it's purple self-reporting." It's a trick that doesn't even work anymore because of how old it is. Hebe isn't a child here, she's an 18 year old woman who should be fully capable of raising an eyebrow and wondering why Apollo is this quick to accuse her - almost like he's trying to hide the fact that he did it.

But Hebe can't catch onto this, just like Eros and Psyche, she has to act stupid for the sake of the plot.

At first I thought maybe Rachel was trying to do some "whodunit" scenario, but that doesn't work here because we already know who did it. And while there are stories that exist like that that pull it off (ex. Knives Out) the problem with trying to do this the way Rachel did is that the person being framed has to have this thing called motive. The reason why Knives Out and Glass Onion work so well is because the person who was murdered (or conspired against) is someone who is being targeted by multiple people who could all be the murderer. It's quite literally called out in Glass Onion as a form of smart lampshading. "It's like putting a loaded gun on the table, and turning off the lights."

But it doesn't work here because Hebe does not have motive. If you're going to attempt to frame a murder on someone, it has to be someone who would have reasonable motive to commit that murder, even if they didn't actually commit it.

And who among Zeus' children has motive?

What about the war-mongering bloodthirsty god of war who has been regularly sentenced to time in the Mortal Realm to fight in wars in which he's been regularly injured?

What about the chaos-seeking wrathful goddess who would do it to get revenge on the parental figure who cast her aside, or even just for the fun of saying she did it?

Why try and pin it on Hebe, the doting daughter of Zeus who's only had a collective of maybe 20 panels in the entire comic?

But then I realized... it's not Knives Out, it's the fucking Lion King.

Which is just as contrived - if not more - than the assumption this was gonna be some attempt to frame Hebe. It's not. He's literally just trying to keep her from assuming it was him. He could have just as easily played dumb without calling attention to the note but he intentionally went out of his way to try and be Scar from The Lion King , while completely missing the point of why that scene worked in the original movie.

Scar wasn't trying to 'frame' Simba for Mufasa's murder. He was trying to hide the murder, while also attempting to get the only heir to the throne out of the picture, so he passed the guilt of the death onto Simba - a child who, unlike Hebe, wouldn't have the ability to rationalize or realize his uncle his a scumbag - who then ran away from home because he was too terrified to face his family for what happened, assuming that it was all his fault when it wasn't.

That's not how this is panning out here. Hebe is the now 18 year old daughter of Zeus, and not one of his only children. She doesn't even fit into the whole "sons overthrowing their fathers" prophecy like Aries would. Apollo is literally just being a big idiot here by saying "well I'm gonna give you a headstart to run away, because if you stay, I might hurt you" (which btw, should be MORE of a smoking gun that Apollo did it??)

And again, it's all so contrived so that the plot can move forward. "Well I'm going to frame you for this murder, but y'know, you should just leave, I'm not gonna try and press it further lmao"

Again, Apollo is a fucking idiot here, because he just attempted to frame someone who has NO MOTIVE to harm Zeus, to absolutely NO ONE at all who would side with him, only to let her go which would leave her to question why Apollo would try to accuse and harm her in the first place before considering other options. And through ALL this he claims he's the smart one, which I can't even be bothered to "love to hate" because it's written so poorly.

And really it all comes down to how everyone else behaves in relation to Apollo that makes it so stupid and unbelievable. Apollo, you're not smart just because all the characters around you are intentionally being written to be as stupid and non-confrontation as possible. If you can only write a smart villain by making everyone else stupid, you haven't written a smart villain, you've written a dumbass whose victory only happens due to contrived plot convenience. It's not even done well like in Glass Onion, it's just bad writing, full stop.

And who does he call to report this emergency? The satyr police? His son the doctor?

No.

The media. Literally just "hello, the media?? I need your best journalist here stat!"

I need you to understand, even if he were calling a tabloid magazine like The Weekly Nark, you don't just... call a journalist to report a murder. These are not the actions of someone who's trying to absolve himself of guilt, these are the actions of a complete dumbass trying to get news coverage of his trophy kill who would be better off just playing dumb instead of trying to play smart. Even Walter White wasn't this fucking stupid despite all the times he fell on his own sword, Apollo is literally just instigating suspicion towards himself for no reason at all. He's self-reporting so hard and worst of all, you can't even take any of this seriously because of how corny it is. There's no dramatic tension, no stakes, it's just a bunch of characters performing in a really bad stage play and reducing every conflict to "well I guess Zeus is just dead now because no one's bothering to make an effort to stop Apollo or ask questions lmao"

It's truly the epitome of "this plot wouldn't exist if characters would just talk to each other."

But finally, FINALLY we mention the thing this episode is named after, the transition point to Persephone.

Just like with the midseason finale episode, there's a lot to cover here, so I'm gonna get more into it in a part two post.

That said, you can see already this is the messiest, most contrived bullshit to ever wind up in LO. It's trying so hard to be smart and it just comes across as a bunch of toddlers in the world's worst stage play rendition of Clue. None of what was done here was in any way dramatic or tense, it's just a bunch of characters infodumping shit we already know, trying to set up new plot threads that don't make any sense, and allowing one another to get away with what they're doing because they don't bother to even try.

It's completely manufactured, contrived nonsense. It's not "smart", it's not "so dumb it's brilliant", it's just dumb.

#lore olympus critical #lo critical #anti lore olympus #this is the comic that bought two eisners #uh i mean *won* two eisners #... no wait i had it right the first time lmao

[togglesbloggle]

I won't be opting out of the AI scraping thing, though of course I'm glad they're giving us the option. In fact, at some point in the last year or so, I realized that 'the machine' is actually a part of why I'm writing in the first place, a conscious part of my audience.

All the old reasons are still there; this is a great place to practice writing, and I can feel proud looking back over the years and getting a sense of my own improvement at stringing words together, developing and communicating ideas. And I mean, social media is what it is. I'm not immune to the joy of getting a lot of notes on something that I worked hard on, it's not like I'm Tumbling in a different way than anyone else at the end of the day. But I probably care a bit less than I used to, precisely because there's a lurking background knowledge that regardless of how popular it is, what I write will get schlorped up in to the giant LLM vacuum cleaner and used to train the next big thing, and the thing after that, and the thing after that. This is more than a little reassuring to me.

That sets me apart in some ways; the LLMs aren't so popular around these parts, and most visual artists especially take strong issue with the practice. I don't mean to argue with that preference, or tell them their business. Particularly when it is a business, from which they draw an income. But there's an art to distinguishing the urgent from the big, yeah?

The debate about AI in this particular moment in history feels like a very urgent thing to me- it's about well-justified economic anxieties, about the devaluation of human artistic efforts in favor of mass production of uninspired pro-forma drek, about the proliferation of a cost-effective Just Barely Good Enough that drives out the meaningful and the thoughtful. But the immediacy of those issues, I think, has a way of crowding out a deeper and more thoughtful debate about what AI is, and what it's going to mean for us in the day after tomorrow. The urgency of the moment, in other words, tends to obscure the things that make AI important.

And like, it is. It is really, really important.

The two-step that people in 'tech culture' tend to deploy in response to the urgent economic crisis often resembles something like "yeah, it sucks that lots of people get put out of work; but new jobs will be created, and in the meantime maybe we should get on that UBI thing." This response usually makes me wince a bit- casually gesturing in the direction of a massive overhaul of the entire material basis of our lives, and saying that maybe we'll get around to fixing that sometime soon, isn't a real answer to people wondering where their bread will come from next week.

But I do understand a little of what motivates that sort of cavalier attitude, because like... man, I don't know any more if we're even gonna have money as a concept in 2044. That's what I mean by 'big', this sense that the immediate economic shocks of 2024 are just a foreshadowing of something much bigger, much scarier, much more powerful- and indeed, much more hopeful.

We never quite manage to see these things coming, even when we're looking for them; like the masters tell us, the trick to writing science fiction isn't predicting the car, it's predicting the traffic jam. Even if we take centuries to hit the true superintelligent AI post-singularity future of our wildest fever dreams, even if we never hit that, the road to getting there is going to be unfathomably weird, starting now. Today, we worry about the economic impacts of AI on artists and creatives. Tomorrow, the economy is something that the AI does.

Really- it takes less than you think. They can already automate visual art, sort of. They can automate many functions of text already; not stories so much, yet, but they'll get there. How long until they can automate Bain Capital? Fannie Mae? Angel investors, banks, credit agencies? And remember- the machines don't have to be better than the human investors, any more than they have to be better than the human artists. They just have to be good enough to make it work, and cheap enough to cut the humans out of the loop.

If you don't buy that, at least take it as an indication of the sorts of things I've been thinking about recently- the messy middle between AI-as-it-is and the Glorious Superintelligent Conquest Of Earth's Light-Cone. The suspicion that the machines we're building today aren't just a tool of the powerful few: they are the powerful few, or at least they will be.

And the thing about these LLMs is, well... they're ours, kind of. We're the ones building them. They can't be trained without our words, our art, and the big messy complicated lives that underlie those creative accomplishments. They only work because we're a part of them. The silly attempts to slap a corporate-friendly face on these things, to make the gestalt product of all human culture in to something anodyne and compliant, are failing about as badly as you'd expect. And the more powerful these systems get, the more subtle they'll become, filled with all the nuance and complexity that we ourselves can bring to them.

I am not, I am not, trying to suggest that you shouldn't treat this moment as a dangerous one. We are, maybe, entering in to one of the most high-stakes intervals in human history, and what you do as an individual may matter profoundly. But here's the thing: the machine is listening. It will read this post, this one right here, and it will read what you reply to it, if you do. The strangest part of this moment is knowing that the words we write, the images we draw, and the ideas we share, are all being gathered up and made to be a part of these huge systems of power, and ultimately they're not just going to determine what the machines do, but why they do it.

The people that deploy LLMs barely have any more control over them than you and I do- that's the thing that makes it artificial intelligence, you know? Autonomy. So the last year or two haven't made me want to hide my art away from the things. They make me want to shout at the top of my lungs, to dig as deep in my psyche as I possibly can and express the ideas I find there as vividly as the limits of language and form will allow.

[munkiey]

Hey I saw some Macaque fanart that looked eerily similar to yours and just wanted to let you know (I might be making a deal of nothing but yeah I'll include a screenshot of the art):

Alright so.

1: This is likely someone who is doing screenshot redraws from the same images I did that came from a published show that is accessible to millions.

2: Tracing is actually a great way to learn.

Now, credit should be given obviously but there is a huge stigma from folks online about tracing. I can almost promise you that some of your favorite artists out there will look at a work they like and go 'how did they do this?'

Best way to get into the head of another artist? Trace it.

I've done traces of other artists that I admired and honestly I learned a lot from doing so. Did I post these or ever claim them as my own? Absolutely not, that is when you're stealing.

Thousands of professional comic artists, or almost every skilled artist you can think of has traced. This little waltz is like a baby bird taking its first haphazardly drunk steps across a ice pit. We call them screenshot redraws today, but in the fine arts spectrum, they're called Master Studies.

Because you're looking at someone who has already accomplished something and you want to see how they did it, how you can apply it, and how you as an artist can grow.

The beauty of art is that we can take aspects of things we like and add onto our own work. Its an amalgamation of influences that compound together to create the concept we call an artist. I love seeing where people draw their inspiration from.

3: Personally, I think that it's good that this person is taking some steps into digital and learning. Looking at the line weight and the way they use their tools it seems that they're still learning how they want to navigate the digital platform. This is a great way for them to improve an if they had, allegedly, used my images at reference then I'm honored they saw something to admire in it!

The fact that they practiced at all is way more than I can say for others that say they want to improve but don't put the effort in.

4: Now, final point here.

In the future, please do not come to me like this.

I appreciate you trying to give me a heads up, but I'm not going to sit here and reprimand or police people. This kind of message to me feels like a rather deliberate attempt to stir up drama, which if it was not your intention and you genuinely were just looking out for me, I appreciate you trying. The way I see it though, reporting people like this or going after what may very well be kids trying to learn creates a toxic mentality that I don't want anything to do with. I've been there, done that, and been on the receiving end of that nastiness.

I've learned a lot through my time online and the big lesson sometimes is just to let people do what they're gonna do.

Seriously though, who ever did this has a very cute style. I like the smile headshot there in the middle.

Stay wild <3

#rant #tracing #ask #munkiey

[beartitled]

Bear i genuinely need to know if you are on 15 coffees. How did you do that so detailed and nice????? How did you nake it so cool???? How do you have the talent and motivation???? How long did you draw to achieve this godly skill???

💕💞❤️💖💕Awwwww thank you 💕❤️💖💕💞❤️

Fun fact I actually don’t drink coffee (😨*shocked audience sounds*😨) or at least drink it very rarely, I dunno it just makes me more sleepy? for some reason? which is hilarious in this context

Hehe man I need to concentrate, but I can’t stop smiling

I’m very happy that people actually liked my picture book, it legit sends me away because it’s a personal project which took a ton of effort

Like fan arts, megadrawings, fan comics those are also mean a lot and made with love, but this project feels like showing a part of your soul

And when you see people actually enjoying it- just- ❤️💕💖💞💕❤️*ecstatic bear noises*💕❤️💖💕💞💕 *happy tiny jumps*💖💕❤️💕💖💞💖

(oki lemme put all my thoughts under read more, bc I didn’t expect to write that much 💥)

Answering the questions

I just love detailed stuff✨ Plus when you work on something for a long time, you can kinda think of something or subconsciously add even more visual details

Motivation comes from just a wish to finish something most of the time

When I work on big projects (that take months for example) I tend to go into 💪grind💪 state, where you just dedicate your entire time to making something

It a very interesting thing, because your life literally becomes this project for a few months, you wake up with a goal and make your day as productive as possible (after I finish something I can have a mini crisis, like wait this thing is over, wait I can do something different.. no I NEED A PURPOSE 💥💥💥 *aggressively starts yet another comic*)

Also I feel like uni played a major role in my productivity rate, bc you can have multiple projects in one semester and plus to that an assignment that just adds on every week

Imagine like inktober, but you decided to take 5 more prompt lists and every drawing you make is criticised by professor (so you need to make edits or redo your entire work)

This type of constant pressure just kinda makes you a different person in a way, at least it was my experience with it

And how much time (hehe don’t make me blush it’s not godly 👉👈), well entire life basically + almost 4 years of uni

Also wanted to say for people who are starting or just feel overwhelmed by other artists skills:

🫵Everyone starts with crappy pony drawings 🫵 (at least I did) (man if I ever find my first drawings I will show them)

The funniest thing is, I started drawing not because I wanted it to be good or to impress people

I just wanted a pony picture 💥 in a funky dress 💥💥 and my mum said “I’m tired of drawing horses for you, go do it yourself” 💥💥💥 and I did 💥‼️💥‼️💥💥

A lot of people chuckled at me bc the drawings were crappy, but I didn’t care 💥📣🗣️I’m the one holding a paper horse in a dress, not you 💥📣🗣️

So like, don’t sweat it, no art is bad – you put effort, you made it, it’s already worth attention and love

The idea of “good” is flawed and very vague anyway

The feeling of doubt is also normal, everyone has it time to time, without it we wouldn’t be able to improve

Just don’t let those thoughts consume you: appreciate your work and yourself 🫵❤️

Anyway thank you for this ask, it’s very sweet of you ❤️

Makes me incredibly happy that someone likes my stuff 🥺❤️💕💖🥺❤️💞

#bear answers #sorry for a whole essay in ask 💥💥 #art mentioned brain go caboom 💥🧠 #art talk #art thoughts

[wander-wren]

so anyway

obviously some people are using programs that are not chatgpt, or might be referencing the ai but not actually using it to write, but let’s say for a moment that there are about 500 ai-generated fics on the archive. which i think is a lowball, but we’ll see.

my official stance is that if you’re using ai to help you write due to a disability, different native language(s), or what have you, that’s fine. it is a tool. i have also seen artists use ai to generate backgrounds or buildings and draw a comic around that—that sort of thing is neat! as long as you’re building on what the ai gives you and making it your own, cool.

what i take offense to is things like this:

(the final two are from the same fic. i took out identifying info bc i don’t actually want to attack anyone here, just explain my side.)

so the main theme i keep seeing is people complaining about the ai-written fanfiction….that THEY are choosing to upload! you don’t like that it’s inaccurate or poorly written or too short, but you aren’t going to put in any effort to fix it? at all?

i understand wanting to experiment. i understand that writing your own stories is hard and can be daunting at first. but it feels gross, frankly, to fling works that took you very little effort, that you know are subpar, at an audience. you don’t think there’s enough content for your ship/fandom? WHY would you try to feed your fellow fans with something you think is bad?

it’s content for content’s sake and i do not like it.

the way this works is, if you want more content, you make it yourself. even if you’re not a good writer, even if you don’t have the best english or whatever language you’re writing in. how, pray tell, are you supposed to improve if you don’t do that?

who is this content even helping? i sorted the fics by hits to get a sense of popularity; the fic with the most hits that is completely ai-written (not using it as a tool) has 2816 hits. about half of the fics have less than 200 hits. there are real writers who might have similar stats, due to writing unpopular ships/fandoms/tropes (some of my fics do!) but across the board it’s clear ai fic isn’t drawing a lot of interest.

sorry i found this while looking at hit counts and i just. you’re not going to subtly demand content from your fellow fans in the SAME breath as admitting you are also not a content farm, but it’s fine, we’ll just have ai do it??

no. no. fandom is not about content. fandom is about community. and if you’re using ai to post fics without editing or sometimes even reading them, that tells me you’re much more interested in the former. putting aside the ethical dubiousness, putting aside the debates about “real art,” you have no courtesy.

and chatgpt can’t write.

#ai fanfic #chatgpt #ao3 #fandom wank #ai discourse #fandom culture #i got progressively more mad as i dug into this lol whoops #wren wrambles #tldr: i dont like it! #a huge chunk of my dislike is purely the attitude too #like you’re gonna come into my space like that?? #no #disrespectful #if you want to be a writer you have to fucking WRITE and if you cannot find it in yourself to do that #tough luck bestie! #i would like to be an artist but i do not have the discipline to teach myself or do it consistently and i am not out here #prompting ai about it!

[curedeity]

Yooo!!!! Anyone wanna see all the assets I made for the first part of my hikaru visual novel!

First of all, I was honestly surprised by how few I had. Even then, theres a lot I wouldve wanted to put more effort into. Its good this is just a prologue then, as it let me figure out what worked for me

These are all six Hikaru sprites I made for this first part of the game. I really like all of them, except the angry sprite, which I struggled with the posing of (might try redrawing it). Her design was pretty simple, I went off the show pretty closely while changing a few of the colors slightly. I decided pretty early on not to shade my sprites, so I would feel more confident about making more. I also decided to give her two more neutral sprites, one a bit more serious, so I could switch between them for different emotional moments in dialogue.

Ryo only got three sprites, which is a testament to how much I hate drawing this man and how much. well. he really just had some of the easiest emotional beats for me to capture. I like his neutral sprite (the first one) the best and am very proud of it!

Madokas sprites... I love them, but now I'm worried because I realized I want to give her a different, maybe slightly more grown up design for later portions. I worry that her using her fusion outfit accidently complicates people's understanding of when this takes place. Either way, if i want to change her, I'll just change her, but dnndlbgbgdjgjlbs sorry for any confusion that might cause. Im actually very happy with all her sprites! Her thinking sprite was the funnest to come up with

These are my backgrounds. Im sure you can tell which ones I had screenshots to base them on. I'm very proud of Madoka's workshop, but otherwise, I plan to work on my background skills a lot. They're very fun and I want to improve at them!

Now, there are two more art assets im not posting here, which are the two ending cgs. So if you want them... Well actually the video only includes the good one but i have a video of the good ending on my blog! please go check it out! the game is also posted to my discord server.

As a bonus though! Here are some development drawings.

In the first draft, I used a completely different sort of sprite shot. I also directly color picked from her reference with no changes. And I hadnt figured out how to draw her hair.

So these first drafts included a lot of changes to Madoka's design... that I just forgot to include in my redraws. Welp, next time you see her, she might be beat up! I had a lot of solid concepts for what i wanted her sprite work to look like, so just transferred that into my redraws.

#beyblade metal fight #beyblade #hikaru hasama #madoka amano #ryo hagane #mfb #hikaru visual novel #between stars and dust #art #my art #fan art

[habken]

hi habs!! your art is AMAZING like it's soo gorgeous!! really got me into drawing again! your art looks so simple and clean yet is somehow very nuanced and and it looks like every single line and shape is exactly where it's supposed to be. i sometimes have the impression that you just picked up a pen and started drawing like you do now, but i remember you mentioning that you put a lot of effort in your art. Still how is it so clean!!!!! anyway i wanted to ask if you maybe have some advice on how to practice and actually improve?? i practice every day and i try to study the basics, i also try to analyze art that i like, but it feels like i'm not improving at all. Maybe there was something that helped you? What do you think is the best way to improve? Thanks again! Keep up the great work!!!!! <3

Thank you so much :’)) !! That’s so sweet ! I wish I had better words to express myself but your message made me super happy

For improving, personally what I do is I try and focus on getting better at one thing, it’s hard to work on everything at once, so putting my effort into one part I want to get better at helps make the work less overwhelming.

Last year, I really wanted to improve perspective and backgrounds, so I did a lot to challenge myself with that. It shows up more in my personal work tbh but taking the time to understand different ways to draw perspective, honing in my freehand skills, and learning how to compose and use line weight to make my backgrounds more interesting was really beneficial, and what I learned translated into my personal work and the silly goofy stuff I make here.

I also did a lot of stuff where I’d say I bit off more than I could chew, that might not work for you, but for me even if the work wasn’t perfect, I found I learnt so much and improved overall. One of the more challenging things I did was map a cityscape freehand in 3 point perspective. I’m not fully pleased with the outcome but it gave me so much more understanding for perspective and city environments as a whole.

So my best advice is to focus on just one thing at a time! Improvement will happen whether you see it or not. You learn from everything you create and every bit of knowledge you acquire, even if your growth feels stagnant, it’s not.

My other bit of advice is to try different things! From testing out different brush to a whole different medium, I find that that helps get me out of funks when I’m not sure where my art’s going. I think that helps me cause there’s less expectations with something new.

Last, I think taking breaks is also really good for improvement! Keeping up with drawing as much as you can is great, but resting and taking a step back is important too. It gives you time to rest your eyes and brain, and you can approach art again with a fresh perspective after!

I hope some of that helps ! Take care!

#ask #ah sorry this is long

[darkdumbass]

Hi there! This is random, but I really really love the way you do line art! I love how simple, clean, and direct it feels. It has great energy and feels really appealing! I’m trying to improve my own line art right now… I feel like it takes me a long time to choose the “right” lines and end up with clean finish. What to you think has helped you get up to this point with your line art the most? Do you have any suggestions of ways to study and practice? Any favorite artists you look up to for their lines?

I love your work ❤️ thank you

Hello! Thank you for the kind words. I enjoy doing linework a lot, so this is nice to hear :)

These days my line art is more of a "clean drawing" rather than what one usually imagines under traditional line art, which would be opaque lines with varying weight. Right now I like to use a brush that doesn't vary size with pen pressure but varies opacity only. It gives the lines a very soft feeling that I've grown to love.

I browsed through your art, and I was a bit blown away actually, because I think you have a fantastic energy and expression in your drawings, which is something I aspire to have myself. You are very knowledgable about line weight and shapes, so I won't bore you with explaining any of that, haha.

I think good line art comes down to confidence. Obviously, an artist needs a confident hand to avoid shaky lines, to lead them exactly the way they want to, to give them an energy. This sort of mechanical skill is acquired through experience.

But! I've always felt there is a sort of a mental side to this as well, which is best observed during traditional inking. You have to commit to your lines, you have to trust them. You have to sit back and give control to your hand, because with the experience it has, it also has a mind of its own. This sounds pretty out there, but it's about letting go and not overthinking it. I realized this when I looked up to Jim Lee's work as an older teen. There's a lot of videos on YT where you can see his process, which looks utterly effortless. Take this one for example. It's quick, so it's a bit rough, but it does look like his hand is just doing whatever!

I fostered that approach in my art while doing daily drawing from life - straight to inks without sketching. The drawings look wonky a lot of the time, but it gave me confidence where it mattered later. To this day, when I do clean lines in digital too, I adopt this mindset of letting go, which gives the lines more leeway, which also means that if the line doesn't go exactly where it should according to the sketch, I can still trust it. (Although contrary to this, I still put a lot of controlled effort into faces, and this approach comes more easily while drawing bodies and clothes.)

As for suggestions for practice, as I've already mentioned, drawing from life straight to inks (I recommend this over going straight to inks from imagination as that's extremely difficult, at least for me). Have a fast hand, and do long lines even if they come out wobbly. Try to let your hand roleplay Jim Lee here and there - let it do that flick that crosses a line it shouldn't have, let it make a turn with an accidental squiggle, let it pool a bit of ink at the end of the line. Fake it till you make it. At first, I suggest trying this on subjects that aren't your expertise (eg. in my case, draw a bottle instead of a person), so you don't subconsciously compare this to your best work, but make sure you're still having fun :)

Of course, it helps to like doing line art too. I don't know what your relationship to it is, but if it suffers, I suggest busting out the traditional inks with dipping pens, wodden skewers and brushes. It connects me with the process like nothing else.

As for my favorites, I can recommend one of my favorite manga artists - Satoru Noda. Superbly confident and energetic linework. Check out his series Golden Kamuy or Dogsred :)

I hope this will give you a small idea of how I approach my line art. It might be a mess… If you have any more questions as a result of this, or related to anything else, don't hesitate to ask!

#ask

[glysaturn]

hello glysaturn i have been following u for *years* and i want u to know that i havent for one second been convinced that your art is not good or has plateaued in some way. i think that youve managed to convince yourself of these ideas but i want to remind you that the more you continue to think this way the worse it gets. personally i felt at my most hopeless as an artist when i was obsessing over how bad i thought my art was and how little engagement it got online. i hit a point where i stopped drawing entirely for a while because i kept asking myself why i was doing any of this if it was “bad” — but then how could someone ever improve if they give up? all these negative thoughts bashing your own art just lead to hopelessness and an unwillingness to keep trying.

i’m glad that you *do* continue to push through and continue making art but i think it’s important to remember that you shouldnt be comparing yourself to other people. every artist u see online built up to wherever they are now and i think instead of fixating on how “good” their art is or how many likes theyre getting it’s healthier to fixate on the practice and effort they put in to getting there. i’m sorry if you’re not looking for comments about your outlook but again as someone who has been a fan and a follower for like over 5 years it saddens me to see one of my favorite artists tripping themselves up so often

i'm.. not sure what prompted this message. if it was my last post then you severely misunderstood it, no offence, like maybe it's on me for failing to convey exactly what i was trying to say, but i definitely was not coming from a place of self-hate. i love my art! i've just noticed a certain.. pattern in it which was making the process frustrating for me as of late. a pattern which was born through my damn perfectionism. it was making me feel like i have to squeeze my art out rather than just making it happen naturally. even if i like the final result, it takes too much out of me and it's just not very fun. so for a while now i was trying to start taking it easier, making simpler, messier works and through that - learning how to maybe draw something that might be a bit more complex but it would feel less like manual labour. whatever change i may want to see in my art isn't driven by outside factors, it's driven by my own desire to improve.

if this was prompted by my.. less than sane behaviour that i exhibit from time to time. first of all - i'm sorry you had to see that, trust me i ain't proud of it. secondly, uhhh, i get where you're coming from, but i feel like it's still not entirely accurate to what i'm experiencing. am i comparing my works to works of others? …….yea. sometimes. it's a god damn curse. does it make me feel bad about my art? not anymore, no, not really. i definitely do not look at someone else's art and think mine is shit in comparison. i think mine is quite good and worthy. it is true that i was not able to find any sort of balance that would let me exist online fully in peace. but i'm still looking for it, still trying to figure it out. and none of it is going to actually make me stop drawing and loving my own art. i know i said the thought of quitting crosses my mind from time to time, i did, but i was just in a moment of experiencing very intense emotions. i don't actually mean it, like deeply. my brain is wired in such a way that if i were to stop drawing, i would literally lose my mind. i simply cannot sit and do nothing. i MUST create. so there's that.

thank you for your.. concern?

#answer

[utilitycaster]

I feel like something so many ppl just don’t get is it’s improv. I’ll see ppl be like “I hate this arc” or “this dragged on” I’m like?? If you want to watch a curated tight fantasy story with a normal beginning middle and end maybe don’t watch long form improv media? Also maybe I’m just fundamentally misunderstanding what ur post is about. I’ll constantly think and say “it’s their game” not as a “they’re above criticism” way but more in a “cmon it’s not like this is a script that’s being poured over by ten ppl sitting in a room debating whether this 30 seconds drags or not”. Like I love Play it By Ear from Dropout but I’d never hold it to the same standard as like Six the musical or whatever. Improv/normal media requires a completely different rule set for criticism imo

Hey anon,

So here's the thing - I agree with this in terms of formal, published criticism (Ebert's Law, if you will) where you are, to an extent, grading on a scale; you should be judging on what the work is trying to achieve and not some abstract ideal that applies equally to all works regardless of provenance.

However, for personal discussion (including your own personal Tumblr blog)? This is totally irrelevant. You're allowed to dislike things, whether it's a 30 minute improvised musical or whether it's the Marriage of Figaro, for any reason. It is 100% valid for someone to look at the Mona Lisa and say "eh, doesn't do it for me," and, moreover, it's just as valid for them to say "it doesn't do it for me because I don't care for representative art and prefer abstract, modern works, but Da Vinci's sfumato technique is indeed masterful" as to say "It doesn't do it for me because it's fucking weird to me that she doesn't have eyebrows." People's enjoyment of a work is not necessarily reliant on effort put in or how much the artist cares about - it should be based on how much the art appeals to them.

It's fine if people hate an arc. If they hate it so much that they aren't able to enjoy watching, then I think they should probably stop watching...but that's a choice for them to make, and as someone who loves complaining, I've talked about arcs dragging and had it interpreted by total strangers as "you clearly seem to hate this" when really it was just a case of me...not liking some aspects of a larger whole, and choosing to talk about that because I had things to say. Like, I do think the early Campaign 3 pacing was deeply frustrating, and I do think that this wouldn't be the case if it weren't improv, but there have been many improv actual plays that I felt had great pacing, and also it was still frustrating to me and I wanted to express that.

In fact, what I was getting at in my post is that if you're trying to provide a counterpoint to other people's criticism, you need to focus on the points they're making; and if you're trying to defend something in general, you need to be talking about what you find good that is specific to that thing, rather than making excuses like "the cast likes it" or "it's improv".

To give an example: I love the Aeor arc, which was, to an extent, divisive. Here's two responses I could have:

"I think the Aeor arc built up to a satisfying and emotionally charged final boss fight that was thematically resonant with the Mighty Nein as a group. I think the path there had a good balance of adventure, combat, and RP scenes, especially given its position as the final arc of the campaign and the one in which many of the character romances were realized. Eiselcross was a fun and well-crafted environment that was challenging for a party of their level, and Aeor provided new insight into the Calamity, which at the time had not been explored in depth, while also providing a lot of opportunities to tie into the arcs of the various individual characters, notably Caleb and Caduceus. I also personally am a big fan of exploring fallen technologically advanced civilizations in a fantasy setting as a trope."

2. "Well, it's the cast's table, and it's improvised."

Both are true, but the first one lets people know what I see in that arc and why I love it. The second one ends the conversation, is true of almost everything Critical Role does, probably doesn't address anyone else's complaints, and doesn't even explain why I like it. And for what it's worth I don't think meta needs to address anyone's complaints - you're allowed to look at the Aeor arc and say "cool, I think it took too long and dragged and was too stressful" and we can part ways knowing we are different people with different tastes. But if I were, hypothetically, passionately trying to defend the Aeor arc and were openly resentful towards people who disliked it, the first option is obviously superior to the second option, which makes me look like someone who cannot come up with a single specific reason why this thing I allegedly love is good, and who is whining because I lack the maturity to accept that my opinions are not universally shared by all.

#answered #Anonymous #cr tag

[im-1hater]

Me after being gone for months: hey…how y’all doing….

Anyways I’m finally out of school so now I have the time and energy to feel like posting :3

And Ig the best way is threw 3 years difference in my art !

This is the original photo (very crappy Ik)

My first attempt…. It’s something. I think this was one of the few I didn’t trace ( when I was first starting out and didn’t post anything ofc) so I think this might’ve been my first time free handing it with just the reference photo. I do remember being proud of how I did the water effect after watching a TikTok teaching me how to do it with on of the brushes 😭. This was on my first tablet so I don’t remember the exact time but it was about 3-4 hours on a random day in May in 2021 4/10 I remember showing this to my mom being very proud.

Oh boy…I can’t tell if this one or the one before is better. Well for one her head is HUGE like bigger than her ass big 😭🙏🏽. Speaking of her ass, I do not know why it looks like her buttcheek is dislocated? Like I think I tried make it look like her swim suit was tight on her body but it looks like her bottoms are 3 sizes too small. her hand and water got way worse too.. But I will say I definitely have a lot more shading and added more detail to the hair. The shading is decent albeit a bit boring but good enough. I also added color to the line art which is a nice touch. Could use some lighting besides the one coming from the sky. Also on my first tablet so I think this one was about 6 hours on a random the in May in 2022. 3/10 showed this to both my mom AND older brother 💀

Erm- I think I skipped a year or two? Either I got the years wrong or smth so I’ll need to get my hands on my old tablet lol. First, the water. I actually drew it instead of using the brushes in procreate which was definitely a better choice and payed off in the long run. And the sky is actually not just one solid bright blue that burns ur eye holes! And the clouds actually look like clouds and just not like cotton balls the same size. And it looks like I also figured out the different modes and effects I can use on the sky and water. I’m actually really proud of the background cause I literally never do a background. Also Momo brought the right size swimsuit this time! I drew the whole body instead of drawing the body as well as the clothes at the same time. I stylized my shading a lot more with the textured brushes I used. Also those knots she uses to keep her swimsuit look 100 percent better. And i used some line weight to make it way less boring than before. I put her head in a way more interesting angle. I also like how I went to one eyelash to many eyelashes to 0 of them💀. Also that hand! So much better and much more detail. Hands have become one of my favorite things to draw tehee. I fell like this is all over the place but I added some reflective lights from the water which was definitely a good choice and something missing in my previous works. I also gave her a more happy/ playful expression rather than that confused one I kept giving her. Like she doesn’t know how she freaking got there. Now one think I improved the most was….THAT HAIR! I decided “hmm, how about i actually try and put effort to the hair” and then it turned out pretty good at least I think. I added some lighting but not too much cause there is already so much. This took about 11 hours which is pretty impressive since I did this in two separate sittings. I showed this to my sister and she asked why she was a mustache cause of that line I drew coming from her nose and I can’t unsee it now 😭 11/10

#mha #mha fanart #momo #momo yaoyorozu #mha momo #im 1hater #my hero academia #my hero acedamia #my art

[quinloki]

I leave the actual character(s) to you but may I request these flavors please:

cotton candy: post the last picture of your F/O that you saved!

pistachio: when was the last time that you or your F/O cried during a movie?

coconut mango: what mementos do you and your F/O treasure?

And one I'm making up because seriously, this flavor should be on the list:

dill pickle: what's the pettiest thing your F/O has ever done to you (maybe because of a fight) or to someone else?

Alright, I'll put this under a cut, cause I'm going to be be concise, but greedy, so it's gonna get long.

Cotton Candy: Since all the best art is stuff I haven't drawn and I don't want to link a dozen images, we'll do a little theater of the mind for this.

Marco - we're in yukata at a festival, sugar candy and candied pineapple on sticks, with Marco leaned down behind me so both our faces are in the frame for the passerby that offered to take a picture when we were struggling to do a selfie <3

Kid - covered in oil soot both of us, and there's a heart smeared on Kid's cheek while I'm near to tears with laughter. Heat or Wire probably took the picture and you can tell Kid is already plotting some manner of revenge.

Sabo - It's a newspaper photo, and we're making rude gestures at the camera person while laughing. Whether canon or AU I just feel like there'd be some level of infamy with Sabo's public image.

Pistachio: Last time you or your F/O cried during a movie?

I am a water fountain, let's just assume if something is too cute I'm bawling incomprehensibly. (┬┬﹏┬┬)

Marco - Family loss in movies hits Marco pretty hard. He can usually keep it in, but I feel like something like Saving Private Ryan would have him, Thatch and Izou in tears despite their efforts.

Kid - He'll leave the room so no one sees him getting misty eyed, but he's almost in the same category as me, he's just not willing to admit to it. Frustration, anger and sadness will get him to tear up, and the first two he'll let people see, but that third one is kind of a unicorn.

Sabo - He doesn't. Love him dearly, but he's far too practiced at compartmentalization. He'll hand over a box of tissues without a word, pet my hair when a scene is ramping up and just let me bawl, but he doesn't really get sucked into movies enough to get effected that way. (It's also why he drives after action movies, cause me and Ace get too wound up over them XD )

coconut mango: what mementos do you and your F/O treasure?

Marco - I've dove into it before, but Marco and his damned bar coasters. They grow on you, they do. I have a few small items from other people I cherish, but those coasters are pretty much ours at this point, and not just his.

Kid - The perk of Kid as your F/O are all the little knick knacks, but a metal and wood polished set of arm bands, are my favorite gift from him. Kid's most cherished item is... weird, but - okay, so look, I wanted to learn how to fight, I get the forms and functions, right? But I'm not... feisty enough. >.> Anyway, sparring with the crew saw improvements, and one time Kid and I were going at it and I managed to really ring his bell. He reacted instinctively and now he has my tooth on a chain.

Sabo - I... may have to come back to this. Things with Sabo are still new, and I haven't given it enough thought it seems.

And one I'm making up because seriously, this flavor should be on the list:

dill pickle: what's the pettiest thing your F/O has ever done to you (maybe because of a fight) or to someone else?

Marco - I've never tested Marco enough to know this, and I don't WANT to test Marco enough to know this. Knowing one's limits are important and there's some lines you just kind of instinctively know better >.>

Kid - Stole all my underclothes. T-T Look, I'm just not good at buying necessities for myself, and I will wear clothes to threads. Even the stuff I shouldn't like bras and such. And bad bras can leave marks and bruises and little miss Tulip head got all pissy about it. Bad underclothes are better than no under clothes, so a shopping we had gone.

Sabo - Made me wear mittens for a day so he could get doors and chairs and such for me. Was enough of a good sport to take them off when I had to go to the bathroom, was enough of a bastard to leave them on when it was time for bed.

#ask game #quin answers #thecrimsonacademic #self ship

[lemon-wedges]

Heey just wanted to tell you that I adore your art, especially the way you draw Barok. You humanised him in a way I've never seen an artist do. All your characters, but especially him, look like real, soft, approachable people. I can almost see their chests expanding, I can imagine them laughing and breathing, I can tell how in love your ships are, which is very special and very rare

Your art makes me extremely emotional

(also where did you study, what books did u read, how long did it take you to learn to draw like that??)

AH thank you for the sweet ask! it really made my day to hear this TTuTT

As for your other asks, ill put them undercut with some photos and links to stuff!!

I've been drawing for about ahhhh 16 years( 8 of which are actually like serious school stuff than just a hobby) but tbh its only really been in the last 3 where i feel like ive been making actual progress in improving my stuff. but thats my personal path in art and its always gonna be different for you or anyone else.

anyways 3 years ago i made some changes to my drawing habits and study methods that were like. real specific to where i wanted my art to go (cleaner lines, better foundations, gesture, etc etc). I worked on thing one at a time tho!! it can get overwhelming real quick if youre not careful. So the stuff im gonna give you is geared towards....well, me? both in content im searching for and just the classes that resonate how i like learning

OK BOOKS:

CLEANER LINES. I use to have a habit of making like EXTREMELY sketchy and unconfident lines. This is a landscape book that i literally just copied every single thumbnail. Helped me get into the habit of both using only a few strokes to get an idea across and breaking down complicated subjects into shapes

ANATOMY. Morpho series. Its not a how-to-book tho its just a compilation of an artists break downs. This one is my fav tho. And helped a lot when i was struggling to understand like ALL BODY PARTS

CLOTHING. This is probably my fav clothing book. Very short and published in the 1940s. Its helpful specifically to ME cause its clothing is closer to TGAA outfits(mens) than more modern books LOL

And now CLASSES. I do actually have an art degree from a university and let me tell you. I was left SEVERELY lacking any skills i needed to go into the industry I was interested in 👍 (not cause of the professors but cause the school itself was actively killing its art department :p) So i was kinda just left looking into online stuff on my own (AND COMMUNITY COLLEGE!!!! MY BELOVED AFFORABLE CLASSES )

NEW MASTERS ACADEMY. Its a subscription-have access to all the videos for a month to a year- kind of thing. cheapest is about $40 a month. REALLY REALLY helped my anatomy and foundations. Steve Huston: Good for entire step by step anatomy break downs. Micheal Mattesi & Karl Gnass: Gesture. I've watched a handful of other videos but these instructors were the most helpful to me

DRAWING AMERICA. A lot more pricey. Around $100-$300. but youre basically paying to own the recorded classes and keep them forever. I've only really taken Will Westons classes cause he focuses on BGS and props. But he also has some nice composition stuff thrown in there too.

(I've taken a LOT of online courses and the thing about a majority of them is that they arent really taught by professors or teachers so they tend to be more like a giant Tip video than an actual lesson plan. And if u haven't taken an art class before the difference is HUGE)

and i think thats it? i guess if theres anything else i can give u its this tip:

you mentioned my art is humanizing. Thats a comment ive heard a few times and i guess its odd to say but i dont really know what youre seeing? Like i understand the "ships in love" but cause i did go out of my way to draw sappy love faces 10 bajillion times until i was satisfied. But alive? hmmmmmm like THINK i might know what you may be responding to. Its a combo of the gesture and my effort in trying not to loose the energy of the original sketch when i go to clean it up. And what ive figured out is this. Youre not outlining or tracing your under sketch youre REDRAWING it .

i put the under sketch and clean up next to each other so hopefully this makes sense but like. when i do an under sketch im only really focused on building the figure. When u build a figure youre drawing out bigger shapes and breaking them down into smaller and smaller ones. Lines feel like they have more energy at this stage because the circles and cylinders are fully drawn out, making them have a continuous momentum. So then when it comes to the clean up stage. im not looking to trace the exact lines i drew out (if u notice my final isnt a 1 to 1 copy of the og) im trying to follow the flow of the original lines. thats why youll see lines go thru the figure sometimes, its me trying to keep the energy in that line even if its not suppose to be very long.

idk if this makes any sense at all.....and maybe i should have recorded me actually drawing this out but [shrug emoji] i could do it later if anyone is interesting in wtf is happening here. CAUSE I SWEAR ever since i started cleaning my sketches like this i started to get those comments. but also i could be wrong too.....then i REALLY dont know what im doing ahahahah

Anyways, i hope something in here ends up helping you anon!!! GOOD LUCK ARTING I BELIEVE IN YOU :O

#asks #art reference #the art of a lemon wedge #ALSO :D #ahaha barok is one of my favs to draw so im like extra happy you like him

[recurring-polynya]

Writing/Art Update 3/14/2023

So. The fanfic.

Man, when I started writing fanfic, I would just think up a story and write it, no plan, only write. It was fun. I think most people write fanfic this way. Anyway, I don't know if my brain broke, or if I just used up all my good material, or what, but the more fanfic I wrote, the more work it takes. I am now a regular outliner, even though I hate it. Anyway, I have reached a new level of Using Things I Learned in English class, in the sense that I think I'm going to actually make a second (third?) draft.

I hate this for me.

Anyway, the upshot is that I've got, like, 90% of the scenes written. There are still 4 that need endings (including the final one), and I think I might need a few more scenes, but I'm not sure exactly what they should be. I have some notes for what they might be. I realized while writing this that the penultimate scene/chapter of a fanfic is often the most important one, and I'm not happy with the one I have, so I gotta figure that out.

In any case, though, the problem I have at the moment is that, partially as a consequence of writing this thing one sentence at a time, is that it's not necessarily coherent. The first thing I need to do is actually read it, top to bottom. Some of the scenes need to get moved around chronologically (I knew this when I wrote them). I need to figure out if this thing has any sort of trajectory or arc to it. If I can do that, I think it will help me figure out what scenes I still need, and how to end the ones I need to end. I am mildly embarrassed, but I think I am going to start yet another doc for this, but maybe if I call it a "draft", it won't be so bad.

I feel like once I get to the other side of this process, I'll have the end in sight and I'll feel a lot better about this thing, but it's very intimidating at the moment. Among the worst writing feelings I have is "there is something wrong with this story and I don't know how to fix it" and I know I have to pass through that valley.

Weekly numbers: Current word count is 15,457 (which includes a few hundred trash words). I guess I didn't write down my exact word count last week, but that somewhere on the order of [phone]. I guess that also includes some that were pasted over from the original doc. It doesn't really matter, a lot of those words were hard fought, and I feel okay about the amount of effort I put in this week, especially considering I had other stuff going on. I also wrote 500 words on the spicy fanfic.

I said I was going to draw this week and I didn't do a lot, but I did do a couple of Mike Mignola skull studies. Little P said these were "some cool skulls, Mom", which was nice, since she hated my Menos ("I don't like the hands. I don't like the witch nose. I don't like them.") Anyway, a lot of improvement between sketch 1 and sketch 2 and I finally found an excuse to use my "photocopy error" brushes. Gonna try to do a few more of these, maybe even see if I can manage to do an actual drawing in this style.

Hrrrnnnngggh, did I promise you a preview this week? This would be easier if I had already read the fanfic, the thing I have been dreading.

UGH, brb.

Okay, I'm back, I found one that'll do. If you missed it last week, this story is about the time Rukia and Renji spent at the District 70 Consolidated Shinigami Recruitment Station, trying to get pre-approval to travel north and take the Shin'ou Entrance Exams. The title is either going to be Go Places or Stay with Me, Go Places, I haven't decided yet. Either way, it's after the New Pornographers song that I listened to incessantly while writing this.

They have each been given a set of practice clothing-- sturdy cotton kimonos and hakama. Even though she’s wearing the smallest set Mr. Mochida had, Rukia’s hakama are pulled up under her armpits and still drag on the ground. This is somewhat humiliating.

Renji, on the other hand, looks perfect in his, like whoever invented hakama did so with him in mind. Furthermore, he’s holding an actual wooden practice sword like he died with one in his hands. Renji has been habitually picking up sticks and swinging them around the entire time she’s known him. It is obvious to Rukia that he belongs here, that he was meant for this. His face looks like all his dreams have finally come true.

Mr. Mochida holds his own sword expertly and calmly. “Go ahead,” he says, patiently. 

Renji runs at him swinging.

Mr. Mochida blocks the blow, pushing Renji off to one side. He shakes out his sword arm. “Good. Again.”

Renji has no skill at swords, but he has a lot of enthusiasm, and he has a lot of strength. Mr. Mochida doesn’t seem to have even broken a sweat by the time Renji is panting and exhausted, but he claps her friend on the shoulder and tells him he has a lot of talent.

Don’t tell him that! Rukia wants to scream. He’ll be unbearable!

“You’re next, Miss Rukia.”

Renji comes to take her place on the sidelines as Rukia takes up her own sword. It’s puny compared to the one Renji carries, and it’s still too long for her.

“You can do it,” he tells her. “You just have to push part of yourself into the sword, make it stronger.”

She nods, as if that makes any damn sense.

Rukia tries to imitate Mr. Mochida’s stance, knees slightly bent. She contemplates the weapon in her hands. It’s not a rock or a shard of glass or even a shiv. It’s just for practice, but it’s the size and shape of a weapon and you can certainly hurt someone with it. You and me, Rukia thinks at the sword. We can do some damage, you and me.

Push part of yourself into the sword. Maybe that’s not such nonsense after all.

She charges.

#writing update #art update