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vyvesvi · 4 years

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i don't mean to annoy by being in your inbox every time ytsn breathes but any thoughts on we are young and super a warning ahead?

omg i’m never annoyed by this stuff, esp bc i usually don’t get to talk about them much!

let’s see... (warning: i tried to stay positive but failed. also this got long afff no pressure to read all of it lmfao)

we are young - controversial opinion: this is their best concept (to me in this moment, i could decide something else tomorrow lmao). the choreo isn’t bad and the song is catchy, even though the production quality of the studio version leaves a bit to be desired (it sounds tinny and not super full to me?). my main disappointment is with the live stage (...this is becoming a trend) where they messed up...kinda a lot. i feel like mistakes are normal but the ones they made were just incredibly noticeable and it’s telling to me that the camera angles couldn’t really hide them. the styling was awful for the most part but the concept was cute and i feel like zy is a lot more comfortable with long hair tbh.

super a warning ahead - i actually really enjoy the song! i think the way that they draw out some of the lines sounds a bit odd but the production and everything is much better than we are young. the reason why i put we are young above this one is because of the concept idea is general. like this song...doesn’t really go anywhere? like its...sweet? but not really interesting. the styling is sooooo much better, but the choreo is pretty boring, very give and take. I don’t mind a simple point dance because they have the potential to be iconic, memorable, and easily imitated, but the rest of the dance could’ve been a lot more interesting. but then again, they weren’t in sync in the dance performance video so like...idk. i feel like live performances are one thing, but prerecorded content should theoretically be better because they can do it in multiple takes? i don’t want to judge them *too* much but that is one are where i think they have been struggling (and i didn’t really expect it at all?)

so nothing that’s gonna make me unstan but it’s clear to me that their preparations were rushed. i wish they would like. take a month or two to regroup. i don’t want them gone for that long but if these are the performances that we’re getting on their current preparations i think it’d be for the best.

i also don’t think they’re making use of their strong vocalists (xilin, wyj, znx, and czx). like 4/7 are main vocal material and they could be doing a lot more with that. of course the issue is that the remaining members aren’t really comfortable with rapping and are (comparatively) weak singers, but they don’t make use of xiening or yifan’s dance abilities well either. i’ve said this before (and i’ll try not to hammer it in too much because it’s a pretty biased opinion) but watching zy do dance breaks with or after xiening is like...tragic. like idky they’re setting her up so bad but they need to stop TTTT

as a group they also kinda lack stage presence together. like individually most of them have pretty solid presence but idk what happens when they’re together bc they don’t really sync up?

//edit: okay at this point i decided that i was maybe being too harsh so i started analyzing the debut stages and mvs for rocket girls/hjsn and the9. it didn’t help and ended up being a ramble so feel free to skip lmfao

ytsn & hjsn: bc hjsn debuted with 8 members (minus already debuted meiqi and xuanyi & main vocal zining) and not their full 11 they’re kinda comparable to ytsn as they are now. while ytsn’s styling is somehow better, hjsn’s sync and energy, even taking into account their members who aren’t great dancers, is kind of on a different level (partially biased though, despite that fact that i’m not fully a stan they’re my number one pick for most balanced gg of all time). i’m going to guess that even though they’re produced by the same company that their teams and company philosophy regarding management is completely different. the choreo quality is quite different and ytsn seems to favor debut rank a lot more. of course, meiqi and xuanyi were featured very prominently when they came back but the formations weren’t as stagnant as ytsn’s seem as of now? both groups are similar in that their main dancers (mengjie and xiening) ranked relatively low and therefore didn’t get to show their full ability very often. also an important difference between hjsn and ytsn is that hjsn’s main rapper is kind of legendary and was well known for her ability before the show so. there’s not really a comparison there (for the record though, i like curely’s rapping i just think 1.) it’s a waste given her vocal ability and 2.) she hasn’t been given really long verses because while she has talent she’s not “a rapper” in the typical way).

the9 & hjsn: idk if u watched qcyn2 but i decided to watch a bit of it since i thought it was kinda interesting that the two final groups would be debuting at the same time. to compare the two...ytsn’s vocals are stronger and i think that’s generally accepted as fact. like yuyan is really good but they put so much pressure on her (personally i think anqi and shaking could share the burden but idk). other than that everyone else is a subvocal and/or rapper, so by default the9 wins the rap category. oddly enough, because there are so many rappers they can’t have those longer satisfying verses because they have to share the lines, which impacts their....impact for lack of a better word. there’s kinda no other way to do it without everything being super uneven so i get it though. that leaves dance and stage presence. i think that individually anqi and xiening eat everyone else alive, but comparing group to group...the9 wins for their sync alone, but notably ytsn has performed more and have one more song with choreo. i don’t know i would say that they’re super uneven in presence, but i do feel that because of the number of members with previous stage experience in the9, they are more comfortable performing.

for fun i once took the 16 members of the9 and ytsn and redistributed them into more balanced lineups of 8

team one:

yuxin - vocal, lead dancer 2, sub rapper 1

anqi - lead vocal, main dancer

yuyan - main vocal 2

keyin - main rapper

keran - lead rapper

curley - main vocal 1

yifan - vocal, lead dancer 1

zhaoyue - vocal, lead dancer 3, sub rappper 2

team two:

yijin - main vocal 2

zhuoxuan - main vocal 1

xiening - main dancer, sub vocal 2

nene - lead vocal 1

xueer - sub rapper, lead dancer 1

esther - sub vocal 1

jiaqi - main rapper, lead dancer 2

xiaotang - lead rapper

i lowkey stacked the first team with both centers, anqi, and keyin but whatever

anyways based on how i feel about the other debuts i kinda think im being mostly fair to ytsn? especially because i think they’ll grow a lot as a group over the next two years. i’d be a lot more concerned about their vocals if that was the problem because that’d be the hardest thing to fix but they don’t have to worry about that!

anyways i’m gonna cut myself off here because this has turned into...a lot but if you have thoughts definitely share them, i’d love to hear!!!

#ytsn #vague-80s-bongo

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dmyear3 · 6 years

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Obituary

This performance is the second in a series, both extending my project beyond inanimate pieces and into the live and theatrical – forming a cyclic narrative of life and death in interaction between my body and art objects. My first performance was of myself being “born” from a hollow sculpture resembling a human or animal carcass and performing improvised and very physical actions with a set of clay “bones”, my body a writhing and automatic medium between bodily states of birth and remains. For the next performance I wanted to retain the hugely important aspects of physicality and ritual, but in a very different form that is more pared-down and action-based (while still implying essentially the same narrative). The first element I decided on was the costume. I wanted to wear something that would act as a blank canvas which would physically record the event as gestural paint strokes, while also transforming my appearance in the performance. This resulted in making a very rough kimono-like garment with long drapery on the sleeves that would both obscure the form of my body and provide a lot of surface area to easily paint onto. I sketched out a few different versions of what the purpose would actually entail – originally it was to appear quite sacrificial and religious, with the painted garment crucified and suspended above the space. This version would have been performed in from of the stained-glass windows of the life drawing room where I performed, to provide a church-like setting. These connotations would align my interest in rebirth with biblical imagery such as the Second Coming of Christ, bringing the act of ritual into the classical European rather than the eastern references that have continuously popped up in regards to my work. It was only after already having a rough plan set out that I decided to store the paint inside of clay sculptures. I sculpted these pieces to resemble the ambiguous remains of body parts, as amorphous organic forms resembling bones and organs and flesh. The lack of colour and earthy material suggests age, withering and mummification. I filled them with a red-brown liquid (heavily watered-down acrylic paint) – the specific colour and density was partially inspired by a news story from earlier this year, about a sarcophagus that had been dug up and was discovered to be filled with a similar red-brown “water” – which was in fact ancient human remains decomposed to the point of liquidation. This reference to ancient remains, both in the appearance of the sculptures and the liquid they contained, ended up being a more important focal point of this piece to me rather than any religious connotation. I instead began to see the performance as a mournful act of transferring ancient bodies between forms of decay and new life – the body being a liquid that I attempt to reincarnate in the birth of new forms and continue the natural cycle of generational reiteration. An aspect of memory comes into play here, as I grasp at the remains and transcribe their very material onto myself. This led to me titling the work Obituary. I ended up drawing indistinct human figures onto the surfaces of my garment, and in the performance I attempted to fill in their forms with the colours of the clay and the paint – the sort of “essence” of the body being literally transferred from vessel to vessel. It was only when I began to set up in the space that I decided to use the entire room rather than the area around the window, and to place the sculpture from my last performance in the centre of the room. This work was intended to act as a kind of contextual icon that referred back to the idea of a cycle: a bleached and withered mother figure giving birth to a pile of dusty bones as a depiction of simultaneous death and birthing. I decided to not practice any part of this performance. I didn’t know if the paint would try too soon, how visible the marks would be on my garment, how much of the sculptures would be left intact, how long it would take, whether the audience would be implicated or not, or how I would myself be acting in the moment. I wanted every aspect to be automatic and unpredictable, knowing how it would begin but now how it would end. This to me added a further sense of desperation and an organically raw physicality.

Certain things that I hadn’t considered came about during the performance. Firstly the paint leaked from small cracks in the porous unfired clay, leaving puddles on the canvases beneath the pieces. This liquid also soaked into both the clay and the garment much more than I thought it would, meaning it didn’t go as far or lend itself to big gestural mark-making. The wet, slippery clay however was really great to work with in my hands and was able to itself be painted onto the fabric. My audience fully entered my performance space and wandered about it at their own paces as I continued my actions, either following me or looking closer at the other objects. I hadn’t really considered how immersive this piece had the potential to be, so this was very interesting to me. It was brought up that within a typical gallery space the audience would probably stay back, but that this immersive-ness added another layer to the work. As this was a group tutorial there was a lot of talking about the work, and everyone agreed that the performance would have more impact in silence, with the only sounds being those made by my actions. Sound is definitely an important consideration to me so I agree with this, and would have had the group speak after the performance was complete if I had much more time. It was also interesting listening to the group slowly understand the workings of the performance as they took the time to notice and contrast certain aspects: the clay pieces being like artefacts, the liquid coming from the inside, the linework on my garment being figures and these figures being deliberately filled in. I could sense a feeling of slight mystery in the way they observed my actions as the performance began to unfold. A narrative was definitely picked up on, and the sculpture in the centre of the space helped expand this contextually. The sculpture was read as something I was actually performing to, either as some kind of sacrificial offering or as a prior iteration of my “character” – a kind of previous life or ancestor. The latter reading was fascinating to me, and it felt like a huge success in breaking ground between my intentions and the viewer’s understanding of my work. In terms of this character, I was seen as not being at all myself but filling a theatrical role – this was aided by my complete silence and masked appearance, recalling old East Asian and European theatre traditions. It was suggested that I extend this idea further by fully obscuring my face with no sign of my real identity. I was considered sad or solemn as I carried out the performance, and my other body language was noticed too – a violence in the destruction of the clay, but a deliberate delicacy in the soft touches and caresses of my hands around the broken pieces. The emotional resonance embodied in my physicality itself was another success of this presentation (Anqi actually came up to me after the presentation and told me she nearly cried as she watched me break apart the clay – this has stuck with me). While still appearing ritualistic and having a sense of ancient history and tradition, the impression seemed to be that I wasn’t referencing any one culture. Instead the aesthetic and motifs were read as quite pancultural – but with a mix of influences including the kimono silhouette of the garment an element of European figurative art. The pieces left over from this performance are now works in themselves: the painted garment, a pile of small pieces of clay partially stained red and now resembling rubble, and the canvases beneath the full sculptures that now carry the traces from leaked paint and the destruction of the objects – clay and fine dust adhered to the fabric by dry paint as an organic memory of the event. I’m planning on suspending all of the fabric works (garment and canvases) as an installation work, with the clay pieces either as a pile beneath or sorted through and displayed individually like museum relics. The performance now is only the origin of another branch of my project, one chapter in the cyclic narrative which leads to another expansion, just as a performance and other works prior led to Obituary as one of multiple paths. The remains become the work and the body changes vessel once again. When performing again, I definitely need to consider further the implications of performing live. This includes planning how to document my work and what kind of context it needs to be performed in. I was meant to take my shoes off before getting into costume but I forgot, and by the time I was “in character” it was too late and so they became read as intentional and affected a small amount of discussion regarding ancient vs contemporary – small details like this need to be ironed out if I want my work to be as successful as possible. Working intuitively and unrehearsed however felt very organic to me and I would like to totally exaggerate this method somehow, potentially with more possibilities for automatic interaction between myself and objects/environment and fewer pre-planned prompts. The location itself could also change the reading of the work completely – it was brought up that this performance would seem almost frightening if seen outside of an art school/gallery context, and that quality of unexpectedness or more intense reaction from the viewer is very appealing to me. I also need to think about duration, as when I finished this presentation I hadn’t reached any sort of conclusion or climax. I like the idea of performing continuously as people come and go, especially in an immersive environment. My concepts and references seem to be getting through extremely well to the viewer, so now I need to focus on experimenting with presentation and impact within the live performance space.

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hfgewer · 3 years

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Technology has no boundaries, convergence and symbiosis, China-Singapore Digital Economy and Artificial Intelligence Summit Forum held in the cloud

The forum was chaired by Bo AN, Chair Associate Professor of the President's Committee of the School of Computer Science and Engineering, Nanyang Technological University, Singapore, Zhang Lihua, Director of the CAAI Human-Computer Fusion Intelligence Special Committee, and Executive Deputy Dean of the Institute of Intelligent Robotics, Fudan University.pc case Desktop Case computer case best pc case pc case recommendations gaming pc case pc case white pc case atx mid tower pc case https://musetex.com/

　　4 major topics, 13 speeches, drawing a blueprint for development

　　13 scientists and entrepreneurs in the fields of digital economy and artificial intelligence in China and Singapore focus on "Artificial Intelligence and Brain Health", "Natural Language Processing and Brain-Computer Interface", "Information Learning Perception and Cognition", and "Intelligent Robot 2020-2035:" The four themes of “exploration in breadth and depth” were shared, and contributed to a high-quality cross-border, cross-cultural, and cross-field academic resonance and ideological turmoil, which provided the development of smart technology and digital industry in the post-epidemic era in China and New Zealand. Professional guidelines.

　　In the topic section of "Artificial Intelligence and Brain Health", researcher Jiang Tianzi from the Institute of Automation of the Chinese Academy of Sciences introduced the use of artificial intelligence to solve the challenges of brain health; Associate Professor Anqi QIU, deputy director of the Department of Biomedical Engineering, National University of Singapore, focused on the effects of brain images and genetic data on aging , Dementia and other aspects of the enlightenment to us.

　　"Natural Language Processing and Brain-Computer Interface" topic session, Cuntai GUAN, Dean of the Institute of Artificial Intelligence, Nanyang Technological University, Zhu Xiaoyan, Director of the State Key Laboratory of Intelligent Technology and Systems, Tsinghua University, Weisi LIN, Associate Dean of the School of Computer Science and Engineering, Nanyang Technological University Gao CONG, a professor in the School of Computer Science and Engineering, Nanyang Technological University, focuses on the research and application of artificial intelligence and brain-computer interfaces in brain health, the status quo and prospects of dialogue systems, visual collaborative intelligence and its productization prospects, spatial data management and mining and Brings wonderful views sharing on the level of smart city applications.

　　In the topic section of "Information Learning Perception and Cognition", Professor Tat-Seng CHUA of the School of Computer Science at the National University of Singapore analyzed the deep semantic understanding of videos; introduced by Jiao Licheng, former vice chairman of CAAI and dean of the Institute of Artificial Intelligence of Xidian University Several challenges and reflections on the current perception and optimization of quantum learning; Shengmei SHEN, Chief Scientist of Pensee Technology and Dean of Singapore Research Institute, focused on sharing the important role of artificial intelligence in driving the upgrading of the digital economy in the construction of Singapore’s “smart country”.

　　In the topic session of "Intelligent Robot 2020-2035: Exploring Breadth and Depth", Shuzhi Sam GE, a professor at the National University of Singapore and a member of the Singapore Academy of Engineering, explained the promotion and development of artificial intelligence and robotics in the digital economy; CAAI vice chairman, Peking University professor Liu Hong introduced a new generation of AI and public service robots; Chen Xiaoping, director of the Robotics Laboratory of the University of Science and Technology of China, analyzed the opportunities and challenges faced by smart machines in 2020-2035 from closed to non-closed; Nanyang Technological University, Singapore Computer Science and Engineering Bo AN, Chair Associate Professor of the College Presidents Committee, shared the latest developments and trends in distributed artificial intelligence.

　　Establish communication channels between the Chinese and New Zealand scientific communities and establish a long-term exchange mechanism. Relying on the "World-Class Society Construction Project" of the Chinese Association for Science and Technology, the Chinese Society for Artificial Intelligence actively organized and jointly organized this forum, which was awarded to the Institute of Automation, Chinese Academy of Sciences, National University of Singapore, Nanyang Technological University, Singapore, Xidian University, and University of Science and Technology of China , Jiangsu Nanjing Eco-Technology Island Economic Development Zone Management Committee, Sino-Singapore Nanjing Eco-Technology Island Development Co., Ltd., Nanjing Raco Intelligent Engineering Research Institute, and iFlytek Co., Ltd. are strongly supported. The forum takes the field of digital economy and artificial intelligence as an incision, and has taken an important first step in creating a "China-Singapore artificial intelligence dialogue mechanism".Musetex musetex pc case musetex website musetex company musetex manual musetex pc case review

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ericvick · 3 years

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Profits are rising in IRAs and 401(k)s, but so are future taxes

If you’ve had a toe in the stock market for more than a few years, you likely have grown increasingly giddy watching your profits pile up. But there’s a flip side to the story: Eventually, you might need to share a lot of those gains with your partner.

If you have put money into Individual Retirement Accounts or workplace 401(k)-style plans on a pretax basis, as millions of Americans have, your investment partner all these years was Uncle Sam. When you start making withdrawals, your partner will want a share of the spoils.

Taxes in sheltered accounts are easy to overlook if you have a long-term focus. But as retirement age approaches, the tax bill will come more into focus too, especially if tax rates start to rise. You might not be worth as much as you think.

“Many households may forget that not all of these (investment dollars) belong to them,” noted Anqi Chen and Alicia Munnell, authors of a report on retirement taxes. “They will need to pay some portion to the federal and state governments in taxes.”

Ed Slott, a certified public accountant and author of “The New Retirement Savings Time Bomb,” puts it more bluntly: Many retirement accounts are “infested with taxes,” he said.

Retirement news: These Social Security changes affect your retirement age, taxable benefits and eligibility

More: Why I always make prior-year IRA contributions to help with my taxes

In their report, Chen and Munnell, at the Center for Retirement Research at Boston College, estimated the tax bite on retirement assets for people in various income groups and assuming various drawdown or withdrawal strategies.

They looked at Social Security benefits, pensions, 401(k) plans, IRAs and other financial assets, such as stocks held in taxable accounts. Rental properties, owner-occupied homes, small businesses and other investments also can be used for retirement, but the report didn’t examine those categories. Adding them to the mix could further inflate tax bills for many.

Story continues

The good news is that roughly four in five retirees and future retirees don’t — or won’t — face a large tax bite on the financial assets they receive or sell to finance their lifestyles, the researchers estimated, typically paying little or nothing in federal and state taxes.

But for those in the top fifth or so on the asset scale, “taxes are an important consideration” that can eat up 20% or more of a person’s retirement income.

Reviewing the basics

It’s often smart to have money in accounts with different tax ramifications. “Like you diversify your investments, you want to diversify your tax strategies,” said Paul Axberg, a CPA and certified financial planner at Axberg Wealth Management in Sun City West.

Money withdrawn from 401(k) plans and IRAs is taxed as ordinary income. Assets in Roth 401(k)s and Roth IRAs are an exception. Roth contributions are made on an after-tax basis, so withdrawals generally come out after tax, too.

Social security

In traditional IRAs and 401(k) accounts, investors usually must start pulling out money as required minimum distributions that now start at age 72. Large withdrawals can make other income, such as Social Security benefits, partly taxable.

Social Security benefits are tax-free for most recipients, but not for people exceeding certain income ranges — $25,000 and up for singles and $35,000 and up for married couples. Above those figures, depending on how much Modified Adjusted Gross Income you have, you would pay taxes on up to either 50% or 85% of benefits. MAGI includes regular AGI plus nontaxable interest income (such as from municipal bonds) and half of Social Security benefits.

Tax and timing flexibility among accounts is important. “If you don’t have flexibility, you might need to pay taxes on your Social Security,” Axberg said.

Other financial assets, such as stocks or mutual funds held in unsheltered brokerage accounts, can generate short-term gains taxable at ordinary income rates or long-term gains taxed at lower rates. Interest and dividends from these accounts usually are taxable, too. But there isn’t a requirement to start withdrawing from these accounts at any particular age.

Focusing on strategies

While most people in or nearing retirement won’t face sizable tax bills, the situation could worsen if governments, especially at the federal level, push tax rates higher to deal with budget stress and surging deficits.

One obvious strategy for people still in the workforce is to channel some retirement-plan contributions into Roth 401(k)s or Roth IRAs. You will forsake front-end deductions, but you would save on taxes down the road and won’t face the requirement of mandatory withdrawals. About 10% of assets in IRAs and 401(k)-style accounts are held in the tax-free Roth versions, according to data from the Internal Revenue Service and the Vanguard Group cited in the Boston College report.

Another — and more painful choice — is to convert or transfer money from traditional 401(k)s or IRAs into a Roth. The pain comes from having to pay taxes on the amount you convert. Also, conversions make more sense when stock prices and other assets are low. When they’re high, like now, you would face taxes on higher account values.

Yet another strategy is to make regular withdrawals past age 62 from your IRAs and 401(k)s, while holding off on claiming Social Security. Delaying Social Security often makes sense anyway in that your monthly benefits will rise the longer you hold off (up to age 70). Ideally, you don’t want to draw heavily from retirement accounts or other sources while also receiving Social Security, as the combination could push some of your Social Security benefits into the taxable category.

More on Roth conversions

Roth conversions could become more popular if tax rates seem destined to rise. This is mainly a threat for high-income Americans (with income above $400,000) under proposals by President Joe Biden and congressional Democrats. But even less-affluent individuals with large retirement balances might consider them. Once you make a conversion and pay the taxes, the account is no longer subject to taxation.

Converting to Roth accounts “removes the uncertainty about future higher (tax) rates,” said Slott, who recommends a series of conversions over many years to “get some of that money out at today’s historically low rates.”

Robert Keebler, a CPA at Keebler & Associates, also suggests doing Roth conversions gradually, maybe once a month or quarter. You wouldn’t want to do a big one right before the stock market tanks, he noted in a talk sponsored by the American Institute of Certified Public Accountants. Doing a series of smaller conversions is like dollar-cost-averaging in reverse, Keebler said, referring to the popular strategy of buying in at various prices over time.

And ideally, you’d want to pay the tax bill using outside money so that you don’t erode the value of your newly converted Roth account, he said.

Reach Russ Wiles at [email protected].

This article originally appeared on Arizona Republic: The flip side of rising profits in IRAs, 401(k)s: Tax bills are rising

#401ks #Future #IRAs #Profits #rising #taxes

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awanqi · 7 years

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answering asks

to avoid that stupid mishap of things not loading when I answer and post asks, I’ll just make a mass post and answer them all here.

Hello! I wanted ask ( if you don't mind) if you have any advice or art tutorials for digital art! I wanted to start doing art digitally so anything would help! Also what computer or art software would you recommend? Sorry for bothering you and Thank you! Have a wonderful day!😊

You’re not bothering me! No worries :)

Gotta remember that just like any other way to make art, digital art and the programs are just a medium and a tool to create, so as long as you’re consistent with practicing and making an effort to grow and improve, you should see progress.

Some advice? I would say to not go crazy on the different layer modes that you may come across, such as overlay, multiply, or luminosity, stay simple, don’t overuse textures. I would recommend learning how to paint materials before using textures, like learning how to paint rocks before using some rocky texture.

As for programs: I started out with Paint Tool SAI, but then switched over to Photoshop a year ago because I thought you needed to know how to use Photoshop to get a job in the industry (I can now say that that’s not quite true; as I said above, the program shouldn’t define your quality of art) Does that mean one program would make your art better than another program? Not necessarily, it doesn’t matter which program you use as long as you’re consistent with using that certain program in order to familiarize with the tool, and with drawing, obviously. Personally I like SAI because it doesn’t make my computer lag, and it’s faster and more simple. Not to mention that SAI is more fluid than Photoshop. Photoshop used too much ram and had too many brushes that, in the long-term, inhibited my ability to learn how to draw or paint an actual object, like a tree or something. (But remember, that’s just me. I was just dumb and thought certain brushes would help me paint the way I want, so I downloaded a bunch of brushes. turns out, didn’t work the way I expected it too) Try out both if you want, it’s all up to you anyway!) oh wait, you asked me what I recommend... I’d recommend SAI. haha

Basically,

SAI: faster, simpler, blends more. Less tools.

PS: clunky, more tools, more layer modes. Doesn’t blend colors like SAI. It’s got more features, but that could be a pro or con. depending on who you are.

Canvas size: anything you want, I usually have 12″ by 20″, 300 dpi. It’s a big file, but more details are allowed.

Oh, and keep in mind the ram you have. 4 gb is just not enough for either SAI or Photoshop. 8 gb is... acceptable, it’s what I have and good for SAI, but not for PS. Anything above that would probably be stellar, but I wouldn’t know because I haven’t ever gone above 8gb. :( oh well

I also recommend watching speedpaints, with either SAI or PS, they help you understand, if only so slightly, how things work with painting or whatever, and maybe some new techniques that you could take and adapt to your own workflow.

The youtube channel Sycra was a really helpful channel for me when I was starting out, so is this particular video on color/value by Anthony Jones.

How did you learn to draw? You're so amazing at it. Love you!

Learn from old masters, I copied a lot to gain knowledge/experience in drawing stuff, practice. Drawing from observation. I draw (digitally) every day, because I love it. Thank you. Love you too <3

So your full name is Angela Anqi Wang?? That's such a badass name

I’ve been lying to you guys the whole time. My name is actually “Inigo Montoya You Killed My Father Prepare To Die.” I have 7 middle names

lmao but thank you, really. No one’s every said that to me before! fun fact, my first and middle names are redundant in meaning, “angel angel”. ridiculous. I love my parents

I love your art so much!!! <3 I was wondering what program you used for digital art? Your style is so smooth and amazing ahhhh *^*

your art is honestly breathtaking like props to you man 👌👌👌👌

Paint Tool SAI, and thank you! <3

Ok, thanks for sending them in. It makes me happy to have some sort of contact with you all. Love, awanqi

#anon #asks

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ladystylestores · 4 years

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COVID-19 Fashion School Grads ‘Pushing the Industry to Go Virtual’ – WWD

https://ift.tt/3g2Mub5

“You are the chosen class,” said Oprah Winfrey. “Building your community is how you change the world,” said LeBron James. “Leave behind the old ways of thinking that divide us,” said former President Obama.

Some of the biggest names on the planet converged for a virtual graduation special over the weekend to celebrate the class of 2020. The message? The coronavirus has been hard on all graduating students — high school and college — who must face a historic level of uncertainty when they were just raring to go into the world.

The quarantined months have been particularly hard on students of such hands-on disciplines as fashion, textile and product design, whose final collections had to be completed on bedroom floors instead of classrooms, and often without supplies, drawing tables, pattern-making equipment or sometimes even sewing machines.

Graduation celebrations were scrapped, and long-awaited debuts into the fashion world, via the graduate runway show, along with them. And as unemployment soars and fashion retail and brand bankruptcies loom, students face a challenging future.

But there are glimmers of hope in leaving behind those old ways of thinking, as Obama called them. In the first part of our class of 2020 series, WWD saluted the next generation of fashion designers and trailblazers at the Rhode Island School of Design, ArtCollege of Design and Savannah College of Art and Design. In part two, we shared the experiences of students at Academy of Art University, Otis College of Art and Design and Kent State University.

In the final part of the series, WWD takes a look at what’s being done differently for graduation, as well as some words of wisdom from students, faculty and administrators, at the Fashion Institute of Technology, the New School’s Parsons School of Design and the Fashion Institute of Design and Merchandising.

FASHION INSTITUTE OF TECHNOLOGY, NEW YORK CITY

New graduation plan:

FIT is planning an in-person undergraduate commencement in October at the Hulu Theater at Madison Square Garden and a separate graduate school commencement ceremony. FIT will recognize the class of 2020 with a virtual graduation week celebration that began May 18. Since FIT’s annual “Future of Fashion” runway show was canceled, senior thesis collections will be featured on a web site, which will include a dedicated page for each graduate, representing five areas of specialization. In addition to social media visibility, FIT will produce an exhibition and film in the fall, featuring designs selected by industry experts and faculty (assuming it is safe to do so).

Career counseling:

FIT’s Career Internship Services continues to support graduating students with career preparation and development. In response to COVID-19, FIT recently hosted its first virtual career fair, in addition to offering students ongoing workshops to enhance virtual presentation skills for job interviews. “We’ve also been working with employers to understand their current needs, and continue to share related insights with our graduates so they can pivot as necessary, and communicate solutions during job interviews,” said Troy Richards, dean of the School of Art and Design. “Getting a job is going to require entrepreneurial skills. It might take a bit longer to find a job, but our students are so well prepared to hit the ground running, they will make a place for themselves.…We’ve also offered training in CLO 3-D software so students could translate their designs into digital models, strengthening skills during this time when everyone is speeding up production and cutting costs. Students have benefited significantly from feedback from industry critics, as well, as part of our senior program.”

Student wisdom:

“During this time, we are all encountering circumstances and challenges that we never expected. As I was approaching graduation and the beginning of my career, I was anticipating both an exciting period of growth, as well as an unknown path. It now seems that this path will be even more unpredictable. However, I believe that this unstable time creates an environment for young designers like myself to reimagine the boundaries and possibilities of the fashion industry. There is so much opportunity for exploration and innovation. Despite uncertainty, I look forward to the future, and I believe that my peers and I have the chance to bring new perspectives and vision to the table.”

— Annalisa Ebbink, BFA, fashion design, sportswear

“Every coin has two sides. The uncertainty destroys all my plans for the year, but also creates opportunities. After graduation, although it might be hard to find a job right away, I believe that the fashion industry will actively and positively face the situation. I believe that opportunities for new designers like me will appear. Under the current circumstances, I have had time to slow down, more time to think, to read and to develop skills for both my professional and personal interests. I will continue to pay attention to what is happening and respond accordingly based on the situation. Embracing and accepting the uncertainty, creating more value, will be the first choice for me.”

— Anqi Jiang, BFA, fashion design, knitwear

“This is definitely not the future I thought I would be graduating into, but FIT has provided me with the skills to adapt in this ever-changing world and I am interested to see how the fashion industry changes as we all heal.”

— Elle Klein, BFA, fashion design, sportswear

“When the future seems uncertain, I like to remind myself to breathe and continue moving forward. Every generation has dealt with difficult moments, like this one, but with our creativity and the skills we have learned we will find answers and solutions.”

— Giulia Rao, BFA, fashion design, knitwear

“To be honest, I’m a little frightened to graduate in this unfortunate time. However, I believe that our new generation’s biggest strength is that we are able to achieve a creative solution and find our way to adjust toward a better circumstance. Because of what is happening now, many of us are understanding the importance of sustainability. Personally, I encourage people to buy less and style more, and I hope many people will realize that the world doesn’t need fast fashion and that they don’t need to buy every single item on trend to be stylish and chic. Therefore, I think the current situation will be a push that we needed for many years.”

— Babi Byambatsogt, BFA, fashion design, sportswear “I have the drive to do anything in this world. A virus shut down the world, yet I am still chasing my dreams. Let’s take this time to grow, evolve and love one another.”

— Kenneth Ivey, BFA, fashion design, sportswear

“People have made me feel positive during this global virus, even about facing the future. Everyone has been forced to face the risk of losing their jobs or maybe even people they’ve loved. This year became more difficult and challenging for all students who are preparing to graduate. The only thing that we can do now is keep ourselves and our families safe and remain positive. We are facing a new era that interconnects physical and digital lives. Moreover, everyone is pushing the fashion industry to go virtual. For example, we have seen several brands using AR, 3-D and CGI technology in advertising themselves for the past few seasons. I talked to several friends and they strongly expressed their thoughts about developing new technology. Since we didn’t choose to live in an uncertain world, we must make the choice to make our lives more stable. I deeply encourage people to stay strong, even if the coronavirus makes us all feel like we are suffering and are overwhelmed. We have been forced to leave our comfort zone but all of us are going to face a better world tomorrow.”

— Ka Ho Kam, BFA, fashion design, sportswear “As Abraham Lincoln once said, ‘The best way to predict the future is to create it.’”

— Irene Xiaoyu Zhang, BFA, fashion design, knitwear

Faculty Wisdom:

“Every graduating class at FIT is special, but this year’s class has demonstrated real grit and proven their ability to adapt and overcome even the most challenging obstacles put in their way. I am confident that they will continue to use their immense gifts, creativity and remarkable work ethic to reach their full potential, and I look forward to following their careers. Like so many previous FIT alumni, I am sure they will be successful, and define success on their own terms.”

— Troy Richards, dean, School of Art and Design

“To the 2020 graduates of the fashion design program — you overcame the challenges that this semester presented. Often with limited resources — you designed and created beautiful garments, a testament to your tenacity, ingenuity and future success. Congratulations.”

— Sandra Markus, chair and professor, fashion design

“This is the moment we have to rethink what being a designer is. We don’t know what’s going to happen in the future, but it’s an exciting moment to make something new and different come out of it. You can be the designers of a new age.”

— Tom Scott, assistant professor, fashion design

“See the unusual in the usual, and what feels like a collapse is nothing more than space for new ideas.”

— Amy Sperber, assistant professor, fashion design

“Creativity comes out of restriction. You’ve proven that being innovative, influential and inspired has no boundaries.”

— Nicole Benefield, assistant professor, fashion design

PARSONS SCHOOL OF DESIGN, NEW YORK CITY

New graduation plan:

The Parsons graduation ceremony went virtual on May 13 via Zoom for students and their loved ones across the globe. The hourlong program included remarks from Parsons leadership, program directors, faculty and students. “While circumstances are undoubtedly different this year, a few things remain constant. This includes our students’ unwavering dedication to and passion for their work as well as our commitment to celebrating and showcasing their achievements as widely as possible,” said interim dean Jason Kass. “As is always the case, our graduating students have done amazing work this year that explores new possibilities, terrains and futures for fashion. We are so excited to share this work with the public in the coming weeks and through a digital format that will be as uniquely Parsons as our typical on-site activations.”

Career counseling:

“Parsons understands that our graduates are anxious about their futures in ways that are extraordinary, and we will be working with all students to ensure that they feel prepared and supported as they enter an uncertain job market,” Kass added. “Our School of Fashion program directors continue to work closely with graduating students to help them identify productive ways forward. In some instances, this includes pairing students with industry mentors while in others, it means holding regular Zoom sessions for students to share their anxieties as well as ideas. Now is a time for forward-thinking action and creative problem solving, both of which are at the core of a Parsons education.”

Student wisdom:

“After four years of blood, sweat and tears — managing school while working to support myself, commuting from a different state, and oftentimes crashing at school or at my friend’s place to wake up and repeat the endless grind — I want to be celebrated in the best way possible with my rest of my mates. But because that’s not possible beyond Zoom calls at the moment, I’m just trying to make the best of it through digital platforms. As much as I’m going to miss school, running into people to talk about useless crap, pulling all-nighters with the dress form and celebrating our survival through each semester with the same people that pained through with me, I continue to remind myself that this isn’t the end to my learning, to meeting, connecting and creating.”

— Sayo Watanabe, School of Fashion 2020

“This pandemic situation is a tough time, but it also lets people rethink about lots of aspects of our life, for me it shifts my view on human connection and technology. The situation has also affected how I approach my thesis as well. This graduation doesn’t mean an end, I will definitely keep working on what I believe, and what I care about.”

— Danlin Zhang, School of Fashion 2020

“We were told on the first day to center our process around who we love, what we care about, the community that surrounds us, and above all, to demand excellence of ourselves. This way of thinking will be carried with me throughout the rest of my career and life. I look forward to nothing but excellence from the class of 2020.”

— Katya Ekimian, School of Fashion 2020

Faculty wisdom:

“Creative visualization is a powerful thing. See it, believe it, design it and your idea will manifest as a reality. Your expression must count for something true and the energy that you put into your creative process will be received by those who understand it. You will feel completely fulfilled and empowered by that process and nothing will stop you from achieving your goals.”

— Keanan Duffty, program director, MPS Fashion Management

“Everything needs to start from self. Knowing and understanding what is important to you — what is going to drive the commitment. Being blatantly truthful of your strengths, weaknesses and attributes will be the key to unlocking and owning your unique positioning, beliefs and place in this ever-developing industry.”

— Neil Gilks, program director BFA Fashion Design: Collection and Product

“Embrace the future, class of 2020. As designers, you have the opportunity to design new systems for an industry that is in need of fresh new approaches to collaborative processes. Build on what you have learned through your years at Parsons, identify what is missing, and problem solve by offering innovative solutions. Think globally and reflect on what fashion needs to do better, be it sustainable practices, ethical conduct, community justice or systemic changes. This is a time to rethink, with design, new ways to strengthen the local and global fashion industry alongside refining current media and communication skills.”

— Francesca Sammaritano, director, AAS Fashion Design

“This is going to be a difficult time to enter the job market as a graduating fashion student. There is no point in sugar-coating the truth. However, this crisis will end, and brands will need innovative thinkers that can think beyond old business models and engage consumers in new, more meaningful ways, no matter the format. This is a moment when companies are more likely to take risks, to use this as an opportunity to reset and build new foundations that can ensure a brand’s future success. This means they will be looking for new employees that are ready and willing to work hard and rethink what fashion can be, with more careful consideration of people and planet.”

— Joshua Williams, associate professor, MPS Fashion Management

FASHION INSTITUTE OF DESIGN AND MERCHANDISING, LOS ANGELES, ORANGE COUNTY, SAN DIEGO AND SAN FRANCISCO

New graduation plan:

“We went 100 percent remote and online learning for the spring and summer quarters, and it’s been great,” said Barbara Bundy, vice president, education at FIDM. “The thought process continually changes, because we’re living in this world of uncertainty, but right now it looks like we are doing San Francisco campus graduation in June and Los Angeles in September. What form it will take we don’t know. We usually do L.A. graduation at Staples Center, and with the reopening of large events and venues moved now to California’s reopening stage 4, who knows what will happen? We want to give our students a ceremony if possible. We also had to cancel our debut fashion show. But we were able to squeeze in a photo shoot with our advanced fashion design students before the stay-at-home order, and we are doing weekly Instagram takeovers with some students. We want to do a show, but where, when and how we don’t know.”

Career counseling:

“That’s the big thing, the uncertain job market,” Bundy said. “Students are putting their portfolios together, and the career center is working with them one-on-one to arrange initial interviews that are being done virtually. We are waiting for companies to open up as well….And in the meantime, we’re doing reaching out and saying, ‘Hi; we’re here if you have any needs.’ Our number-one recruiter over the years is Guess; they touch every major and have been dear partners. They sponsor our sustainability classes, and have been generous with scholarships. We’ve also been working with the Black Design Collective. And we’re looking at doing virtual job fairs. We are being creative.”

Student wisdom:

“I think it’s a great time for young designers to be creating. Fashion is going to be different after the pandemic; I don’t know exactly how but I’ll continue to adapt and evolve. I’m using this time to create a new collection and consider it an exciting time for fashion.”

— Scarlett Dyer, advanced fashion design major, FIDM 2020

“I like to keep busy, so while quarantined, I’m just doing as many things to fill my head as possible. Currently, I’m taking this time to make masks, looking into getting my master’s degree and waiting for the job market to open back up.”

— Delaney Poe, advanced fashion design major, FIDM 2020

“I’m grateful to be working remotely as a Global Product Innovation intern at a major skin-care company. While it is not an ideal time to start a career, I’m confident that beauty and related industries will recover. Change is intimidating but as a young person, at the start of a career, it’s also exciting. We have the opportunity to make history.”

— Natalie Noble, beauty marketing and product development major, FIDM 2020

“COVID-19 has definitely changed the way I see the world and future. The opportunity presented now, creating anew, has given me liberty to begin the execution of the beauty brand of my dreams.”

— Roxana Ontiveros, beauty marketing and product development major, FIDM 2020

Faculty wisdom:

“Hang on to your dreams, don’t lose them, and stay positive. The class of 2020 will always be remembered as the class that graduated during the pandemic. As one student said to me jokingly, ‘I have always wanted to be the smartest one in the room, and now that I’m studying at home, I am always the smartest one in the room.’ They might not have some of the same events, but will go down in history with pandemic graduates. I have respect for them, they are working hard on their resumes and portfolios. I know they will get amazing jobs, and they have the skills for tomorrow. They are tech and social media savvy, and ready for what will happen today and in the future.”

— Barbara Bundy, vice president, education, FIDM

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