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indiiiart · 4 years

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hi! i know you probably get this a lot, but can you have some tips on starting to draw? i absolutely loooooved your lighthousecore-ish drawings, and it gave me lots of inspo to start drawing. no prob if you don’t wanna answer! ✨

no, i don't mind at all, please always feel welcome to ask anything! i thank you so much! i'm so happy to have inspired you, what greater compliment could there be? i'm just afraid, i don't know what to tell you. Do you have any particular questions i could answer? because i don't know how to start drawing, i don't remember starting it, i just always did, and when i feel like it i... just do it?

despite the fact, that i in no way feel authorised to give advice in anything, i guess i'll try sharing some processes i enjoy and that spark motivation in me when it comes to drawing or creating and might be relevant for starting, with no pressure and easy success to keep motivated?! i don’t know...

- i prefer drawingpads that i can rip pages off, because, i want to scan them or throw them away and only keep the nice stuff. i tend to bind my "sketchbooks" after the pile got to big for my drawer. and the super nice stuff goes straight to my protfolio. (which is an old photoalbum i glue random stuff in and a website) i love collecting and collaging things, same goes for my art. also this takes of the pressure of creating only nice stuff or the nasty feeling of wasting or ruining something

- maybe choose one medium you like and try to make the most of it. e.g. all purpose paper & black ink (+occasionally water), or a nice sketching paper & an oil based black pencil (that doesn't rub off,or smudges, isn't to soft or hard, has a nice rich black, + is always waterproof if you decide to go over it with watercolour or something (i like egon schiele, he did stuff like that, he also used brownish paper, which i find nice))

- choose cozy, lazy days with time and a free mind and just try drawing what you see and know, as you perceive it. e.g. the kitchen cabinet, cuttlery, a mug, that ugly painting in the hallway, your window and what you can see, grandmas curtains, the pattern of the ugly old duvet from the 80ies... go outside and look. what does a tree actually really look like? a branch? a stone? leaves? weeds? a house... create a library of images in your head, a repertoire to pick from when needed.

-what i did for the lighthouse stuff was remembering and imagening. find a subject you're interessted in / passionate about. something that gives you kinda romantic ideas and little stories, that play in your head and then draw what you see. with time, i made myself some kind of library in my head, of how my houses look like, my trees my jumpers... for lighthouse stuff, i imagined living there, what do i need, what will i pack and buy and do there? what will it smell like? (the sea, coffee, fish, wet wool, freshly washed linen on a line dried in the seabreeze, gas and petrolium burning up...) what will it feel like? i made some sort of moodboard with my drawings. i drew my keyring, my favourite mug, my jumpers and ones i want, the lamp i want to buy... i looked up houses and lighthouses online which i liked and gave me the right feeling and drew them with little twists... i remembered books i read and movies i watched and what they had..

- learn from others, copy others and collect. i love to take music, water and drawing stuff to the library and stay the whole day in the art section. i listen to my favourite music and flip through all books i can find, it doesnt have to be about art. i love folklore and smybols and nature,,biology, mummies, idk... everything! also old art, how did they paint in the middle ages? what does really old native art from different parts of the world look like? what colours, font, style did they use in 20ies refrigerator commercials? and then i copy everything, sometimes only little details, like making notes in pictures, sometimes real notes in words, or take pictures of stuff that interests me. later i go throw my notes and draw ideas from that. and use those as a reference. copy other artists you like and see what fits your style, or comes naturally to you and stays and what doesn't. you will see, after a little time you start combining and altering everything. like in being human you take all your influences, interests, surroundings, things you've been taught or just have learned all those put together equals you.

.... idk don’t listen to me

but thank you, you’re sweet.

#answer #nonnie #anonymous #mine #art #illustration #reference #tips #drawing #how to #lighthousecore #The Lighthouse #moodboard #inspiration #ink #paper #charcoal #research #Indiiiart

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monster12537 · 6 years

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My Walk

As close to daily as I can I try to go on a walk. Thogh at this point it’s more like twice a week. I take the same route everytime. It never grows stale or boring. And because of how my mind works I’m starting to attach a lot of symbolism to it for seemingly no reason at all. Figured it might be interesting to pen down all of these ideas(figuratively pen them down that is) so here goes.

I begin each time walking West from my house. 8 blocks in total. It doesn’t sound like much but it’s the most important leg of the journey. It symbolizes all that I love. Everyone I care for lives to the west of me. Everyone I left behind is west of my house. So I walk West, and I think of them.

I then walk 2 blocks North and 4 blocks back East. I guess it’s smybolic of me turning my back on them? I haven’t thought through all of this so bear with me. Not that I’ve left them behind but I do feel like I abandoned them still.

After that I go North for quite a distance. I go until I reach a park. I circle around it including goin over a substantial hill. I consider this as the point where I “get over” what I’m dealing with as it’s when I’m thinking about the negative things I deal with, and process them that I may leave them behind. From the park I take the reverse route until I get home. I ise this time to reminisce. I also change my music from whatever I found recently to my older music. Mainly because Heavy Metal is awesome and I love destroying my ear drums.

Other than consistently walking the same route I constantly feel the same when I get home. I feel refreshed but also lonely. Every time without fail. An overwhelming sense of lonliness overtakes me. Not sure why, or how to deal with it. I also hate going home. I want to stay outside and keep walking but I have to go home every time. And I hate it.

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gothwho · 7 years

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Angel's Egg is eather the greatest animation film you ever watch or the worst , there's no in between .. let me know if you ever watch it , i still feel lost after watching it lol

Hey, sunshine 👋 Sorry this is really late, I’ve finally watched it and first of all I have to say I actually really like it! I’ll put my thoughts under a ‘read more’ bc it’s going to be a long mess 😅

So - of course this is just how I see it but - I think it’s really important to let yourself in for watching this movie without any expectations or hasty perceptions bc it will demand all attentivness and sensibility you can muster to understand what’s going on and what this animation is about. I would recommend to make sure to be ‘in a good mood’ before you consider to give this movie a chance bc for me it was rather heavy and anything but a ‘casual movie to watch when you are bored’ lmao. The music, the images and the atmosphere of it really left it’s impression I would dare to say it messes with your head a little…Because it totally lives on the connotations set by the individual. This goes for the - rlly impressive and unique - soundtrack, as well as the smybolics and images and your internal conception. For example, the girl’s first encounter with the traveller: at first you just hear the sound of it but you can’t see what it is; it sounds like bulldozers lmao but you just can’t see anything. When these ‘things’ that drop him off come closer you still don’t know what it is bc you’ve never seen anything like it and then you get the idea of it being some sort of ‘red tanks’? But they don’t rlly resemle them except for a few details. And then, when the traveller steps out there are these tubes that look rather organic and they reminded me of veins and when they drove off I thought of the image of an anatomic heart and I was like ‘woahhh’… Deep. 70 or so percent of this movie just takes place in your head???The only two characters don’t talk much, but what they say is of great importance and tbh I couldn’t make sense of it all. And I couldn’t pin point every symbol or interpretation of a scene either. But that one scene where they enter this huge building and the girl puts down her carafe at the end of tis huuuge row of other carafes, idk something clicked and this is how I see it: At the end of the movie you can see the city and the beach and at first I thought they would zoom out and it would be an island but you can see it is actually the undersite of a ship! And in that case, regarding the ‘plot’ of that movie, it has to be the arche. And as the girl showed to the traveller that the bird has already turned into a fossil, my first thought, that the girl is the dove, turned out wrong. She was clearly not human though, I am sure of that, so I came to think of the girl being the soul of the bird that sets everything on keeping her egg alive, not knowing that she is, you know, not alive anymore for decades already and regarding the fossils youcould see along with the one of the dove, were those of dinosaurs and is trapped in that never ending cycle of her journey, trying to get her egg to hatch. And that scene when she drowned, was maybe her ‘passing over to the other side.’ ?????????????

*deep sigh*

There is still a lot I don’t understand 😐But I really like that this movie is full hidden messages, like these soldieres with these harpoons chasing after shadows of fish that aren’t there (anymore) it reminded me of overfishing. I don’t even want to call it a movie or animation bc it is Clearly Something Else. And as you said I am still lost after watching it, too shkyhsjsnjak but in my opinion definitely worth giving a try! Wow, I think I have a headache 😂😂😂😂

#at this point #thanks for reblogging that beautiful gif set and introducing me to this ...unique animation #for the style; it was produced in the 80s and can´t compete w modern fluid animations but you can clearly see how much effort they´ve put #into the music. the details of the city. the creation and conveyance of the atmosphere which I rlly rlly liked #I hope this is not too excessive there is just so much to say abt this djkdsicjej and I also would like to know abt your thoughts!!#if u want ^^#hope you have a great day <3333 #ask #angel´s egg

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geimei · 7 years

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Hello. I have read that all geiko/maiko movements (when they dance) have a meaning and that makes the whole perfomance have a meaning, like a story or some kind of beautiful opera (the one you can enjoy in occidental theatres). Is this true? Can you please share with us your knowledge about dances? I hope you can understand my question, english is not m y first language. Thank you so much for this blog!

I sadly know very little about Japanese dance, I don’t really have many resources to learn about it. I will tell you all that I know though!

All Maiko and Geiko of Kyoto perform a style called “Kyo Mai”. It’s heavily influenced by the graceful and sophisticated mannerisms and movements by members of the Imperial Court, which used to be in Kyoto, and came into existence in the 17th century.

Each of the five hanamachi of Kyoto has it’s own, unqiue style of dancing though, because every district follows different dance schools. While I’m far from being an expert, I’d say that you can tell them apart after a while of watching Maiko and Geiko dance.

Gion Kobu’s dance school is the Inoue School, and it’s the most famous out of the five dance schools taught in Kyoto and belongs to the most well-known dance schools across Japan. It derives its style from Noh theater which was founded in the 14th century and used to be watched mainly by nobles. Its dance style is very static and minimalistic, especially when you compare it to Kabuki, and only few props are used (mainly masks), and so is the Inoue style. The Inoue Style breaks down complex emotions and stories into small, seemingly simple and strong and decisive, yet graceful movements.

The Inoue School was founded around 1800 by Sato Inoue who was a lady-in-waiting at the Imperial Court and also taught the dances used in ceremonies at the court. The Inoue School is only taught in Gion Kobu, unlike all of the other dance schools taught in Kyoto’s hanamachi, which are taught nation-wide.

The head of the Inoue School is called Iemoto, and is basically the dance master. She has pretty much absolute power in Gion Kobu and she is the “model” all of the Maiko and Geiko aspire to become. Her power and influence also expand far out of Gion Kobu, and she is one of the most important figures in Kyoto’s hanamachi and Japan’s traditional dance. They are also the only person allowed to compose new pieces in the Inoue Style of Dance. All Iemoto have been trained from a very young age, usually from ages 3 to 6. They study to become dance teachers and take the position of Iemoto when the last Iemoto chooses to resign or dies and choreograph and manage the Miyako Odori.

The young girls chosen to become the next Iemoto one day are either already part of the family or adopted into it. Every Iemoto takes the title “Yachiyo Inoue”. The current Yachiyo Inoue V was born as Michiko Inoue in 1956 and took up the position in 2001.

All other four hanamachi of Kyoto follow dance schools that are mainly inspired by Kabuki Theater, which came into existence in the early 17th century and used to be mainy enjoyed by common people, because of it’s dynamic, broad and dramatic display of emotions and lavish costumes and secenery.

Pontocho follows the Onoue School of Dance, Kamishichiken follows the Hanayagi School of Dance, Miyagawacho follows the Wakayagi School of Dance and Gion Higashi follows the Fujima School of Dance. These dance schools use a much wider set of moves and are visibly more dynamic than the Inoue School of Dance. Kamishichiken’s and Pontocho’s dance schools are especially close to Kabuki. All of these dance schools are highly technically demanding and require a good deal of strength, especially in leg-muscles, and general physical health. In Kyomai and in a lot of traditional Japanese dance, deep emotions are coveyed via subtle, graceful movements. While the movements are much less dramatic, dynamic and “athletic” than what we are used to from many traditional western dances, they are performed with absolute precision, elegance and the constant strive for perfection.

Out of the five, I’d personally say that Miyagawachos dance school is the most upbeat and dynamic and the easiest to enjoy for the untrained eye.

Other hanamachi in different parts of Japan follow different dance schools - pretty much every hanamachi has “their own" (although they are usually taught nationwide). The differences are often remarkable and easy to see, even for the untrained eye, especially since no other hanamachi in Japan dances Kyomai, and therefore their movements are often more dramatic.

Most of traditional Japanese songs talk about old folklore, heroes and heroines, the beauty of nature and the four seasons and love, be it unhappy, unrequited or happy and most songs performed by Maiko and Geiko are about love and nature.

The movements of the Maiko and Geiko accompany the lyrics of the song and often tell a story. There sadly are only three traditional Japanese songs to which I know the full English translation, the Gion Kouta, Harusame and the Kamishichiken Yakyoku. The Gion Kouta (”Ballad of Gion”) is about the beauty of the Gion district and Harusame (”Spring Rain”) is about a courtesan leaving her district after paying off her debts, to live a new life with her lover and the Kamishichiken Yakyoku is basically an ode to Kamishichiken and its beauty.

However, I do know the general plot of some other ones as well, for example: “Himesanja” (my favourite), “Three Princesses” is about three princesses, sisters, who all fall in love with the same prince. The song is about their fighting and wrangling, which eventually leads to the suicide of the youngest princess. The song “Natsu Wa Hotaru” is about catching fireflies in the summer.

Once you know about the lyrics or even just the general plot of the song, the dance immediately makes much more sense. I think the Gion Kouta is a great example for this, listen to it once ot twice while reading the lyrics and then watch Maiko or Geiko perform it and the movements will make sense.

Hands and fans can be used for a very broad variety of movements and the mai tenugui is usually used to smybolize some sort of headwear from the Edo Period. When you see a Geiko biting down on it, it’s a sign that the character she is portraying is in great emotional turmoil; this is a classic gesture taken from Kabuki of women in despair.

Sometimes other props like hanagasa, floral hats, or cherry blossoms or wisteria blossoms are used, but I can’t really tell you about individual movements with those.

If you are interested in learning more about the Inoue School, here is a link to a fantastic documentary about the current Yachiyo Inoue V succeeding her grandmother, Yachiyo Inoue IV, who passed away in 2004: https://www.youtube.com/watch?v=_wVExO0O1x4

And here are some videos of dances that I’d recommend to get an idea of the different styles of dancing used in Kyoto’s hanamachi:

Suzume Odori - danced by Gion Kobu’s Maiko (a special dance only performed during the Gion Matsuri)

Kabuki Odori - danced by Pontocho’s Maiko and Geiko (a special dance only performed during the Gion Matsuri)

Konchiki Odori - danced by Miyagawacho’s Maiko (a special dance only performed during the Gion Matsuri)

Komachi Odori - danced by Gion Higashi’s Maiko (a special dance only performed durig the Gion Matsuri)

Kamishichiken Yakyoku - danced by Kamishichiken’s Maiko and Geiko (the final dance of the Kitano Odori, sometimes also performed outside of the odori for special occassions)

Ayame Yukata - performed by Geiko from Gion Higashi during the Miyako No Nigiwai

Kishi No Yanagi - performed by Geiko from Kamishichiken during the Miyako No Nigiwai

Seigaiha Part 1 and 2- performed by Geiko from Miyagawacho during the Miyako No Nigiwai

Genroku Hanami Odori - performed by Geiko from Gion Kobu during the Miyako No Nigiwai

Yoshiwara Suzme Part 1 and 2 - performed by Geiko from Pontocho during the Miyako No Nigiwai

#ask

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