#...Speaking of I need to do more painterly pieces | Explore Tumblr posts and blogs

antiloreolympus · 3 years ago

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12 Anti LO Asks

1. i feel like in the beginning at least the painterly look actually looked nice and could distract from the less than stellar writing, but now it looks so rushed and makes it look sloppy. i know photoshop specifically doesnt have good paint mixing tools, but it just looks so ugly now.

2. listen im not going to nitpick that sometimes the eyes in lo arent consistent levels unless its particularly egregious (and trust me there are some really bad examples) but i do think it speaks to how bad the art style actually is when its praised for being so "beautiful". like if it marketed itself as unique, then that's more excusable, but its marketed as some groundbreaking piece of art, which falls flat when we see facial features cant stay consistent and it looks rushed and flat.

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From OP: To clarify, the assistant would have to do 20 panels for a week (from what was stated). However, it definitely has to be done before a week since it has to be ready by Sunday. With the pay of $450 USD total, that’s $22.50 per panel. I think the assistant would spend 30 - 45 min per panel if RS is hiring someone who can do it fast.

I’m iffy on the payment but I still need to clarify because I feel some of these asks have some misleading information or misinterpreted the post in this next section.

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3. yall why is rachel AGAIN asking fo helpers? doesnt she have 5+ team already? the lack of same figures only adds to the degraded quality of art. also doing 20+ panels with inking, coloring, & lettering? other webtoon artists and the WT itself have gone on record its required for a featured comic's panel count to be 40 panels ... so rachel is basically only paying $450 for someone to do over half of the work she's supposed to do for while she gets all the fast pass, merch, and ad revenue. cool...

4. ok but no that ad rachel put out legit makes me mad esp considering how low the pay actually is. shes asking whoever applies to do the inking AND all the coloring while she what, only slaps on random shadows and puts in her misspelled dialogue? especially when its 20+ panels? the person would have to do 95% of the actual work for a solid chunk of the ep,and that doesnt include the other people on team who also do 95+ of the work. the whole situation makes her really look unpleasant and greedy.

5. me with my tea, watching people drag rachel for her trying to pay barely anything for assistants to do most of her work and only really paying in "expose": oh no, anyway -

6. rachel purposely turning off replies and comments to her posts asking for help which has shit pay on it ... she is aware its a bad look and still is trying to silence people on calling her out on it. this is not a good look, smythe.

7. i guess that anon who admitted the art team of LO work in batches while only working off sketches is right, and for a shockingly low pay too. if thats how the team is paid too then her team isnt even making minimum wage despite doing most of the work. i wanted to give the benefit of a doubt towards rachel but this honestly looks so scummy, especially when we know she's making a lot of money off fast passes, merch, and book deals. it's honestly gross to see her true colors come out like this.

8. people did the math on rachel's pricing for working for her and its at best like ... $5 an hour. and w/ the locked comments too? thats her being aware she KNOWS shes taking advantage of new and young artists because they worship her while she scams them fo work for barely nothing in compensation. youd think someone who lucked out this ,uch on her first try with her bad writing & art would know to pay at least minimum wage, but nah. this is so telling to her actual character its not nice. :/

9. rachel makes so much money off LO its honestly disgusting shes taking advantage of her fans to literally do the work for her while not even paying the lowest end of minimum wage. im seeing a fair few ppl calling her out over this so hopefully no one gets scammed and shes forced to actually pay them if someone reaches out, but considering shes ignoring it to instead retweet fan art is very telling.

10. TBH the funniest (worst?) part about Rachel's pricing is you know she'd be pissed if someone offered that little for her to do so much work, yet she's perfectly happy to ask her fans to do so for her while she gets the credit for it? Maybe that anon was right, the greedy capitalist, woe-is-me Hades IS her self insert. Who knew!

11. my little brother works at mcdonalds and gets paid $600+ a week meanwhile rachel cant even pay her workers even that for doing the bulk of the literal work for her? also flats and inks take different skills yet she expects them to do two jobs for one with such little pay on top of it??? shes wildin for this im sorry to say 💀 unionize webtoons now 💀

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-----FP Spoilers/Mention-----

12. One thing i don't get about the fast past episode is... doesn't Hades actually LIKES kids? Like, we have seen him happy hugging Hebe, he has no problem with holding Triton while Poseidon drinks something and he was pretty sweet to that little kid nymph that give him a cow. Why would he be okay with macking a child work? Does shades of dead children ALSO become slaves?

Also, this "backstory" with Thanatos comes out of nowhere? There was literally nothing that suggested Thanatos saw Hades as a paternal figure or that he respected him or had some sort of special affection for him? Even when he practically raised him, Hades didn't got atached to him even a little bit? He seems annoyed at Thanatos most of the time and doesn't look like he actually likes him... Was Thanatos literally hooking up with his "adoptive" father's girlfriend??? And let me tell you, NYX WOULD NEVER DO SOMETHING LIKE THIS TO ONE OF HER CHILDREN.

Come on, this is the goddess that was so angry that Zeus was being mean to one of her precious children that she SCARED THE TARTARUS OUT OF ZUES! Nyx would never abandon a kid Thanatos at Hades house,said "here, he is here to serve you" and then leave like she has better things to do. Is RS planing to also do a "golden child and scapegoat" thing like she did with Artemis and Apollo but with Thanatos and Hypnos? (Than's twin brother) becuase i can't think in another reasson why she would make Nyx do something like abandoning her son....

#anti lo #anti lore olympus #lore olympus critical #lo critical

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peroxidepoems · 4 years ago

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“What’s on your mind pet” !!!!! That made me smile lol I almost forgot what I came here to ask

I absolutely love your drawings and am in complete awe at how much you can get Spike’s likeness! I can’t draw (like, at all) but I am fascinated by it. So, I was wondering where you even begin when you draw? And how long would you usually spend on your art? Do you start with a little sketch and plan it out, how does it work for you? 💖

I’m glad you like my lil’ ask text. Felt it appropriate and might lend a smile to someone. Anyway, I’m glad you asked this! I enjoy diving deeper into the process of drawing, and it makes me happy when others take interest in it. I’ve drawn something to help show the steps visually since I felt pure text can only go so far. I’m going to add a “read more” now because this is a little on the long side.

The first thing I do is contemplate an idea. What I’d like for the character to be expressing, facial or pose-wise. I like it when my drawing can tell a story. Even if it is a simple one, at that. Once I have an idea in my head I compile a reference sheet. Especially for fictional characters portrayed by real-life people. It would look something like this. Although, in most cases, there are more expressions and head angles. (including alternate clothes and, for Spike, game face)

There is nothing wrong with gathering reference images. Professionals use this technique all the time. It has been proven that the results will be better when you have references to study from. For example, try to draw a dog from memory then try again with a reference. Basically, your mind can only hold so much detail and can start to warp in your head. No matter how often you’ve seen a dog. Once I have all those pulled up, I start the sketch process. It isn’t anything too pretty and often the finished version may differ as I continue. During the rough sketch part, I tend to scribble more than one thought down and go with the one that speaks more to me. Typically I will start with mere shapes then add details on top so that is why you can see circles, grids, and box shapes beneath character details like face, hair, and clothes.

Now that I’ve chosen which one I want to focus on, I start to line it. This part can differ, especially if I plan to have a background, but without one I tend to make the outline thicker. All the details on the inside will have a thinner line width. Then I will select a layer beneath it and start to color by laying all the flats down. During that stage, however, I will start to add small gradient tones. I will also color everything on different layers: skin, eyes, shirt, jacket, items, and hair. It makes shading easier.

Depending on how detailed I want the piece will justify how much shading and lighting it’ll need. Typically there are only two. This is also the point where I decide which direction the lighting will come from. As one can see in the example below. I add the darkest shading on smaller sections, very subtle notes. While the overall shading is lighter and throughout the piece. Third example is both together.

Nearing the end, I will select the entire image and add an overlay color. This will blend the tone of the piece together nicely. In most cases, I use reds or blues. Seeing as this character is often seen at night I picked blue. It offers a colder atmosphere while red can offer a warmer tone. This is also the part where I add the main highlight. Again I pick the color that compliments the character. So instead of a gold hue, associated with warmer tones, I will go with something closer to purple. I lower the layer opacity to roughly 10% for overlay and 20% for the highlights. Here are both versions.

I’ll add some final touches like the font on the tombstone, a crack, some small detailed lighting, etc. I might even add one final, small blur shading that will sit over everything (but below the overlay and highlight) just to really imply where the light source is.

For this image, in particular, I felt something was missing. The hand needed something in it, and at first, I thought a cigarette would work. Then I sat back to stare at the image from a distance — which I often do during the whole process. I took in what type of story I am portraying here, and though Spike with a cig matches his personality, I decided to add a rose. Thing is, I had the entire image done when I decided this. As you can see throughout the entire process above there was never a rose sketched in. This is what I meant by a piece can differ as I go along. For now, this explains the process enough and it is already too long, so I will have the finished drawing posted separately — rose included.

In the end, it really depends on the details — if it’ll be just a sketch or full rendered illustrations, on how long these can take me to finish. For example, I can sketch something up in under an hour. It is the lining and shading that seems to take the most time, for me. And, if the artwork is done in a painterly style, then it’ll take even longer (eight to twelve hours). For this drawing, it roughly took me three hours. I hope this answered everything nicely and thank you again for asking! 💙

#Poet Speaks

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archadianskies · 4 years ago

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19 + 18 + 17, Simarkus!

(soulmates + tattoo artist + skin hunger)

→ on Ao3

It isn’t the flashiest, slickest tattoo parlour but for Simon and Daniel ‘Jericho’ is the place where they can truly be free. It’s a place that’s all theirs, a place they carved out with hard work, with blood, sweat, and tears- so so many tears.

At first it had been just the two of them, as it had always been ever since they were sixteen and kicked out by their parents, and then Josh joined them, and then North, and since that day they have been known as the Jericho Four. They each have a speciality: Daniel specialises in painterly techniques, of colourul swathes that washed over the skin; Josh specialises in minimalism, of crisp, strong black lines; North specialises in text, of a thousand fonts at the ready to speak their mind.

As for Simon, well, Simon has never been good at any of that stuff. He’s much better at caring for others, at nurturing and soothing and so that’s why Jericho has a cafe inside of it. He cooks, he bakes, he brews for both the customers being tattooed and for any family or friends hanging around for support. Sometimes they don’t come in for a tattoo at all, and Simon finds himself serving students and workers on their lunch break.

It isn’t ever going to make them rich, but it’s enough to get by comfortably and really, that’s all Simon could ever want.

“Got a pretty complex booking tomorrow.” Danny whistles low as he scrolls through the email on his laptop. Simon looks up from his book, interest piqued, and scoots closer to him on the couch.

“Oh?” His twin tilts the laptop slightly, showing a beautiful geometric explosion at the heart of a glowing blue triangle, as if it were in the midst of shattering outward.

“He’s asking for white ink for some of the lines, so it’ll glow under black light. This is a seriously massive piece.” Danny nods, impressed. “Multiple sessions, with extra surcharge for the white ink. He’s already sent the down-payment, so he’s definitely committed.”

“That’s a crazy amount of work.” Simon reaches over to click on the image so he can zoom in. “It’ll be stunning when it’s done. Where does he want it? On his back?”

“No, over his chest. The fragments will spill over onto his shoulder too.” Danny clicks onto the next image, of the design overlaid on a male silhouette. “I blocked off the entire afternoon for this.”

“Then you better rest up.” Simon taps his temple. “Big day tomorrow.”

It’s a slow going day but Simon loves those best. It’s even raining outside, which only adds to the soft cosy mood inside Jericho. With no other clients booked except for Danny’s new one, Simon finds himself sitting at a table with the other three sharing a freshly baked pear tea cake. The tattooists have their sketchbooks out, and Simon loses himself to the sound of the rain and the scrape of their pencils. There’s some semblance of inner peace to be found, he thinks, just in these sounds.

The door opens, and the muffled pattering of the rain turns into a roar momentarily as someone rushes in. Simon stands automatically, switching back into his hospitality role.

“Good afternoon, welcome to Jericho.” He greets the hooded man neatly securing his folded umbrella.

“Hi, I’m a bit early for my appointment but I thought I’d come in out of the rain since I was around anyway.”

“Mark S., booking with artist Daniel Lambert.” Simon nods. “Would like a coffee and something to eat while you wait?” The hood falls back and that’s definitely not some stranger named Mark S. “Oh you’re-”

“Markus Manfred.” Josh finishes behind him, standing in surprise. “It’s- wow. You’re really here. I saw your thesis at the Museum of Modern Art. I marched with you last Fall. I thought you were in London researching for your upcoming mural?”

“Just got in last night, actually.” Markus grins, offering his hand for Josh to shake. There he is, Markus Manfred, adopted son of Carl Manfred; artist and activist in equal measure. “A little jetlagged and still adjusting to the timezone, but I’m here in one piece.”

“You did that portrait series on the Eden Club workers.” North adds, offering her hand to shake.

“With my brother Leo, yes.” Markus shakes her hand firmly. “They needed a medium to tell their stories, and we were honoured to oblige.”

“So what’s the story about this tattoo, then?” Danny pulls up another chair to their table, and Markus takes a seat.

“I want to build on one I already have. I want to make it mine, because the original wasn’t my design.” He shrugs, leaning back comfortably in the chair. “I actually intend to commission tattoos from each of you, to tell my story. I use cloth and brick walls as my canvas, but I want my body to be a canvas for you.”

“I don’t know if you’re being eloquent or cheesy as fuck, but this is the most interesting commission I’ve ever been given so I’ll let it slide.” Danny smirks wryly and Simon smacks his shoulder.

“Behave.” He turns to Markus, and this close he can see those famous heterochromic eyes. “Coffee?”

“Yes please. And a slice of whatever this cake is, if there’s any left.” Markus grins, tapping the closest plate. “Smells divine and I bet it tastes just as heavenly.”

He’s seen a lot of half naked bodies. It comes with the job- not his in particular, but well, Danny’s and the fact the parlour is tucked just behind the cafe. Simon’s gotten used to seeing people in various states of undress, so used to handing nearly nude people coffees and slices of cake.

He’s not ready for Markus Manfred to take off his sweater and shirt, revealing a body surely identical to the grandiose marble sculptures that used to grace the ancient world. Not wanting to delay his tattoo appointment, the artist had picked up his cup after finishing his cake, carrying it to Danny’s station at the back and promptly undressing. Simon doesn’t know why he followed, but his feet seemed to carry him after them.

“Fuck.” Danny exhales. “That’s a Kamski.”

Markus looks down at his chest, at the glowing circle at the end of his sternum. His grin is sheepish as he scratches his nape and takes a seat. “Yeah, it is.”

“No way, an original Kamski? Not a Camden?” North follows into the room, Josh behind her. “From before he left CyberLife?”

“Thirium ink. I thought I’d never see one up close.” Josh breathes, voice tinged with awe. “When he left CyberLife he took the formula with him. Their tattoos use an inferior ink with a lower thirium ratio.”

“Well we definitely don’t have pure thirium ink here, sorry bud.” Danny pats his shoulder and Markus laughs.

“No, I know. I don’t want another tattoo like this one. I want one I designed.” Markus clarifies. “This is my story.”

Josh has a thousand questions, and Markus seems happy to answer them. Selfishly, Simon goes to the front door and turns the sign to say ‘Closed’, locking the door so no one else will disturb them. He makes another round of coffees and carries them to the back. Danny has his noise-cancelling headphones on to tune everyone out so he can work. Josh has dragged his chair closer, and North is sitting on her tattooist bench. Simon hands everyone a new cup and takes a seat at Josh’s vacated bench.

“Do you think we’ll ever reach that stage though? Artificial intelligence that can think for itself?” Josh asks curiously and Markus hums in thought.

“I think so. It’s the issue with making them look human, though. The moment we make androids is the moment we divide the world.”

“What do you mean?” North frowns. “Wouldn’t that, I dunno, be a good thing? People get attached to roombas. What more when there’s robots that look like us?”

“That’s what I mean though.” Markus clarifies. “Half of us would anthropomorphise them, and the other half would reject them completely, unable to bridge the fact they are different from us. Humans find it hard enough to treat each other with compassion, what more when there’s an android that looks just like them but is a machine?”

“Then I suppose an android revolution would happen.” North shrugs with a laugh. “If we ever treated them like shit, then we’d deserve the revolution coming for us.”

“I don’t believe it would come to that, I believe we are an intelligent, compassionate race.” Josh argues. “We would achieve integration and acceptance through dialogue.”

“And you- Simon, isn’t it?” Markus turns his head slightly to catch his gaze. “Where do you weigh in, in this theoretical android revolution?”

He wrings his hands, frowning. “I wouldn’t really ever want to take part in it.” A confession of cowardice, but an honest one at least. “I’d just want those I love to be safe. I’d- I’d go somewhere and wait it out, I guess. But if they needed help, I’d help them. I’m not sure how I’d help with caffeine and baked goods, but...I suppose if they needed a place to stay, a place to hide I could give them that much.”

“He’s a softie.” North pretends to ‘whisper’, shooting Simon a grin. “But he’s got grit, and will get the job done.”

“That’s not a bad thing.” Markus smiles at him, and Simon, honest to god, hand over heart, swears the world slowed for just a moment so he could enjoy it. “Kindness in the face of a cold, cruel, apathetic world is an act of bravery, of defiance.”

They talk and they talk and Simon loses track of time until Danny takes off his headphones.

“Ok Christ I need a pee break.” He bins his gloves and makes shooing motions at Markus. “Go on, you too, before I start the next part.” He leads him away and North crosses over to sit next to Simon, elbowing him.

“I’m a flaming homo but that boy is…” She clicks her tongue as she makes an ‘ok’ sign with her fingers. “Gorgeous.”

“Who cares about that, he’s so-” Josh struggles to verbalise his thoughts, making a frustrated gesture with his hands. “He’s so beautifully compassionate and driven. He spoke at the protest I marched at, but only briefly. Hearing his thoughts, hearing his opinions here in private is just...something else.”

“Simon has stars in his eyes.” North teases, poking his cheek. He bats her hand away.

“I do not. I’m staring a healthy amount. Surely no one should look that beautiful and still be human, right?” He asks, exasperated. “He has freckles. Everywhere. He has the body of a marble statue. He speaks like a Roman orator. Or some Greek philosopher. He has one blue eye and one green eye for god’s sake, who let him loose on the world?”

“The more important question is,” North jabs his side, causing him to yelp “is he single?”

“Oh, yeah, because he’s going to be so interested in a coffee boy at a tattoo parlour.” Simon rolls his eyes. “I have so much to offer.”

“You do, Simon.” Josh frowns. “I do take offense to that. You’re a wonderful person, you gave North and I a chance when no one else would. You found us at our worst and helped us become who we are today.”

“Pretty boy would be lucky to have you.” North pecks his cheek. “I mean it.”

They end up ordering Mexican because it’s already six o’clock the next time anybody checks and Markus seems content to stay a little longer. Somehow in the span of an afternoon he feels like he’s always belonged right here in their little quartet. Even if he’s sitting there half naked with cling film wrapped taut around his freshly inked chest and shoulders.

“Ok Danny,” North fixes him with a serious look, “important question: where do you stand in the android revolution?”

“In the-” Danny makes a face. “Is this the shit you guys were talking about while I was working?”

“Well not the whole time.” Markus laughs. “Though I’d like to hear your thoughts.”

“I dunno. Would we be able to afford one?” Danny scoops salsa onto a chip and pops it into his mouth. “I’d treat them well, I guess. Make ‘em feel part of the family. If you treat them badly, they could snap and then you’d deserve what’s coming to you.”

“We’re years- decades away from that kind of tech.” Simon shakes his head. “It doesn’t really matter right now.”

“It does.” Markus objects. “They might not be real now, or maybe not ever, but how we treat anything not human is a reflection of ourselves. They’re mirrors held up to test our humanity.”

“This is way too deep for Mexican on a Wednesday.” Danny declares through a mouthful of food. “Just putting it out there.”

“I’m sorry I’m sorry!” He laughs, expression apologetic. “I swear I’m not like this all the time.”

“Pineapple on pizza?” North demands, pointing an accusing finger. “Wrong answer sends you out the door.”

“Can I abstain from answering until I finish my dinner?”

“I’ll allow it.” A pause as she narrows her eyes threateningly. “But only just.”

Markus Manfred takes a taxi home at about 8pm and Simon doesn’t quite know if any of it’s real, if any of it actually happened. It has to have happened, because there’s another session booked to occur in exactly three weeks. He loads the dishwasher as Danny takes out the trash, waving to Josh and North as they take their leave. Three weeks and Markus will return. How will he fill his time until then?

He doesn’t need to wait three weeks, in fact, because Markus comes back the very next day.

“Hey.” A greeting paired with a thousand kilowatt smile, easy and charming.

“Good morning Markus.” Simon blinks in surprise. “I didn’t think you’d be back so soon. Is something wrong? Did you need Danny to have a look at the tattoo? Is it bleeding too much?”

“Actually,” he grins and oh it’s far too early for Simon to process such a sight “I was hoping for a cup of coffee and some breakfast?”

“Oh.” He nods numbly. “Y-yes of course. What can I get for you?”

“Strong black with honey, and something bread-y.” Markus takes a seat at one of the tables. “I thought I’d get some work done here. It’s wonderfully private.” A nice way of saying it’s not a bustling Starbucks, Simon thinks wryly, but he’ll take it. He serves him a large mug of coffee and a thick slice of banana bread and tries not to stare too much at Markus’ elegant hands as he takes out a sketchbook and thumbs through it idly.

“What gave you the idea of this tattoo?” Simon asks curiously as he spots early sketches of the tattoo design. He takes a seat opposite him, nursing his own large mug of coffee.

“I wanted to shatter through the wall of self-doubt, of anxiety that held me back.” Markus smiles softly, eyes roaming the page. “Growing up in Carl Manfred’s shadow wasn’t easy but a lot of it was all in my head. Dad has never been anything but encouraging to us, as Leo and I both branched out on our own artistic journeys. What held me back was my own fear to leave the safety of his name and stand on my own.”

“Shattering the red wall.” Simon nods slowly. “I guess we all have that moment, don’t we? A moment where we have to decide whether to stay behind it where we’re safe but also changeless, or fight and shatter it, to find our own way.”

“Did you have one, Simon?” He seeks his eyes with such an earnest expression. “A moment where you had to choose to shatter the red wall?”

“We didn’t have much choice.” A heavy sigh. “It was shattered for us, by our parents. We got kicked out at sixteen, and there was no red wall left to hide behind safely. We only had each other, and the only way was forward.”

Markus reaches over and squeezes Simon’s hand. “I’m so sorry.” He says with such sincerity Simon believes it.

“It’s alright. Jericho is where we can be truly free.” He smiles tiredly. “This place is everything to us, and Josh and North are like family. I wouldn’t trade it for the world.”

“Why call it Jericho?” Markus picks up a pencil, turns to a blank page and starts sketching.

“It was the name of an old freighter.” It’s been almost fifteen years, Simon thinks, but the memory is still sore. “We hid there for a while, when we didn’t have anywhere to go. It was falling apart but it was dry and safe. It was home.” And now home is here, home is just upstairs and it’s dry and safe but also warm and full of love. Simon props his chin on his palm. “Feels both like a lifetime ago and just yesterday, to be honest.”

“Grief and trauma are not linear experiences.” Markus shakes his head, eyes candid. “What you experienced at sixteen will always be valid. Our growth is measured in how we cope with that pain, with all we’ve learned over the years.”

It stuns him to hear it, and he feels his mouth open and close as he tries and fails to reply with something coherent. Markus scratches his nape sheepishly.

“Sorry, I’m doing it again aren’t I? Sounding like some cheesy self-help inspirational poster.”

“I’ve just never been told that before.” Simon admits, smile wobbly. “I guess I’m just so used to taking everything in stride and carrying on. I bury everything deeply, in the hopes I never really have to process it.”

“Then it just rots, Simon.” Markus reaches out again, placing his hand over his and giving a reassuring squeeze. “There’s no chance for growth if the roots are rotten.”

He looks down at their hands, and it’s as though his heart wants to soak up the contact, wants to drink it in as though he’s parched. It’s not as though he lacks affectionate touch, they’ve always been an affectionate quartet of friends, but it’s more like he can never get enough. Markus very gently rubs the back of his hand with his thumb in slow, light strokes. Heat pools in his cheeks.

“I’m alright now. I’m much much better here.” Simon smiles, and though it’s a little shaky it’s real and heartfelt. “I’m happy and I’m safe, and we’re financially secure, so what more can I ask for?”

“I’m glad.” He says, and Simon knows he means it.

Though he knows it’s selfish, Simon finds himself hoping Markus will drop by for breakfast often. He finds himself inexplicably drawn to him, and his heart leaps into his throat every time the handsome artist opens the door and strides to the counter with confident, purposeful steps. He always has a kind word for all of them, always has a brilliant dashing smile and Simon’s been very careful with heart over the years, but he’d be kidding himself if he said he wasn’t head over heels for Markus.

“How’s the mural coming along?” He asks as he sets down a steaming mug of coffee.

“Pretty good. Most of the underlayer is down, but it’s forecast to rain for nearly the whole week so I’ve got to postpone it a bit.” Markus sighs wearily. “That’s alright. I’ve got another piece I’m working on in the studio, so I don’t really mind. How’s things here?”

“We had another customer with an original Kamski.” Simon tells him, and Markus raises his brows in surprise. “I know right? What are the chances of having two of you come within the span of a fortnight? She’s a ballerina. I’m pretty sure North’s in love with her.”

“That would be Ms. Chloe Hersh.” Markus smiles. “I’ve met her only once at an art gala but she’s very lovely. She is the original Kamski. The recipient of the very first thirium tattoo.”

“That’s amazing. How lucky we are to have the two of you stumble upon our tiny little parlour.” Simon muses as Markus laughs softly.

“Simon we didn’t find this place out of luck, we sought it out.” He says knowingly, as if it’s always been a fact Simon overlooked. “There’s talent here, and warmth and kindness and really good coffee and the most amazing tea cakes ever.” He finishes with a wink, and Simon knows he’s absolutely done for.

*~*

When Markus arrives for his second session, there’s barely any preamble before he’s hanging up his coat and stripping off until he’s shirtless. The linework has healed, meaning Danny can progress with the colour. Simon sets down his coffee and a berry muffin on the little table by chair, and tries his very best not to stare.

“We dropped by Greektown to see the mural yesterday.” Josh says from across the room. “It’s coming along beautifully.”

“Thanks.” Markus smiles. “Weather finally cleared so I’ve been trying to cram in as much as I can before it turns bad again.”

“You’re doing the backdrops for the ballet next, right?” North hops up onto her bench. “Chloe told me.”

“Yeah, it’s my next project and my brother is doing the promo shoot for it.” He settles into position, taking a gulp of coffee before Danny guides him to stay still so he can begin. “It’ll be fun, it’s a modern Anna Karenina.”

“Small world huh? Or maybe you Kamski originals are all like, telepathic because of the fancy ink.” North teases, and Markus chuckles.

“Oh no you’ve figured it all out. That’s the real reason Elijah Kamksi invented a new ink- to make a group of improved humans.”

“I’d believe it.” North snorts back a laugh. “His house looks like a supervillain lair.”

They fall into easy conversation, and Simon leaves occasionally to serve a customer at the front or bring more drinks and food. North eventually moves off to start working on a client, and Josh finishes his final session on another.

It’s as the afternoon is winding down that Simon starts to see the small telltale signs of pain on Markus’ face. Over the sternum is one of the most painful areas of the body given the thinner layers of fat, muscle and skin and as Danny moves to start layering the colour, sweat begins to bead on Markus’ forehead as his brows pinch together.

Automatically Simon reaches for his hand, returning the reassuring squeeze he’d given him the week before. Markus tilts his head slightly and gives him a grateful look, grip tightening the longer Danny works over the sensitive area.

“Hey, you’re doing great.” Simon murmurs, mimicking his earlier actions as he rubs his thumb over the back of his hand soothingly. “And it’s looking beautiful too. It’s all worth it, I promise.”

Markus nods numbly, squeezing his eyes shut and gritting his teeth as Danny progresses further down his sternum. Simon doesn’t leave his side, and it’s only when Danny sits back and removes his headphones does he realise he hasn’t let go of his hand either.

They order burgers and fries from a diner not too far away, Markus joining them for dinner after the parlour is closed. With each visit it feels less and less like he’s a stranger and more as if he’s family.

Discussions and conversations flow, and he’s interesting and verbose even if tonight he’s a little more tired than usual: a marathon tattoo session definitely does that to a person, and Danny is much the same. When he’s wiping down the table, he sees Danny pull Markus aside just before Markus leaves. He says something, his expression serious, and Markus nods solemnly before leaving to catch his taxi.

“Did you tell him about the aloe vera?” Simon asks as his twin brother returns to his side to help him clean up.

“Uh yeah. Definitely needs a higher level of care this time around and I told him to send me photos if his skin acts up so I can tell him what it’ll need.” Danny shrugs, not bothering to hide his yawn. “Next session will be the last unless he wants further detailing.”

“I think it’s your best work yet.” Simon compliments, wrapping an arm around his waist. “I mean it.”

“Thanks Si.” Danny smiles tiredly, bumping his forehead to his. “C’mon. Dying to go upstairs and sprawl on the couch with a beer.”

*~*

He hopes like last time Markus will appear for breakfast, but it’s not to be. He tries not to get his hopes up, tries not to look too eager every time the door opens. Markus doesn’t stop by for over two weeks, in fact, and Simon tries not to feel despondent as the days go by without his presence.

The mural for Bellini Paints at Greektown is announced as complete on social media, and they go to see it during lunch on a sunny Tuesday. It’s a beautiful piece, taking up an entire wall at the entrance to the arcade where Bellini is housed. Sweeps of colour streak across the brickwork in graceful arcs, coming together to form a pair of hands holding a palette and paintbrush; a work of art about a work of art in progress. Simon thinks it’s stunning, and the sheer scale of it is enough to leave him awestruck. He takes a photo and sets it as his background, so he can admire the colours whenever he wants.

When Markus arrives for his final session, he brings a large canvas with him. It’s covered with a sheet, and tied carefully with twine to secure it.

“Hey, Simon.” His smile has an apology in it. “Sorry I haven’t dropped by recently. It’s been pretty crazy trying to finish the mural and I had this other project on the side.”

“We went to see the Bellini mural yesterday, it’s stunning.” Simon finds himself smiling wistfully. “The colours are just so vibrant, it suits the store perfectly.”

“Thanks, I’m pretty proud of it.” He holds out the canvas. “This is for you.”

“...For...me?” Simon gawks at him, unmoving. Markus Manfred is handing him a canvas. Markus Manfred. The artist leans in.

“That means you have to take it from my hands, Simon.” He ‘whispers’ and Simon scrambles to take the canvas, laying it down ever so carefully on one of the tables so he can unwrap it. It’s a painting of Jericho, of his family; there’s Danny, there’s Josh, there’s North and yes, even him. It’s a beautiful flurry of colours and exaggerated brushstrokes, and they’re crowded around a table eating tea cake and drinking coffee, with sketchbooks laid around.

“When I first came here, it was like coming home.” Markus lays his hand over Simon’s and it’s only belatedly that he realises he’s shaking. “I felt welcomed, and I felt at peace. I felt like I’ve always been here. That’s the magic of this place, Simon. That’s your magic.”

“Markus I- this is too generous, I couldn’t possibly-!”

“You can. I painted this for you.” Markus moves to hold his other hand too, coaxing him to face him. “Because you are the heart of this place. You may not have had a choice to break through your red wall, but you persevered. You are so much stronger than you think, Simon.”

The tears come even though he gave them no permission to, and Markus gently draws him into a comforting embrace. Over the years he’s only ever had Danny, and more recently Josh and North. There was never any time to dwell on the hurt, there was and is only the path forward; if he stopped for even a moment to think back on what he survived it would swallow him up. To have Markus affirm his strength, to have him acknowledge the pain and his progression is far too much for him to process.

“Did you make my brother cry?!” Danny demands, appearing in the doorway, arms crossed over his chest. “What the fuck did you say to him?!”

“Danny, look.” Simon wipes his eyes clumsily, pulling back a little in Markus’ arms so he can point at the painting on the table. “Markus painted this for us.”

“...You what?” Danny’s brows nearly disappear into his hairline as he spots the canvas. “Is this- are you for real?”

“I mean, well, yeah. It’s real and I made it.” Markus grins sheepishly. “I didn’t mean to make your brother cry though.”

“...Holyshit. Uh. Wow. Thanks?”

“It’s 3pm, shall we get started on my session?” Markus seeks his eyes. “Is that alright, Simon?”

“Oh! Yes, of course! Sorry I’ll um- I’ll cover this up and take it upstairs so it’ll be safe.”

He has to hide upstairs for a good fifteen minutes just to make sense of what just happened. He’s holding an original Manfred in his hands, and gifted to him no less. It’s not just a pretty painting, it’s a work of art of his family, making it absolutely precious and priceless. He resists the urge to hug the canvas to his chest, instead laying it on the coffee table before returning downstairs to the parlour.

Danny’s already started, headphones on and brows creased in concentration by the time Simon brings in a tray of coffees and some black tea and honey cupcakes. Markus offers him a slightly pained smile, and Simon immediately sits beside him and holds his hand.

“Would you” Markus flicks his eyes over to make sure Danny isn’t paying attention “like to go to dinner with me on Friday?”

“...I’m sorry?”

“Oh, does Friday not work for you? Wait, the parlour’s open longer on Friday nights, sorry.” Markus nods in understanding. “How about Saturday?”

“No I- I’m- the- Friday is- I mean, you’re...asking me to dinner?” Simon stammers, feeling his cheeks flush as Markus strokes his thumb over the back of his hand.

“I’m certainly not asking Daniel.” He cocks a brow, grin mischievous as Simon feels his cheeks grow hotter.

“Um Friday is fine. I’d love to.” He frowns. “I can’t believe you’re asking me out to dinner while my brother holds a very sharp object against your skin.”

“He already knows. He threatened to stab me if I ever broke your heart.” Markus admits, and Simon realises that’s what Danny must’ve said to him last time right before he left. “Which is fair, really. If I ever broke your heart I’d deserve that. But I’ll do my best to look after it very well, I promise.”

“Then I’ll see you on Friday.” Simon finds himself unable to stop smiling. Markus brings their clasped hands to his lips, kissing Simon’s knuckles.

“I’m really looking forward to- ow!” Markus yelps as Danny applies just a little more force than necessary.

“Don’t flirt with my brother until I’m done.” Danny orders, voice a little too loud to compensate for the music blaring in his headphones. He fixes Markus with a stern glare, and Markus nods obediently. “Good. Now stay still.”

*~*

The finished piece is spectacular, truly Danny’s best work. The lines are crisp, the colours are vibrant, and it’s really as if the shards are exploding outwards from the ghostly outlined blue triangle. It’s taken just over a month to heal properly, with luckily only minimal scabbing.

Simon admires the work, watching it come alive with each inhale and exhale, with each rise of fall of Markus’ broad, toned chest; a boy breaking out of his father’s shadow to forge his own path as a man of his own making. He traces the triangle carefully with his finger, touch featherlight. Markus hums, a small sound in the back of his throat as his lips curve upward in a lazy smile.

“Tickles.” He mumbles, capturing Simon’s hand and bringing it to his lips so he can press kisses to his fingers. Opening his mismatched eyes, he blinks at Simon sleepily before rolling over and pulling him flush against his body. They’re delightfully, sinfully bare beneath the covers, legs tangled, and it’s somehow still almost downright scandalous to Simon every time it happens. “Hey gorgeous.”

“Good morning, my love.” Simon greets in return shyly, and Markus smiles at those words, pressing their mouths together one, twice, thrice insistently. It’s a hungry, desperate beast, this thing called love; selfish and needy and somehow never sated but that seems to suit them just fine. They’ll drink each other in and drown wholly, completely, in the wonderful chaos; two halves of one whole.

This is the freedom they found, this is the freedom they earned, and the red wall lies in shards at their feet.

*~*~*

(Markus’ tattoo is similar to this, something like the moment when androids deviate in the game)

#simarkus #dbh markus #dbh simon #detroit: become human #me: oh i'll keep it short and sweet!#also me: 5;5k sounds about right #caleb crow #adventures in text posts #annie writes: dbh

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badjonesrising · 4 years ago

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Archive: BJR Rainbow Sidewalk Scroll

Okay, so I am sticking to my plan and going to keep posting these last few projects of 2020! I am thrilled to know that I was so prolific in just a few months! I always did work well under pressure. For a video of this bad boy and some more pics, check out the original Instagram post!

This particular post speaks for itself...I went out on a gloomy October day, a few days before Halloween, I think, and made a really, really big painting! I rolled out some white paper, from the steps to the street and just went for it. I had a blast pouring, splattering, dripping, and using all the biggest house paintbrushes I could find. The mission was simple: paint the paper, then cut it down into smaller sections, then cut those sections into pieces that were more manageable in the house or at my desk. I used this paper for ATCs, postcards, some sketchbook pages, mail art, and BJR Paper Packs! I actually still have almost HALF of the scroll (cut down) and I’m going to treasure it for a while until I need some rainbow paper.

I would love to do this again but I would change a few things. It might be nice to gesso or paint the surface with white next time for a more painterly effect (and much thicker paper!) Although, I did love the final thickness and texture the dried paper had. I also think that I need to work on a sunnier day because it took forever to dry. Even though I didn't get rained on, it was so cloudy and damp out that I had to take all the sections into the house and put the heat gun on them for a little while. I also think I would like to do some monochromatic pieces. I think with sections full of one saturated color, I might be able to make some really nice, dynamic backgrounds that would be ready or re-working later on. Definitely one of my favorite projects for prep of 2020. Painting outside is hard in the city, but if you are in the country you can use your yard, or if you are in the burbs, you usually have access to a garage, shed, or small front yard! I have never been so happy for a sidewalk and nosy neighbors. 🤣

#badjonesrising #art #mixed media #collage #art journal #artists on tumblr #studio #handmade #painting #painting on paper #painted paper #BJR paper packs #paper pack #collage kit #rainbow #scroll

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vanessakirbyfans · 4 years ago

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Katherine Waterston and Vanessa Kirby play 19th-century farmers' wives who develop a passionate connection in Mona Fastvold's drama co-starring Casey Affleck and Christopher Abbott.

A friendship that blossoms into romance offers two mid-19th century farmers' wives refuge from their joyless marriages and routines of menial drudgery in Mona Fastvold's The World to Come.

Adapted from Jim Shepard's moving 2017 short story of the same title, this Venice competition entry is set in a rugged upstate New York where the winters are harsh and the patriarchy hangs heavy. Resignation seems to be the default mode for Abigail and Tallie (Katherine Waterston and Vanessa Kirby, respectively), the women at the story's center, whose lives revolve around keeping their husbands' stomachs full and their ambitions afloat. The initially halting, increasingly urgent intimacy that grows between them comes as a relief, but also a frustration — an agonizing taste of what life could be like if they weren't locked into roles dictated by their time, place and culture.

The World to Come has much to recommend it, including the polish and precision of Fastvold's directorial touch and a terrific quartet of leads (Casey Affleck and Christopher Abbott play the heroines' spouses) who, among other things, deliver mouthfuls of unwieldy period dialogue with dexterity and conviction. Kirby, especially, is a marvel, radiant and haunting as the more outgoing of the central pair.

That the movie succeeds to the extent it does is somewhat of a miracle given how often it gets in its own way. Indeed, The World to Come is nearly undone by a single glaring flaw: The drastic over-reliance on voiceover composed largely of lines lifted from the short story. On a sentence to sentence basis, what we hear — mainly Abigail's diary entries, read by Waterston — is vivid, at times strikingly lovely. But it's also so jarringly literary, and so extremely frequent, that it yanks us out of the delicate spell cast by the film's painterly, austerely beautiful images and nuanced performances. Meant to draw us into the outwardly placid protagonist's churning inner world, the voiceover has the opposite effect: one of distancing and interruption. Rarely have I so wanted to tell a first-person narrator to — for lack of more delicate phrasing — put a sock in it.

Shepard, the story's author, is credited as co-screenwriter (along with novelist Ron Hansen), so it's tempting to diagnose the problem as excessive fidelity to source material. Admittedly, the narration makes dramatic sense. Abigail is a stifled intellectual, and writing is her talent and escape; the passages from her journal give us access to feelings that her air of sleeves-rolled-up stoicism doesn't immediately suggest and her everyday duties — baking bread, plucking chickens, milking cows — don't provide an outlet for. The World to Come uses voiceover as its primary tool in building a portrait of female interiority.

But that choice underestimates the other tools at the film's disposal — namely, the director's own visual gifts and her first-rate cast. Waterston is a skilled enough performer and Fastvold an evocative enough stylist to conjure the depths of Abigail's desires and disappointments without having her give an emotional play-by-play. Much as I admired and was at times stirred by The World to Come, I'm convinced it would be a significantly stronger movie with 75 percent of the narration stripped away.

Early scenes pull us into the daily grind of Abigail and her taciturn husband Dyer (Affleck) as they struggle to keep their farm functioning while mourning the loss of their young daughter. There is distance between them — which Dyer openly deplores — though remnants of tenderness, too. Mostly, for Abigail, there is a numbing sameness to the days that pass.

A ripple in that sameness comes in the form of a new couple in the area: Tallie and her hog farmer husband, Finney (Abbott). From the moment Abigail lays eyes on Tallie — with her luxuriant tangle of red hair, splash of freckles and alert blue eyes — she's fascinated. Tallie returns Abigail's curious gaze.

Before long, the women are paying each other regular visits, candid Tallie coaxing reserved Abigail out of her shell. The two share gossip, grievances and, eventually, personal confidences as they create a space away from the men — the lives — they have settled for. Fastvold and her leading ladies establish the characters' dynamic and trace their dawning attraction persuasively, as Abigail finds herself dazzled by Tallie's boldness and independent spirit while Tallie is moved by Abigail's kindness and sharp intelligence. Their closeness is built from a gently crescendoing accumulation of gestures — stolen smiles and glances, the graze of a finger, a bundle of birthday gifts, a foot massage, a hungry kiss — and rendered more intense by their shared sense of looming danger; Abigail and Tallie know that if they're caught, the consequences will be dire.

The omnipresence of Abigail's narration during the movie's middle stretch may call to mind the recent work of Terrence Malick, a great filmmaker whose use and abuse of voiceover has become a devastating weakness. The heroine's musings here may be less drifty and dreamily existential than their Malickian counterparts, but there are eye-rollers of various types — from flowery ("my heart is like a leaf borne over a rock by rapidly moving water"); to obvious ("Astonishment and joy," she sighs following her first embrace with Tallie. Then, in case we didn't get the memo: "Astonishment and joy. Astonishment and joy."); to TMI (when Dyer falls ill: "I've restored him somewhat with an enema of molasses, warm water and lard").

Those lines would be a heavy lift for any performer, and there's something a bit mannered in the hushed pitch and lilting cadences of Waterston's voiceover. She's much more affecting in her scenes with Kirby, the Modigliani-esque graveness of her face melting into a warm, giddy smile.

And how could it not? Kirby gives Tallie a mischievous gleam in her eye and a low, slightly naughty voice that makes her every utterance sound like a confession. The actress conveys more with a slightly cocked eyebrow and clench of the jaw than most do with an entire face-full of emoting, and her magnetism here feels effortless; Tallie isn't as flamboyant as Kirby's flouncy, fancily frocked Princess Margaret from The Crown, but she's somehow just as full of spark and drama.

Affleck and Abbott, meanwhile, lend their characters dimension and specificity, making them more than cardboard impediments to their wives' fulfillment. Speaking in a hoarse, wounded whisper, Affleck locates something deeply human in the hapless, love-starved Dyer, a limited man who nevertheless is capable of seeing beyond his own needs — of having "sympathy," as he notes at one point. Dyer becomes a partner to Abigail at a crucial moment, something that differentiates him starkly from Kinney, a rigid prig who can't conceive of Tallie as anything but an extension of himself. Abbott plays him with a flicker of madness, a streak of sadism that gives the story's turn toward darkness a kind of queasy inevitability.

Even with its flaws, this represents a step up from Fastvold's last movie, the creepy but slight mood piece The Sleepwalker (2014). There's a sense of confidence and control here, starting with DP André Chemetoff's evocative compositions and scrupulously judged camerawork, which favors stillness over movement and balances close-ups with longer shots situating the actors within rustic, sparsely decorated interiors or more majestic outdoor spaces. The setting is stunning (the film was shot on 16mm in Romania), but The World to Come never succumbs to period-drama prettifying. Nature is a seen as a wild, threatening force — Tallie's trek through a blizzard is captured with cacophonous nightmarishness — wielding as much power over the characters' lives as their own choices.

Daniel Blumberg's supple score, by turns mournful, playfully jazzy and full of roiling menace, is one of several other contributions that collectively create an impression of sensitive craftsmanship. Luckily for The World to Come, that impression lingers longer than the film's aggravations.

#Vanessa Kirby #The World to Come #Review #Articles

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orbsdotorg · 6 years ago

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Saw Mary Queen of Scots tonight and while I wouldn’t say it’s the worst movie I’ve seen in a while, it’s definitely the dullest. Like, some stuff in it works. It’s nice to see them putting PoC in a period piece like this, even if they’re almost all in incredibly minor roles, and there was the occasional really pretty shot. And it’s to Margot Robbie’s credit that despite being underutilized in an underwritten supporting role as Queen Elizabeth she’s pretty terrific.

But nearly everything else in the movie falls flat. The direction feels completely indifferent. The cinematographer clearly had a lot of fun playing with lighting and getting some really cool, painterly shots, but the actual camera placement and shot choice stuff was just so deeply bland. And the writing was just awful. Dialogue was like almost entirely exposition, with an occasional one liner about how men are terrible thrown in. Like, if I agree with your sentiment but still get kind of annoyed at what you’re saying, you fucked up.

And hey, speaking of the whole men are terrible thing, this movie swung so hard at trying to be a Feminist Film and completely whiffed at it. Like, apparently Elizabeth’s entire reason for hating Mary is that Mary was younger and prettier and had a baby. Meanwhile Mary is perfect and flawless and a tactical genius and hot and witty and her only flaw is that every man around her keeps betraying her, even if they have no real clear motivation to do so. Oh and also no feminist movie should have as many weird, explicit rape scenes as this one has.

Probably the most frustrating part of the movie is that it makes Mary the protagonist and Elizabeth the antagonist for no clear reason. Like, I’ll be the first to say that Britain and the monarchy have always sucked ass and were probably usually the bad guys in any given conflict but for a movie about a political struggle there’s remarkably little talk of like, what anybody’s politics actually are. The closest we get is Mary talking about how she wants a peaceful, unified Scotland, but she repeatedly drives a huge wedge between herself and like half her country just so she can make sure her child will be a Catholic and heir to England’s throne so like, does she really? The movie sure seems to insist she does, and keeps telling us we should want to see her succeed without giving any reason why she’d be a better queen than Elizabeth other than Elizabeth being some scarred, barren crone. Again, I know nothing about that period of history, but I’m gonna assume that they’re not actually getting into the nitty gritty of either woman as ruler because there was no fundamental difference between them. They’re just two powerful people fighting over more power, and it feels weird to moralize one side of that.

I could keep going on about the weirder shit in the movie, like how we’re supposed to believe Mary’s future husband is a Nice Guy because he goes down on her for like thirty seconds while overwrought romantic music swells and then tells her she doesn’t need to reciprocate, or how he turns out to be gay and Mary proves she’s Totally Woke by forgiving the guy he fucks on their wedding night because he was just “following his nature”, but I’m just gonna wrap it up here. Mary Queen of Scots took what probably could’ve been an interesting story and made it something completely flat, lifeless, and overly simplistic. Bad movie.

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gracemulhollandstudio · 3 years ago

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Formative

Made differently to the others

tape and paper coming through, love it

thinking of it as all one being, weaving in and out of the wall, something is on the other side of the wall

can see the process of the materials, something that has been wet and has dried, process speaks to moving from A to B. in the materiality of the works themselves

hooked on them as paintings, surface, textures, forms are peculiar to hold a canvas on some level, cylindrical painting or drawing, painting/installation hybrid

terraces great name, relates to how they are spacialised, gives a spark to the conversation, great to see the whole room with them, but doesn't necessarily entail to me needing more stuff, could space them out

a useful strategy to focus on the wall ones to help, uncover potential to support the processes used.

feel livelier when the paper is visible, nothing is lost, observing the lighter touch, makes the gestures a bit more dynamic

cool colours, colour gradient. not contradicting but looking at the dark colours as ‘less progress’ and lighter with more, it starting with the lighter = jarring. linear progress.

keep pushing this forward

feel like a club or a team, working together

applying language to these processes, what do we call it? painterly, gestural, fast, don't seem that precious, opposite of precious, not rushed but organic, playful, spontaneous

basic stuff opens political thinking, this way of thinking or opening a conversation through object might apply to certain thinking.

articulate the way things are assembled, the processes and the results of that is where the work's potential takes off.

meringue, brittleness, its not real its just a surface thing, hone in on what I am offering up, looking at the details that I want to get into eventually

Making this work with this corner in mind, interesting. Responsive to the architecture, the corner fits the work,

funky scale, relate to our bodies, not in a way where we have to touch it to do that, the interaction in a different way. bigger than handles but smaller than hula hoops. tough to imagine gripping but like the way you can put your arm through it.

Reading of the work is empowered when explaining what I have been looking into (those ideas of beauty etc) wanna know more

how has the research I've done informed some of the decisions I have made here.

these things can be really difficult to apply language to, get through all the tactile and haptic kinds of language, all of those easy words then getting into the nitty-gritty can be hard without context.

sometimes we need to make this stuff because it sometimes describes something that we can’t in words.

hone in on key ideas.

more compelling than the generalised conversation of commonly held perceptions of beauty.

see a person in them

Louise bourgeois, spiders

first read it all as one thing but now thinking of them separately they kind of change to be more intimate, unsure of themselves when they are by themselves. Thinking of it as one piece was more intimidating

successful part of this installation is the viewer in between reading them individually or as one piece. Ambiguity in the work is pretty generative.

testing the whole room

resist these things becoming art objects.

#studioiva

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lostedges · 4 years ago

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Jac

I’ve started to make portraits of Jac. She has sent me some photographs to work with and they are good for the work I anticipate making. I think I know her face well but then start to draw and realise how little I know. I start with some sketches. Free pencil drawing in a sketchbook, slowly learning structure of head, of features. This is necessary learning, which I hope will help later as my ambition increases. I find that I am working in a more painterly manner. With Jac I had learned to work very carefully, deliberately and though I hold that learning dear, something about these photos inspires me to loosen my hand and make marks freely. Looseness and feeling. Jac calls it lockdown hair, which I enjoy, and can see how her hair might translate into paint. It will be a question for the portrait that I am already asking. How much control. How much careful reason, against the expressive mark, the sensation of paint. I think that Jac is poised in balance here. Her love of science, of anatomy, tells me about dissection – the accuracy of scalpel, and in written word, the accuracy of expression, of concept. In philosophy, though, there is, at the edge of reason, on the circuit around the precipice, a void that speaks in free fall of the visceral, of paint that sits on the nervous system and colour in the veins. I want to speak to Jac’s concern with sensation through paint.

This is all very well, I say to myself, but I have still to do it. It is a challenging drawing, to work from a selection of images and make a new one, which not only holds a likeness, but speaks of Jac’s presence. I have enjoyed Jac’s company, her tutelage. I felt well supported and happy at the Broadway. I admire her. It is harder to approach this work because I do. Most of my experience working with sitters has been with casual acquaintances, or semi-strangers, models who I barely know, or people I know well enough for them to shrug me off as that odd artist. This is not like that. I think maybe it’s good for me. I have to strip some layers of distance from myself to allow myself in to the drawing. Though Jac is not here, she is drawing and redefining me as I work. First approaches are, not unexpectedly, disappointing. The drawing begins from the photo where jac’s head is turned towards the light. I like the movement in it and the potential for allegory. A void of darkness behind the head – colour and dissolution on the other. But I want the eyes making contact – I can’t make Jac a passive, looked at figure here. There is scope for that in terms of introspection but I think looking out is better. Maybe two paintings where I can address both. So I have to make a new image, from fragments. I fail at first. As I piece together I struggle around with structure and proportion which shifts into some kind of order, but at the end I realise that the drawing is a kind of symbol of a head or face with none of the subtlety, life or humanity that will make this portrait work. It is a clumsy, wooden blunt model, with only traces of likeness, but it is somewhere to work from. This will take some time.

I also start an oil sketch, hoping to work through some technical ideas while I struggle with the drawing. I am pleased with the initial sketch – get a handle on proportion and movement. I manage, disappointingly and as I often do, to make Jac look around a hundred years old (why do I do this?) with a ragged use of paint. In the second session on it I destroy nearly all that was good in the original and am disheartened – proportion is lost as I fool around with light. I have to get past this discomfort with failing – it will be a necessary companion. Where does it come from? Do I feel that I am being disrespectful in being clumsy with a likeness, an image of my friend? I do. It sits uncomfortably with me. I feel exposed, confronted, looked at, as any sitter might feel. In the next session I will need to readjust – to maintain structure. I feel that the painting may necessarily progress this way. Structure gained and lost over and over, like breath in and out. And colour. There should be colour. Much to think about, to work through.

Working through this initial stage, merely brushing the surface of this project has daunted me. It is in my mind all day waiting, a hovering shadow made up of uncertainty, self-doubt, and I manage to bring myself to say it. Fear. I’m afraid of it, because I don’t have a map. I feel as though I should have a map because this is all familiar isn’t it? It’s drawing, it’s painting, it’s portraiture. It is something different this time. There’s more to it. Life at home is unstable on several fronts. My security is undermined on all sides, in part by the pandemic, in part by tensions in my closest relationships. I visit the doctor and my blood pressure is so high he asks ‘Do you feel like the top of your head’s about to blow off?’ He says I’m lucky to be alive. I decide to slow down. I must take some pressure off myself in the way I navigate these drawings.

As I step back I realise that I had tried initially to have too tight a grip on the process, determined to make something of good quality and forcing myself down a tube of early decisions which are not helpful. How often do I do this in life? I return to the sketchbook, and make doodles of possible poses, possible compositions. The informality is good, unlike the six foot piece of paper I began with. I must submit to the creative process with some humility, and the start of this is a place of not-knowing. It’s a space that must be entered willingly and with all barriers down, all weapons surrendered at the door. I must be attentive. I continue with the oil study when the feeling is good. I start a charcoal drawing next to my desk in work, which is a surprisingly productive space to work in short bursts between teaching. It feels fresh, less laboured, more sensitive and speaks to me of alternative compositions. I am, it seems, starting over.

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everygame · 7 years ago

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Dishonored (Xbox 360)

Developed/Published by: Arkane Studios / Bethesda Softworks Released: 9th October, 2012 Completed: 16th November, 2017 Completion: Beat the entire game without killing a single person or being spotted. Trophies / Achievements: 500 / 1000

Woof, here’s a big one, a game that I was pure dying to play before it came out then, like many things, never quite got around to till it was long in the tooth. And, heck, it feels it; Dishonored feels quite dated now, which I will critque shortly, but lets not get ahead of myself.

Achievements, eh? I shouldn’t be captivated by them. And, I mean… I’m not. I’d be better off turning them off or something if you can. But also… sometimes… you read stuff like “beat the entire game without being spotted even once or killing a single person” and you think… hell, I’m a non-violent kind of chap, I should do that!

Spoiler: probably don’t do that. However… I did do that!

I like stealth games. What I don’t like is constantly saving and reloading stealth games because I’m too stubborn. I mean… It’s not even really like you did it properly when you play it that way. All your achievement really says is that you were willing to reload (a lot) when things didn’t go your way. One thing I’ve liked is in games like Uncharted 4 and Wolfenstein recently where you’ll stealth as much as you can, but when things go south, you just charge in and deal with it and don’t feel like you’ve failed too much. Which is, of course, something you can totally do here. But I felt beholden to the dang achievement!

Look, this isn’t about Dishonored so much I guess as it is about me, but I feel like it’s one of those things designers should definitely think about. What about those players whose personalities make them want to do these things, even though it’s probably less fun for them? How do you balance that against offering reward to high-level players who want to play that way? Is it a matter of reward? If I didn’t get like… 200 achievement points for doing it this way I might not have. If it was like… 5 achievement points I’d probably have been like “fuck that.”

But then again, I might not have been.

(To be fair, actually, I didn’t do the achievement for beating it without taking any magic powers. Which would have been insanely unpleasant, honestly. So I do have a limit.)

Dishonored is also interestingly paced! You see, it is pretty much a stealth game. I can’t say if you can just forget stealth completely—I made the decision after completing it once that I was “happy” with the result and didn’t want to spoil it for myself by seeing other potential realities, and I think that’s fair, even if I did sort of want to murder my way through Dunwall after my trials and tribulations. However, the game opens with a small, fairly linear level which you can learn and stealth quite easily, and then the second level is massive open world with multiple areas (some safe, some not) and a genuinely challenging first target.

When I look at the level order, it’s pretty obvious that it has to go this way—the other smaller levels such as a party you attend incognito don’t really teach you the important skills you need for the bigger levels and they also would be awkward to rewrite to make the order make sense. But the initial challenge is so large—and your hero Corvo is so weak—that this first (well, second) level is insanely frustrating and often confusing.

I suppose there’s also that balance issue you face where as the game goes on—and as Corvo becomes more powerful through the skills and magics you pick up—the game gets easier. Now, to some extent I had increased my mastery; but also, at the end I was able to quite happily stop time to walk past everyone, or possess someone, make them walk through a door and then knock them out. And of course: you can��t start the player off with all those skills, because they’d never learn them all, and there’d be no sense of progression.

I wonder if some of these edges might be sanded off with more modern design accents; I think some people might consider them mollycoddling, however. In Dishonoured, for example—and I think this is the part that makes it feel so dated—you’re stuck juggling your weapons and abilities two at a time. This means that useful passive abilities—such as being able to see enemy positions through walls, and your upgrade-hunting heart thingy—need to be pulled up from a shortcut, and it stops you from doing something else either while it’s happening or until you switch to something else. It’s clumsy and you’ll never really get comfortable with it in the heat of the moment, not to mention how annoying it is when hunting upgrades to keep having to switch ��where it is” and “how I’m getting there.”

I feel like other games do more with even just the Xbox 360 controller, but I wonder if some of this design is intentional; for example, from the UI you can actually turn off certain quest markers and so on, so it’s not like they didn’t know there was a value to the player choosing what was important, when. Maybe they just want that friction!

So. Honestly, the pacing is off; I also wonder if the game was slightly rushed, with an intensely challenging, feels-like-the-first-third-of-the-game second level and then the final mission being literally about 20 minutes long tops, with no conclusion to speak of. The plot is… thin (and, yeah, depends on a woman being murdered, but I feel like/have been informed Arkane have learned since then) but the world-building is lovely and I wish there was more outside of books that I never ever want to read. Dishonoured is, if not a diamond, it’s definitely a very very nice stone, like an, uh [looks up list of expensive gems] unpolished piece of, er, red beryl? For all my complaints, the feeling of mastery you have after the first half of the game or so is brilliant, the level design uses verticality well (it’s quite like the Arkham games where you hang about looking down at your prey, but you aren’t constricted to particular points) and each challenge is ultimately rewarding, especially because you can largely choose how you’re going to do it.

Dishonoured: well worth it, probably just don’t worry about the achievements if you can help it though.

Will I ever play it again? I won’t; I made my choices and I’m sticking to them. I’ll definitely play the sequel though.

Final Thought: What’s the deal with the fact that this and the Fable series look so alike? Why was there such a taste for industrial/medieval Eng-er-land with a sort of painterly palette but also a comicy, big hand caricature look for characters a while ago? I’m not complaining, I actually like it. It’s a shame that the Fable series shit the bed so hard in the end, isn’t it?

#video games #games #gaming #arkane studios #arkane #bethesda softworks #bethesda #txt #text #2012 #dishonored

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spilling-the-moriartea · 5 years ago

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marvelandponder · 7 years ago

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I’M SCREAMING

We’re 3 months away from this glitter-bomb and they gave us some stuff to scream about. I think I’ll do just that. I took my sweet time putting this together, I know, but there’s a fair bit to unpack and a lot to be excited about so, let’s go through it all!

Animation

Okay, so first things first: people are calling this a 2D movie and that’s not really that accurate.

It certainly has some 2D elements, like the backgrounds, but the style of animation only makes the characters look 2D, when in fact they’re 3D models.

You can tell in how they move. If I were to give you a still screen shot, you might guess that it was from a 2D animation, but in motion, you can tell what it actually is: cel-shading.

I had a hunch that’s what it was so I asked a storyboarder who worked on the MLP movie (and the show) if I was right and she said:

The program they’re using is ToonBoom, which does rigs with 2D toon shaders, among other things!

You know, I don’t often call things, but I fucking called it. Let me have this. Just to give you a quick definition from Wikipedia:

“Cel shading or toon shading is a type of non-photorealistic rendering designed to make 3-D computer graphics appear to be flat by using less shading color instead of a shade gradient or tints and shades.”

3-dimensional figure with cel shading, has the effect of making it look 2D. Typically seen with thick outlines on the outside and little to no outlines on the inside:

(Team Fortress 2 itself isn’t normally cel shaded, but that’s a great example a fan made of what cel shading usually looked like when I was growing up)

Cel shading without outlines, as seen in Wind Waker.

Like I said, just seeing this still image, it looks 2D, but watching it move, you can tell there’s a 3rd dimension to the character with the features and lineart mapped out onto the models to make it look 2D

Which by the way, is really unique for a major release! I don’t know about anyone else, but I was excited that MLP: The Movie seemed to be 2-D since there hasn’t been a domestic 2-D animated movie since Winnie the Pooh in 2011. 6 damn years! While I maybe would’ve ideally liked a completely 2-D animated movie, the backgrounds and the cel shading works in really neat ways, and it will definitely make the movie stand out

The purely 3-D objects seem unfinished at the moment (but that’s not out of the ordinary, CGI seems to be one of the last processes). It needs texture or shading or something, and I can tell because most of the ship looks too soft (too much like a model) to be metal. I really think this will be fixed for the final product, but that’s probably the most jarring part of the style at the moment

Not all of the 3-D looks unfinished, but the best looking parts are still the painterly, 2-D stuff (look at those towers; they’re really stylized, but you can tell they’re 3D in a more 2D environment)

THAT DIGITALLY PAINTED VERSION OF CANTERLOT THOUGH:

The light effects are definitely 3-D in the fireworks and rainboom

Oh, and speaking lighting, so much of it looks so pretty! There are one or two times when the colours are slightly off, but the majority of the time it looks freaking gorgeous

You can kinda see by looking at Rarity that the shading is juuust slightly off here (kinda like they were for the teaser trailer), but then you look in the background and see this BEAUTIFUL background and Twilight all upset and worried about this invasion, and it feels like such a nitpick to worry about what will probably still be cleaned up before it hits theaters

We also get some really great expressions, so they’re not really limited by the 3D models underneath (if I’m right about that)

Also, just as one last little note here, the style is detailed enough to see little things about the characters we didn’t know up until now, like the fact that the spines on the side of Spike’s head are translucent, or that the colours of RD’s mane aren’t 100% perfectly separated

Overall with the animation, I’m so impressed not only by how gorgeous it is,but by how willing they were to take a risk and incorporate a 3D element in the form of (I think) cel-shading. This only really matches the creative spirit of the MLP team, though. Whether or not you agree on how well they always execute everything, they always try to step up their game with every new season and push themselves to be and do better.

And while I will say that if some of the more 3D parts (yeah, I’m talking about the zeppelin/airships mostly) aren’t fixed for the final release, I would have a bone to pick with them, but I have faith that we’ll be seeing a much smoother integration of that 3D on the big screen.

Story and Character Details

I really appreciate that they didn’t outright spoil anything too big. It’s definitely a well-cut trailer! We basically only know about the same information we did before, with just a hint or two as to things like who the true villain is.

Just based on the focus given to these characters in the trailer (and what I know of the Storm King’s characterization in the first Movie Prequel comic that was just released), seems like he’s not as big of a threat as the commander of his fleet, Tempest.

It’s a kind of villain we haven’t seen on the show or even in EQG, and not only that, but

She’s got a fantastic voice actress behind her, so she can pull off the deliciously evil vibe well without, say, reminding us too much of Chrysalis or other powerful animated villains from Disney classics

Plus her design with the broken horn and her magic sparking up out of it is instantly intriguing to me: for such a powerful presence, it’s awesome to see her weakness (and most likely shady past) is always on display---especially for a commander character, that’s just really cool

Grubber seems to be pretty standard so far, nothing he’s done has really impressed me quite yet, but I’m hoping his best stuff is saved for the movie itself

The sky pirates (or skyrates) look like a lot of fun, and in context I can see how well the bipedal birb pirate blends with the universe (the bipedal designs were the ones I had the most trouble with)

On top of that, we have sea ponies at last! And they’re far more adorable than I ever could’ve hoped

The original sea pony designs from G1 looked a lot more like sea horses, with curling tails and fins on either side, but I think the meraid-ish look is both more marketable for Hasbro and more appealing to look at (the original sea ponies always seemed like a joke in the fandom to me, I admittedly never understood why people would actually want it in G4)

And a-ha! Good queens do exist! Poor Celestia and Luna. Always a princess, never a queen.

Oh, and Seaquestria? It’s freakin’ beautiful. I LOVE the rich blues and purples here. If you haven’t had a chance to check out the 360 image of the underwater palace complete with an excellent piece of background music, treat yourself.

The Mane 6′s sea pony designs are pretty dang adorable. I don’t have anything interesting to say, I just like the cute water horses, okay?

Minor Details and Incidentals

I’ll start out by saying Twilight’s narration in the trailer is pretty standard, but still heartwarming (mostly because I already know and love these characters though). It sort of reminds me of the bits of narration from the How to Train Your Dragon movies, although those had a bit more character to them.

The what could possible go wrong? line, though. It just makes me laugh thinking of all the flashbacks we could have to the series.

I guess she’s talking about that festival specifically that she’s organizing, and in that way it’s a show of character development (in a similar way to the character development on display in A Flurry of Emotions, where Twilight is told she’s late and doesn't have a panic attack or worry about what could go wrong... too much), but it’s still hilarious to contrast the idea that nothing could go wrong in Equestria to... literally all of the show.

AJ and RD protecting their friends even before the others have gotten over the shock of whatever they’re seeing tho

Starlight and Trixie get a bit of screen-time together and it’s adorable. Starlight might be stuck in Canterlot for the duration of the adventure, but I’m glad to see her included. Characters like Discord who might be too hard to explain to new audiences are understandable losses, but even if Starlight’s cameo is brief, it’s good to see her role acknowledged

In terms of music, Sia’s looking adorable so far, and Lukas Graham’s as of yet unreleased Off to See the World sounds pretty catchy (it’s the song at the end of the trailer), so they’ve got talent behind the vocals!

Jumping back to little details, it’s neat how sea pony magic has a very distinct look from unicorn/alicorn magic. Also, the bubbles are really cute

And, okay, I just wanted to take a minute to appreciate how serious this ponk is. Can we all just stop and take a look, because in this scene Twilight’s saying how she’s the one Tempest is after, and she should probably face this alone, which seems to be our Princess of Friendship’s big dilemma in this movie, and Pinkie’s clearly trying to tell her she’s crazy

Gotta love that they didn’t just go for hyperactive comic relief Pinkie Pie; they don’t seem to be boiling down these characters to just one trait (which is partially why I loved the moment where RD and AJ defend the girls; RD’s ego will no doubt be on display throughout the movie, but you’ll also see she’s ready to lay down her life for her friends)

And hey, lookie here! Canterlot got a make-over... and a contractor. There’s more pink than there typically is and it doesn’t necessarily match what we’ve seen of it in the show. Especially places like the throne room:

And you know, I’m a little torn on this detail? It’s beautiful, and I’m digging the starry night mosiac they’ve got going on back there, but it would’ve been nice to see the throne room we know and love rendered in this new style, you know? I’m gonna miss the deep magentas and the stain glass windows of the Mane 6′s accomplishments. I know that’s mostly the fangirl in me, but I like seeing continuity nods back to the show (like hey look: Cadence gets a cameo!)

Unless Canterlot gets destroyed and subsequently rebuilt in the season 7 finale, in which case I’ll shut my mouth

Speaking of which, I still have to wonder exactly when this will take place in the series, or if it exists slightly to the left of canon like the Equestria Girls movies (which, I mean, I consider canon, but still). I know there’s ties into the comics, but I wonder if/when the show will acknowledge the events of the movie... I guess only time will tell

And for now, I think that about wraps it up! All in all, I’m beyond excited to see this thing, as anyone could’ve guessed.

It should also be noted that a lot of kids movie trailers focus on the fun, comedic portions of the movie, so while I do think it’s mostly going to feel like this, I’m also looking forward to the more character-driven feelsy parts. As we well know, you can never get the full scope of a movie from just the trailer, but it’s usually especially true for kids movies.

Even just from what we have seen, it looks like we’re in for a ride. Can’t wait to get on.

Hey, if you’d like more MLP stuff, you can click right here to see my editorials or here for episode reviews. And if those links don’t look pretty enough, have the last three things I’ve done right here:

Parental Glideance Review, Celestia/Daybreaker Editorial, and LGBT+ Editorial

Year of the Pony

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kaschy · 7 years ago

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Artist appreciation day!

Augh so my internet was down all day, so I didn’t get a chance to get this post going until too late (it’s almost 1 am now) but I love all my fellow snk artists and wanna do some shoutouts! @alinajames - I love you girl, thank you for drawing the best Reiner I’ve ever seen in my life, wonderful reibert, and amazing gallirei. Everything I see of yours brings a big smile to my face!! <3 <3 <3

@from-armin-to-z - adorable Reiberts, ahhhhh!! your ideas are always so creative and I love seeing your improvement over the years

@sookashira - Such a cute style!! I love the way you draw all the characters, especially bertolt <3

@bear-tholdt - speaking of someone with an adorable style!! Your reibert pieces have always been so wonderful. I love your use of color, how nice and funny your pics are. You’ve been an inspiration for me from the beginning. <3 Nurse pals

@oeilvert - Great work, awesome hange, and moblit too. I always admire how easy and effortless your figures look, your clean lines, and expressiveness in your work.

@alemanriq - Ahhh your art is so good! LeviHan and otherwise, I love the way you use color and again, such nice ideas. <3

@zzz5011 - AUGH SO GOOD. Perfect linework, super awesome dynamic pictures and poses, I really admire your art! Please keep the reibert flame alive!

@hrhase - Your twitter sketches kill me everytime. Thank you for spreading the love around to lots of different characters, and always drawing fun and interesting scenes. Also draws a great Reiner, ahhh

@usnk-ussk - Gorgeous, unique reibert artwork. I could stare at their pieces all day.

@nenekantoku - Can’t pass you up Nene, you’ve been a big inspiration for me over this past year. I love the way you draw anything, but Reiner and Bert will always look best to me in your style.

@whalessong2 - again beautiful reibert work, I’m so happy you’ve started to post some more on twitter. ;-;

@melsnoodles - dude, you can draw more reibert any day of the week. :) Your sense of humor is fantastic and on point, too

@suits-neechan - speaking of a great sense of humor, I just love your reibert comics. You’re fucking hilarious and I love seeing your art!!

@osteophiliacart

- Andy!! I love how clean and beautiful your lines are, and you’ve got so many amazing ideas. Please keep drawing, especially the reibert!

@rico-aot - I need to buy your doujins! I love your reibert work, it’s always so expressive and beautiful ;-;

@tycheh - Great painterly style! The reiner and bertolt stuff you were producing during S2 was rocking my world so hard! Please paint more!!

@inktamer7 - You can tell you’ve had so much training as an artist. Your Reibert pieces are so detailed and beautiful, I could stare for hours at your linework. Looking forward to your Reibert week submission!! It’s going to be amazing!

@lyferie - Your art is so soft and lovely, cute beruanis and reiner thrown in here and there. I think your color work is gorgeous!

@redcoaster - Holy shit, I’m so impressed by your anatomy and draftsmanship. Your thirst for rogue titan is also very admirable ;)))

@lampurpleart - Purple your work is so nice!! Your paintings and color usage are just fantastic. We still gotta draw chibis together one day!

EDIT I FORGOT @nelldya HOW DARE I LOVE YOUR REIBERT ARTWORK AHHHHHH it’s so damn cute and also fantastic. <3

EDIT AGAIN I FORGOT @lupotterdraws HI!! I can’t believe I forgot you, your Reiner pictures have killed me multiple times, and you draw such a great Levi squad. ;-;

I’m sure I’ve missed some folks, but wow, there’s just so many nice and amazing artists in the snk fandom. I can’t give enough love to all of you. <3

#long post #mostly reibert oriented sorry guys #nohate awareness week #snk

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sameoldart · 7 years ago

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White Painting: Dana Schutz at the ICA Boston

“Obviously race is the elephant in the room and we all understand that. Unless it is talked about constantly, it is not going to get better. ‘Oh, they’re talking about that again. They pulled the race card again. Why do we have to talk about that.’ Well, because it’s uncomfortable. There has to be an uncomfortable element in the discourse for anything to change, whether it’s the LGBT movement, or women’s suffrage, race, it doesn’t matter. People have to be made to feel uncomfortable, and especially white people, because we’re comfortable. We still have no clue what being born white means.”

Gregg Popovich, head coach of the San Antonio Spurs (September 25th, 2017)

Walking into Dana Schutz’s current exhibition at the ICA in Boston, the elephant in the room is a painting that is not part of the show. When a friend speculated if Schutz would have received this show without the controversy surrounding her Whitney Biennial painting of lynching victim Emmett Till, I realized that it would be important to highlight the various issues and tropes that Dana Schutz has addressed through painting over the last two decades.

Dana Schutz, Poisoned Man, oil on canvas, 2005

It is also important to note that Dana Schutz has always displayed a range of techniques, differing modes of representation and an interest in art history as well as the world around her. This is rare among emerging and mid-career white painters of the current moment. Schutz is a painter who does not aim at uniformity in style and subject; she does not shy away from uncomfortable subject matter or subject matter that is not exclusively rooted in her experience.

In the early 2000s, she invented the character Frank, who appeared as the last human on Earth in a series of paintings. From the generally more resolved and descriptive Frank paintings, Schutz moved to the gestural, yet explicit depictions of human activities - either imagined or observed. This included paintings like the 2004 Face Eater and Sneeze. One remarkable portrait from 2005 (that is not included in the ICA’s show), simply titled Poisoned Man, depicts former Ukrainian president Viktor Yushchenko, who was poisoned in 2004. The toxin was so potent that it disfigured his face for several years. It took until 2009 before a study identified the poison as a type of dioxin commonly used in Agent Orange and so pure that it had to be produced in a lab. It is now believed that the Kremlin was responsible for the poisoning due to Yushchenko’s pro-Western stance and his attempts to curb Russian influence on its former satellite state Ukraine. When white painters reference the work of Dana Schutz or Nicole Eisenman, they often overlook such political aspects in favor of its more attractive and easily digested formal elements.

Dana Schutz, Flasher, oil on canvas, 2012

White painters today appear less versed in how to pair subject matter with technique, less inclined to look beyond their own experience, less likely to work their way through a range of painterly styles than their 20th century predecessors. The (white) ghosts of Bonnard and Cezanne, Mondrian and Matisse too often squeeze the life out of the paintings on display in artist studios and galleries across New York and beyond.

This does not mean that you have to give up humor, irony, the imaginary or even the vast painterly repertoire at your hands; just be aware of it and what it means to you. Schutz’s work Flasher is a hilariously cunning example of how an assortment of painterly gestures - from Kandinsky’s geometric shapes, to Frank Stella’s patterns and Gerhard Richter’s squeegee marks - is offered by a wide-eyed character to the viewer. The character’s coat can also be seen as a canvas and thereby a painting rather than a piece of clothing. In addition to the Best-Of collection of painterly marks & tricks, some watches and tools are included in the selection. If we take the character’s desperation at face value, his perversion comes across as a last-ditch effort to rid himself of masculine traditions too embarrassing to be sold in a gallery or on the street.

Detail of Flasher

And then there are many wonderfully strange and gigantic paintings that feature bugs - of varying sizes - crawling over figures in undefined, clustered spaces that leave little room to breathe. These are intriguing because they are hard to place and because they testify to the strength of the imaginary in painting.

Dana Schutz, Conflict, oil on canvas, 2017

But then there is Conflict from 2017, which stands apart from the remaining work for several reasons. Unlike the others, this painting is not filled to the point where we do not distinguish between the foreground and background. Here the horizon is reduced to a thin sliver at the bottom of the canvas while the rest is occupied by an atmospheric sky. The space between the two struggling characters allows for a sense of air. We can identify two heads leaning into each other and two pairs of feet - one barefoot while the remaining three are dressed in mismatched shoes. The characters’ midsection is more difficult to distinguish. There is pushing, pulling and punching that occurs, but the resting heads indicate an exhausted state. Even though we do not see any sharp objects or weapons used, the right head exposes a gaping, secreting wound that might as well be a bloodied eye. Its vaginal shape makes it even more haunting by evoking an analogy between pleasure, pain, abuse, mutilation - ultimately a struggle for life and death.

Detail of Conflict

We do not know who is at conflict here and it does not matter. Looking back all the way to the second half of 2001, the world seems to have turned into a zone of many conflicts since then - most of which are related to each other, with no end in sight.

In a recent interview, Chicago artist Cauleen Smith stated: ”I’m not an activist, but I don’t understand how people can make art that isn’t about the world around them.” Unlike video, film, photography, or performance, painting has the freedom to fall back onto itself, to reference its history of marks, styles and conventions without having to acknowledge the conditions of the outside world. At the end of the day, a painter’s decision does not have to be either in favor of politics or against it. As Dana Schutz has demonstrated over two decades, both can be pursued simultaneously without ‘betraying’ painting or giving up on the pleasures of making paintings.

To return to Popovich’s opening quote: there are white people who refuse to see racism when confronted with it. They do not want to be bothered by it, they do not wish to be implied, they do not want to be made to feel uncomfortable, and they refuse to understand the realities of white privilege. But there is no way out of racism without becoming uncomfortable. Dana Schutz is no racist, but her Emmett Till painting caused discomfort to the same community that has and continues to experience the effects of centuries-old, institutional racism. This speaks to her painting’s partially failed intention: instead of exposing the deadly consequences of racial hatred, it reenacts them. And maybe the resulting controversy has helped Dana Schutz to realize that Emmett Till’s mutilated face is not the same as Viktor Yushchenko’s disfigured likeness.

So what should white painters do then? We need to embrace discomfort as part of our national discourse and our artistic practice. If athletes manage to stir a national debate, so must artists and especially painters. Keep painting what you have been painting, but also create opportunities in your work to engage the outside world and its potentially uncomfortable issues. Evoking the current president’s face or name is not enough. Now is not the time to feel comfortable.

#dana schutz #white painting #Contemporary Painting #ica boston #politics and art #racism #take a knee

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