#3D PAPER CUTING

[xinyuehui]

/ᐠ˵- ⩊ -˵マ Meow's Café Ⳋ

[canisalbus]

i decided today was as good a day as any other to learn how to 3d sculpt and then trace and animate the model…

so i made a little machete to spin in my head

(i still want to fix the snout length a little so it looks consistent, but i feel like it’s a pretty good first attempt at this)

hope you have a nice day and nicer ones to come! :)

.

[sleepy-princess-craftery]

ended up spending all of january (and some of february...) making miniature kits. fortunately the cats weren't interested in assisting, but my partner did help with the bookshop in the top left :)

[galacticsabc]

Hi. I was busy this past week. not only on homework, but on this fucking thing.

On a whim, I decided I want to sculpt my ffxiv character as a chibi figurine. Turns out, its really fucking hard to do that, especially with paper clay. I nearly gave up halfway through this.

[sumi-ko-no-hito]

[autonomousxselves]

//Do you think the Astro Bots of playstation characters are just little cosplayers who love that game? I like to think so lol

[theautisticfroglord]

William's mask made with papier mache!

[heloflor]

You know, considering that new untitled Peach game is a bit like Luigi’s Mansion with how it puts a Mario character in a new environment with new game mechanics, I’m kinda hoping Peach gets her own original villain the same way Luigi was given King Boo.

Hell, with Super Mario RPG coming back, which has many original characters, and with the characters from the Peach teaser being something other than Toads, it seems Nintendo might be willing to dip their toes into original characters again. So what’s better to start making new characters than by giving Peach her own bad guy ! Also the new Mario Bros game has some new characters as well from the looks of it, so again, it’s possible !

And don’t get me wrong, Bowser is absolutely iconic and I do enjoy the irony of Peach battling against him. But with this game not being a platformer, and again taking into consideration Luigi’s Mansion, it would be a fun change of pace for Peach to have a new villain in her own series (god I hope this game becomes a series of several games!!!). Plus, it seems Peach will be more and more playable in mainline games, meaning more Bowser beat-up from her anyways.

And yes, part of me wants that new villain to be a female character as it's been forever since Mario games has had one and I am very much aware of how people would go crazy over it for the shipping.

(Also going back to Bowser, it’s more of a “me” thing but I always found it slightly weird to see Bowser attack Peach, since he’s supposed to be in love with her (Paper Mario games prove it well) and in all the games she gets captured, there are no indications he ever raises a hand on her. Hell in Odyssey he’s very gentle when putting Tiara on Peach’s head. Also Peach is never particularly afraid of him despite how horrible he can be, which implies he doesn’t physically hurt her.

Fun fact : this is why I headcanon Super Princess Peach as taking place very soon after Super Paper Mario, since the two of them would have just spent weeks working together and getting along. So it would work for Bowser to lose his shit upon getting rejected yet again “despite doing everything right” and thus be willing to fight her. As for 3d World, there’s three other people Bowser can focus on to avoid hurting her)

[xinyuehui]

Deepspace Surfers

[lilcottoncandyheart]

So pretty 💖💖💖💖💖💖💖💖

For those who missed it, I just opened an Etsy shop and I'm having a 20% OFF sale storewide :) there are 3 days left of the sale before prices return to normal.

Get them here YuumeiArts.Etsy.com

[f3xiffwuff]

I win the cutest bookmark it’s true you can’t disagree!!

(ft. Gays)

[rarity-irl]

cutest little fella ever!!!!

[lauras-happy-place]

Agere DIY Cooking Activity

What you’ll need:

Carton boxes 📦 (or thicker paper)

Coloring tools like markers, pencils, water paint

Any type of paper

Cutting tool like child safe scissors (otherwise, either cut when you’re not little or ask someone)

Glue (tape would be better for this purpose)

Optional: Stickers, colored paper

Instructions:

Look up recipes you’d like to make and write down the ingredients.

Draw the shapes of the food items, utensils and kitchen tools, you’d like to use, such as a big “wooden” spoon for stirring, onto the thick material.

For the bowl, you gotta draw a big circle and a long rectangle. The rectangle should be a little longer than what you’d think could wrap around your circle, just in case (you can always cut it after). This rectangle should be as wide as you’d like your bowl to be deep. You’ll also need a handle of your choosing.

After you drew the shapes onto your choice of thick paper, it’s time to cute them.

When they’re all cut out, it’s time to glue your rectangle around circle, on the top of its side. (Or if it’s easier for you, onto its side, not necessarily on the circle.) If it’s too long, just cut it in the right place. Don’t forget to also glue the two touching sides together. When the glue dried, you can also fix the handle onto the top of your new bowl.

Onto the other kind of paper, you’ll just need to cut out a rectangle (this will be our recipe sheet or menu). Now copy the ingredients you looked up onto it in a list form. You can draw them instead of writing too, or both!

Now it’s time to color, color,color! Look up references or let your imagination flow! There’s no guide on how to color, just enjoy!

If you have some of the optional items from the list above, you could also use those. For example, for the recipe sheet, you can stick a food sticker to its matching ingredient item. Or if you had colored paper at home, you can crumple up some green ones to use as lettuce, or cut small rectangles out as fries too!

If you’re an older regressor, you could try to go more 3D too. Like creating a hand mixer or trying to make the finished meal too!

Have fun cooking!

[maddascanbe-blog]

Okay- so... Anyone who has kept up with this series of drawings will know I tweaked Mylene's design. Well Rose had much of the same issue, but we've gone from small changes to who the fuck are you?

So I've updated the Akuma Class girls page for both Rose and Mylene.

Rosey! Sweet child! Poor apparently ill child.

I have no idea why they randomly decided to make her terminally ill? Or was ill but is recovering. I don't know what her headaches are supposed to be. Since it's only used in like- one episode, maybe two if you count it as explaining why she admires Prince Ali so much.

Whatever, the show barely acknowledges it so I'll follow suit.

Rose is exactly as sweet and precious as in cannon. No point in changing it.

I based Princess fragrance on a witch instead of a perfume bottle, with a crown around the base of her hat because she is the princess. Her pink hair is so cute and poofy, absolutely fabulous.

I likes Pigella's design on paper- but the tutu looks weird in 3D, I think it's how stiff it is. So I did a Zoe-oneesama and gave her a solid skirt instead. I do like her pigtails, and the pun is very welcome, so I just added little pig ear covers for her hair to add them in somewhere. And brought in more brown because that is Daizzi's accent color technically.

Figuring out how to show the anklet on the transformation doodle sucked.

Next up- how do we feel about unifications?

[mclalan]

Can you share what your art-making process is? What software and tools do you use?? I'm falling in love with your work!!

Thank you, I'm so happy you like my work and are interested in the process. The short answer is I mostly use Adobe Animate.

I hate how I'm using an Adobe product (although I still regard it as a MacroMedia Flash product), but there's just no other software that compares to its jankiness. Perhaps it's just my long familiarity with the program, but nothing I've experienced matches how it simultaneously feels like drawing in MS Paint and using Microsoft PowerPoint vector shapes. The result is something that feels in-between the two; handmade yet computer-generated.

Typically, I'll start with a hand-drawn sketch, often beginning as a thumbnail done with pencil and paper.

I'll then do a mix of hand drawing and vector shape tool rendering. I use the Paint Brush tool to hand draw strokes, and the line and shape tools mixed with transform to make more geometrically accurate shapes. The design is rendered into divided closed loop shapes, ready to be filled with a solid. The strokes are kept or removed depending on the design.

These fill shapes are then either coloured and rendered in Adobe Animate, using fills, gradients, or a more complex process of masks and effects.

Alternatively, I'll bring all these vector shapes into Photoshop and use them as clipping masks. The vector shapes act like masking taped areas or shields to maintain sharp edges, while the brush is like an atomized airbrush used to build soft volumed forms.

Please excuse all that horrible Adobe Cloud and AI bloatware...

And there we go!

Variations in the process include just using MS Paint, index color in Photoshop, or 3D programs.

Very old works of mine were almost abstract, just exploring digital mark-making, which was a trend I was following in the mid 2010s that I loved. This kind of stuff.

While my current work uses its digital material specificity as an intermediary to the subject in the illustration.

For example, #ersatz.world parodies clip-art and flash edutainment styles but imagines the characters living within that kind of world. The designs are meant to be cute, easy to read, light in computer processing, but also irreverent, janky, and generic too.

People typically regard this sort of clip art style as ephemeral trash, but I always found them charming. I use Ersatz World primarily as a satire vehicle, parodying educational formats to spoof corporate explainer content and digital media.

However, part of the problem with Ersatz is I've made it look too polished, complex, and I've grown too attached to the characters, which I imagine is a typical issue with overbuilding a world. So recently, I've made an even jankier Ersatz-like set of characters to play about with, using an even simpler style with less cohesion. I like to try and use slightly different styles and digital material styles to relate to the property at hand.

That’s why #autonymus has a bitmap digital material and a denser feel to it. Unlike Ersatz, Autonymus is not meant to be an overt semi-meta fiction. It’s not exactly pixel art, but the pixels are just about visible, as the intention is to create a digital expressionist depth to the setting. Although it’s still stylized and not realistic to our world, I definitely still want to evoke semblances of our world. That’s why there’s attention to landscape, plant life, and implied life beyond what you see in the frame with the characters, etc. But I'm still making a cartoon, and I still want it to feel at ease with itself being a digital material work. Characters are therefore flat, simple, stiff, and the speech style is like a bad Shakespeare parody. I like to balance between ugly and appealing, simple and complex, familiar and unfamiliar.

In regard to things like inspiration, references, and my relationship to aesthetic genres; these things certainly factor into my work, perhaps I'm even overtly dependent on them. My work can definitely be post-modernist in method; creating new, ironic, or fragmented interpretations through deconstructing a mix of various styles or methods. But at the same time, I'm still trying to make a digital gestural representation where the aesthetic is driven by my relationship to the software and techniques directly—not simply in an attempt to reference a style. For example, I like drawing lines in sweeping strokes, not to a point of geometric perfection, but just in a way where the curves are smooth and simple. But if I want perfectly curved or straight lines, I'll use the vector tools.

Working this way, you can sort of learn why certain styles and design choices in past vector aesthetics were made, as they would have also needed to make similar choices. That’s why I’m more mindful of using digital material specificity as a foundation to build narrative and subjects upon these days.

For example, genre references like cyberpunk clichés for #cyberhell or late medieval design for #autonymus or 2005 to 2015 era subculture fashion for #gradientgoblinz.

I think it’s important to take inspiration and reference from a wide variety of sources, but I think they’d mean nothing without having something to say or express. Autonymus, although it is a collection of tropes and clichés, isn’t just about that. It’s a story about the tensions of socially constructed systems and how that shapes faith, technology, and the natural world, or at least that's what I'm aiming for anyway.

But despite all that, I think there’s a danger of locking myself into the past by using these methods. For example, using nostalgia and references to past aesthetics can result in just recreating the past in a form of role-play. To avoid that, I try and evoke the past through a messy, inaccurate pastiche rather than caring to accurately re-enact anything. I’m probably not always successful at communicating the deliberateness of this, and it can certainly get very frustrating and pedantic. To be honest, I do kind of hate aesthetic labels (terms like Y2K, global coffee house, utopian scholastic designs from a pre-9/11 world).

I do not believe that a project aimed solely at mapping history through aesthetic styles is worthwhile. Sure, they can be handy for organizing style trends, but they can also be reductive and ahistoric. Who are these people to define the history of these design eras? The result is a kind of suffocating simulation of design history but removed from context, perfect for moodboardism. I wish it felt more tongue-in-cheek, less absolute of itself in its own practice. Instead, it acts to legitimize and engender those making these labels, almost giving them ownership of the design styles. It’s similar to the logic and process of generative AI and its databases in a way, just done manually.

I’m very inspired by artists like Oneohtrix Point Never in this regard, as I think he’s able to create an aesthetic portal to all kinds of memories, feelings, and worlds reminiscent of the past, while still being in the present. It’s more a reflection of how timelines are messy now, like a memory or dream, rather than an audacity to say the past was actually like that, or to try to actually map some kind of timeline.

I think the benefit of this process is how it avoids the other side of the spectrum—being locked into chasing the cutting edge of digital processes. I don't necessarily think using an old digital process means your work inherits the semiotics of old aesthetics. Non-digital mediums don’t have this issue to this degree, as you can still paint in oils and be considered contemporary, or at least it's not frowned upon to such a degree. And I also don't think anyone in the heyday of Flash ever made work the same as I do, especially as computers are more powerful now so can handle more. I probably shouldn't boast too much about that though, as artists at the time probably just had more sense than to use Flash like a painting program! So then, why is my use of Adobe Animate critiqued as obsolete and an aesthetic dead-end? Because to whose standards is this process obsolete? If you value digital aesthetics as an apparatus in industry practice, then sure, my work is redundant.

But as wonderful as the latest tech can be in creating new aesthetics, I do feel it can be overtly dependent on the trends and directions of tech corporations, and therefore act as an indirect propaganda tool to their hegemony over digital aesthetics, such as the ever-demanding processing power needed for simulated realism. If anything, work that does follow in the direction of the latest tech trends is ironically the quickest to date once the trends move on.

I've noticed I've not really described what my work is about, just the process, in this text. But I don't know, maybe I like Flash because it is regarded as redundant. No one really cares about it, so I feel free to make whatever I want, and can decide on form myself, to my own standards, the quality of my work. As fun as making images is, I find it difficult to put into words what it is exactly I'm expressing in my work, and perhaps that would spoil it anyway.