#and also learning cel shading

[flapdoodledanie]

[kimquatz]

im like so Vroid-pilled rn.... i watched a bunch of tutorials and have been seeing the RANGE of cool stuff ppl can make with this. when i find more time, i'm definitely gonna go back and revamp/re-texture my models JDJAKDJ

[fdragon-art]

Jackie, my good dude~

(Redraw from S4E21: The Champion's Hike)

[bill-gates-hate-blog]

definitely not my best work but i can forgive myself after being away from my drawing tablet for so long

[gudetamaaa]

oh man i wannt to play the sims again i just have to move up fixing my wifi downloads' problem and get a better cpu ?? less errors please.

[parisoonic]

hi!! I was wondering if you could share tips (or at least a timelapse) on how you do your lineless art? It’s so simple, yet so pretty, and I’d really love to learn from you :0

Thank you so much! Lineless art IS simple (or rather...as simple as you make it haha)....lined stuff with cel shading is what I find really tough as it's SO tied down and concrete! You can definitely cheat a lot more with raw colour...

I put this tutorial together quickly to hopefully explain a little the basics of my process. I use A LOT of layers but it's mainly to keep all the 'bits' seperate (limbs from torso, head from torso etc) as I'm a fiddler when it comes to rotations but the actual process is very simple. Of course you can add further complexity with gradients, texture etc but I thought I'd use a really straight-forward example.

Unfortunately I don't have any timelapses to hand and I'd have to either bust out Procreate or figure out how to record my screen in PS to record one! Might be fun to do in the future :) Next best thing though - my pal works in exactly the same way I do and she's uploaded a bunch of speed paints here (albeit most are landscapes). I also touch on my lineless approach with the few progress pics I posted here and here. Hopefully this helps! Studying other lineless art is the way to go - lots of great vintage illustration to look at as well as shows like Tangled: The Series, Carmen San Diego and Samurai Jack.

[hackgamex294]

"Star ✦" — ISAT-ober 2024, Day 4

My fourth day of @darlnyan's ISAT-ober prompt!

Haha, "Star" prompt, for In Stars and Time...

This one took roughly two and a half hours, most of it being voice chatting with a friend of mine whose also working on the prompts. I am happy that I've made an original illustration out of the intro of the game than a simple redraw. And unlike yesterday's prompt, I didn't need to clutch draw this in a time limit! So working on it is a lot less stressful.

With details of the original artwork being implemented, I've created a background texture to make the drawing a little less linear than it being flat colored. I've also learned some coloring techniques while aiming to mimic insertdisc5's art style, that being cel shading (still in progress) and blending in black and white colors clashing together. (partially also while working on Day 3's artwork)

From working on all of the prompts so far, it really made me start to enjoy drawing more from the direction and skills it takes to make something beautiful. I had a lot of fun throughout ISAT-ober where I may consider drawing regularly often if I were to lower my worries in expression what I like to illustrate. It's something I wish I would be able to accomplish much earlier in life, but it's better than never I suppose.

Besides that, I hope you all enjoy this drawing. 💜

[xuune]

Hii first of all, I FUCKIN LOVE YOUR ART! ITS GORGEOUS AND IM SURE EVERYONE CAN UNDERSTAND YOU REALLY GIVE YOUR SOUL INTO THAT🤧 Your color palette looks so good, What do you pay attention to when painting? (Like when do you think its better to use multiply or something like that and etc.)

first off, I'M HAPPY YOU CAN TELL THAT I PUT MY SOUL INTO MY ART!!! im genuinely in love with drawing and am always finding ways to make creating art enjoyable and impress myself with what i can achieve and learn :D

second, thanks for asking your question!! i dont mind answering it, but my response is quite long. here's my thinking process:

(you specified layer modes like multiply, so im gonna gear my answer towards that a bit) 1. REFERENCE SEARCHING IS KING. color is actually extremely hard for me, so i search around for artworks with palettes i'd like to use and study how an artist uses it. some situations i have a clear idea of what i want, but usually the images in my head are extremely vague, so i borrow palettes from various other artworks that fit the vibe of what i want. an example is this one. my main palette reference were from these artworks. im looking at this artist's use of high saturates and how drawings are overlayed on top of each other. while looking at references, im asking myself how is this artist using warm/cools, where are these warm/cools placed, if their illustration used any form of texturing (like halftones, hatching), how do they use their palette to render form/shape/gradient, when/where do they saturate/desaturate their colors. those questions inform my decisions when using colors too.

2. USING LAYER MODES WHEN NECESSARY. i used to be reliant on multiply for everything, which atp i dont do since i can definitely push colors more first before using layer modes. only when i feel like my current colors are lacking do i start tinkering with tone curves and/or brightness/contrast/hue/saturation/luminosity settings. and if that doesn't work, then i start using layer modes. using layer modes do help with achieving certain effects, color corrections, or when i want to fuck around and find out. i think having a better understanding of what these modes can do makes you more decisive on how you can properly utilize them and to achieve a particular look (like using multiply for a cel shaded style). here's an example:

this leads into my next point:

3. BALANCING OUT VALUES. big thing that makes an illustration hard to read is if values blend together which affects the hues and contrast. i check for what elements need to be distinguished from one another and if it can be read clearly. using layer modes can either help with this or not help at all. it's very dependent on the type of layer mode. here's this example where i applied pin light:

back to #2, there are various instances where i'm using layer modes for quick color corrections and/or to help with readability:

other times, i start off having my entire subject in gray and to figure out main shadow/lights (similar to the multiply cel shaded process i linked ealier). im thinking about what this should look like if i only used 2 value tones:

when in doubt though, i check my artwork in grayscale to ensure values aren't overly blended into each other, especially if i didnt start with grayscale like this one:

painting for me takes into consideration a lot of different aspects. im thinking about how colors should interact, where/when to give contrast, checking/balancing out values, etc, but im also making it a time to study off of how other artists use their colors through the references i collected.

hope this answered your question! lmk if there's more :]

[koboldfactory]

Hiii, I really love your art and I really wanna ask a question, but how do you your cel-shading stuff but yet still use some textured brushes while at it! And how to use these textured brushes without making it too muddy? I would really love to learn your process

Well my technique varies a little bit from piece to piece but I have a few general rules of thumb developed usually to allow me to finish coloring pieces in a timely manner. I'll throw in an example piece here to reference while I talk about what I did in it below the break!

Ok so this is basically my go to coloring style for character art. I block out a base flat color (usually like the primary fur/feather color of a character), and then create a new layer (with the clip to layer below modifier) for each individual flat color on top of that for the various elements of the design. Then when coloring I tend to stick to the rule of one primary darker shade and one highlight shade, but since I'm using a rough brush it gives me a little wiggle room for opacity and texture (also use lock alpha to make shading way easier on the individual parts). These shadows and highlights are usually painted-on actual colors but sometimes I use multiply layers to push the contrast in areas a bit further. And for shiny metal bits, like Iris's claws here, I sometimes throw an airbrushed glow layer on top to make it really appear shiny and metallic!

Oh! also i create another clipping layer above the line art and color over it in parts to better match up with the colors below. Like over the brown clothing bits the lines become a dark reddish brown, they become shiny and light on the metal sword, etc etc.

Hopefully that helps and wasn't just random rambling.

[blakeinobi]

My model appeared on the Tumblr radar! I appreciate all the comments! It was interesting to hear that multiple people didn't realize it was a 3D model. I work a full-time job and modeling in Blender is one of my hobbies. Whenever I look back at my earliest models, I'm always shocked at my improvement. I look forward to seeing where I'll be at a year from now.

Multiple people asked how I was able to get my cel shader to look good. I've learned a lot from watching multiple videos and reading various blogs over the years. Here are a few things that I did for this model.

To start, here is how my shader graph looks like.

I have the Layer Weight plugged into the Color Ramp. This creates a soft outline around the model so that when objects of the same color overlap, it doesn't look flat. I've been experimenting with the options, but as of now, I like the way the B-Spline option looks.

Something else that I change is the shadow color on the color ramp. By default, it's set to black. This always felt dull to me, so I will usually change it to a magenta or purple. I also keep an Emission node ready so I can switch the model to all white. This mostly helps when modeling so I can see how the light will interact with the model in this style. Adjusting the settings of the light also improves the shadows.

Also, change the Color Management from Filmic to Standard. This ensures that the colors you're using to paint your model will look the same in the viewport. This option can be found at the bottom of the Render Properties.

Check out these resources for more useful tips. Also, the props are from a Synty pack. I picked them up years ago when they were on sale.

Anime Shading In Blender (INTRODUCTION) Lightning Boy Shader - Beginner Guide - Shading & Modeling Tips

Synty™ Store - 3D Assets for Games (Unity + Unreal) – Synty Store

[barananduen]

Art Advice: The Misconception Behind "Study Realism"

Most people who draw anime/cartoons have, while asking for ways to improve, at one point or another been told to "study realism." A common response to this is, "But I don't want to draw realism!"

But, did you know that the purpose behind this suggestion is NOT so that you draw realism? They're not suggesting you change to a more realistic style. What, then?

Let's look at this through an analogy:

Say you don't know music yet and decide you want to learn how to play the Happy Birthday song. You're not interested in playing anything else, just the HB song, and you haven't started learning anything related to music at this point. OK, that's fine, and now we have our situation set up. Once you've decided this, you set yourself to learning the sequence of notes to the HB song. You practice and practice, and, after a while, you can play it really well without a hitch. After a few years, it starts feeling bland to you, and you ask, "How can I make my HB song better?" And someone tells you, "Learn all the other music notes," and "Study classical and other genres of music." And you reply, "But I don't want to play that type of music; I want to play the HB song!" (And that's FINE! It's valid; it's what you want to do.[*Footnote 1]) But without having learned all the other notes and other types of music, you can't make a remix of the HB song, or an "epic version," or a hip-hop-fusion version; you've capped at the end of the first paragraph of this story.

So drawing anime or cartoons is like playing the HB song, or any one song in our example.

And here's where our misunderstanding comes in:

"Study Realism" DOES NOT MEAN "Draw Realism"

Yes, you'll have to draw it to study it (not only your brain, but also your hand needs to learn the skill), but it doesn't mean that's what all your artwork will look like. It is meant to give you more tools to make your anime and cartoon work stronger, more appealing, and more unique.

How will it do that? The more music notes you know, the more types of music you understand and can play, the more original a remix /version of the Happy Birthday song you'll be able to make - and it will be unique. Because you will be able to take all that diverse knowledge and apply it to your song, making it stand out, and the next time you play the HB song, people will go, "Wow! This is a really cool version!"

So now we can be clear: There is a difference between learning something and performing it. You can perform whatever you choose, but by learning all the things, your performance of your "Thing of Choice" will be stronger.

What, Exactly, Will Studying Realism Teach You, Then?

I. VALUES

If you learn how to paint/shade with a full range of values (by learning realistic shading) that properly depict both volume and lighting, you will have no trouble simplifying that to cel-shading or gradient-shading in your anime or cartoon drawings, because you will at once spot when something is undershaded or the shadows are in the wrong spot.

On the other hand, if you try to do cel- or gradient-shading first, you are way more likely to a) undershade, and b) have an inconsistent light source. And when these things happen, you won't be able to tell *why* your drawing looks "off" or bland.

II. COLOR

By studying realistic coloring, you'll be able to learn how color varies across an item (say, a shirt) that is a "solid color." Example: you're drawing a character with a pink t-shirt, standing in the sun, at the end of the school day. The t-shirt is solid pink, however, the colors on it will vary from orange-ish to purple-gray, with some areas almost a bright red (and that's not even considering items around the shirt that would bounce light back onto the shirt and change its color). But you'll only know this (and how to do it) if you study realistic coloring.

Then you can apply that knowledge to your stylized artwork and make it stand out more.

Painting of a stylized pear, where I studied real pears to understand their coloring and texture. See how studying realism can enhance your cartoon work.

III. MAKE BETTER STYLIZED ANATOMY

By studying and learning realistic anatomy, you will be able to make stylized art that, for example, doesn't have one arm longer than the other, because you will have learned how to measure proportions, even if you don't draw realistic proportions. So that if you decide you want to draw unrealistically long legs (eg: Sailor Moon), you'll be able to make them look good and keep them consistent.

You will also be able to draw figures in any position, because you will have learned how body parts are made up and how they move, as well as foreshortening/perspective. Then, when you go to draw a pose you haven't drawn before, it will be WAY easier.

IV. UNDERLYING SHAPES

Although this is one of the least-mentioned aspects of art-learning, it is, in my opinion, one of the most important, because when you learn to see underlying shapes (the quasi-geometrical shapes that build up a figure), coupled with learning how to measure a form using other parts of the same form as reference (measuring the length of one body part by the number of times another body part fits in it, as mentioned in Section III, above), you will be able to DRAW. (Period.) You won't be able to draw just people. Or just wolves. Or just cats. You will be able to break down a new subject into its building blocks and come up with a very reasonable likeness. And whatever's different, you'll easily be able to make relative measurements to spot why and fix it.

Once you learn to identify underlying shapes and how to measure proportions in anything, you will also be able to pick up and reproduce any existing style without much trouble.

[link to Tumblr post with this artwork]

For example, this was my first time drawing anything Peanuts. I didn't have to do practice sketches for it (though there's nothing wrong with doing that). But I knew, from realism, that to achieve a good likeness, you need to measure body parts relative to other body parts, so I looked at Schulz's drawings and was able to determine: OK, Charlie Brown's head is roughly this shape, his body is so many heads tall, his eyes are this % of the head, the ears are this far in, the arms reach down to here, etc. I knew what to look for.

V. FOR THOSE WHO WANT SEMI-REALISM

If you want to do "semi-realism," you'll have a way easier time of it by learning realism and then stripping it down as much as you like, than by starting off with "100% anime" and trying to build it up without knowledge of realism. People think the latter is easier, because it *seems* less intimidating, but it's like trying to drive to a store you've never been to without knowing its address: you'll be driving around forever trying to find it, and it will be frustrating. What people call "semi-realism" is stylized realism, and you can't really hit it without knowing how realism works.

CLOSING NOTES

It also doesn't mean you should stop drawing anime/cartoons and focus solely on realism for X amount of time - you can do both concurrently. In fact, the most fun way to study realism is to do so on your favorite subjects; you can even turn your reference into your favorite character!

Studying realism is also one of the best ways to help develop your OWN, unique style; one which, when people look at it, say, "Oh, that's [your name]'s work!"

[*]Footnote 1: It is fine as long as you are drawing for yourself. As soon as art is a job and you're drawing for an employer, you have to draw in the style they tell you to. So, in this case, it's to your advantage to be flexible.

I hope this was helpful and helps clear up a common misunderstanding people go through when receiving feedback. 💞

MORE ART ADVICE ARTICLES

You can find the index to all Art Advice Articles [here] including:

How to Deal with Art Block

How to Have a Positive Outlook

How to Develop Your Own Style (coming soon!)

etc.

[tel-farkas]

Angel & Snake

Digital drawing, May 2024

This time I focused on the snake scales, the face and the lights. Therefore the clothes and background aren't as much elaborated.

I had major struggles to get the face proportions right. Still have to practice and learn so much °~° But in the end I managed to do it.

Also, I decided to let the outlines stay with about 25% visibility. It looks even better, adding a certain touch of cel-shading - or smth like that.

[doctorbro777]

Some Persona 3 Reload fanart wooo Learned some nice additions to cel-shading for future stuff on this one. Ive also been streaming! twitch.tv/doctorbro777 The timelapse is also here on youtube

[adobe-outdesign]

I am so late to this but I had only just realised Neopets added new gray nostalgic styles with brand-new artwork for combos that don't exist pre-conversion! Do you have a favourite out of them?

(I already did the main grey review here before the new pet styles were released.)

Even as someone who enjoys customization, I think the execution of it was pretty poor. It definitely should've been that you could freely switch between the UC design and the converted design at any point, and the option would exist for pets that were painted after conversion instead of it being a thing you had to grandfather into. Likewise, I'd argue that TNT should've done new UC designs for colours that used to get special poses even after customization, so you wouldn't be losing the beautiful art.

It took the NC Mall and 17 years, but new TNT finally wised up and switched all UCs over to purchasable NC pet styles. Originally it seemed like they were only going to include pre-existing UCs; then, it seemed like they'd do pre-existing UCs plus some other pets with old art but no UCs; and then, finally, we learned that TNT would be giving pets that didn't even have old art styles. This is a great idea, as it gives the pets that didn't get a chance at unique art (Lutaris and Vandagyres being good examples) to have some. Plus the converted versions still exist, so it's just more designs for everyone.

(Pictured: Two UC/styled grey pets with pre-existing old art.)

The most interesting part about these new styles is watching new TNT trying to mimic the classic Neopets' art styles. There's no hard rule as to how old Neopet art worked (because different artists worked on different pets), but the following are what I'd consider the most consistent and important points:

Shading: Hard-lined cel-shading with only one or two layers. Generally high-contrast, especially for grey pets. Sometimes there'll be a small amount of highlights, but not always.

Lineart: Not too thick or too thin with natural weight variation.

Design: Not always present, but often times will include fun little plays on the original design like the Yurble's uncurled ears.

Pose: Easy to read with a good sense of motion. Matches the proportions of the original basic colour pet.

Of course, just because a new pet style isn't quite on point doesn't make it inherently bad (though I personally like the on point ones more, and have highlighted the best in that regard below). The new grey Xweetok style is pretty off compared to an actual UC; like, here's the old sad blue Xweetok pose, which is somewhat similar to it:

You can easily see that there's way too much detail in the shading and highlights (highlights too thin/plentiful, shading too hairline and layered too closely together), and the proportions and design details are also way off model (eyes missing the black "liner" at the back; head way too big; paws too big; ears slightly too big). But dang, it's absolutely adorable, and much much better than the converted version, which looks vaguely ill. It's a good example of how much personality a style can add.

Favorite (New) Species:

Blumaroo: BROKEN HEART FEET. BROKEN. HEART. FEET!! That's such a wonderful detail, and 100% feels like something a UC version would've had. The pose is also really good, and the shading and lineart are pretty accurate (the lines are just a smidge too thick, but obviously not actually a problem).

Bruce: Another pretty good pose with excellent lineart and shading (might be the same artist for this and the Blumaroo)? It's adorably mopey and little things like the extra chubby cheeks and bigger bow add a lot.

Hissi: The shading's not quite as accurate as the above two (one too many layers on the wings, which are also a little too fluffy relative to the non-converted Hissi's wings), but the pose on this one is perfect and really feels like something that existed back in the day. I really like the eye shape in particular and how it affects the entire upper brow, so to speak.

Least Favorite (New) Species:

Bori: Sorry, Bori, but you're not quite right. There's just a lot of things slightly off with this one, like the shading (WAY too much fur detailing that doesn't flow with the actual lineart fur; too low contrast; highlights too minimal in areas like the tail fur). Like I said above, accuracy doesn't matter if the design and pose are good, but that also feels off here. The pose is just kind of strange, like it's about to be smacked or something, and the head is like... off, like it's too far down and too far in in a way that makes it look like it has no neck. It's still got a lot more personality than the converted though, so that's good.

[beatthegame]

I just beat the Legend of Zelda: Tears of the Kingdom. Exclusively on the Nintendo Switch. It's a direct sequel to it's predecessor, Legend of Zelda: Breath of the Wild, which is a first for the franchise? Perhaps Hyrule Warriors? Or Zelda 2: The Adventure of Link could be an exception but even that was a huge pivot from the original Zelda. But I digress...Storywise, Zelda games typically occur generations apart from each other. But this game is unique in bridging two games together within a couple of years. Nowadays, good sequels are rare. We usually go backwards through the prequel route but this game takes place just a few years after the events of BOTW. Not many sequels live up to outshine their originals. Often falling short in certain aspects. And Breath of the Wild, as a stand alone game, is an absolute masterpiece. One of the greatest adventure games I personally experienced. So when the developers announced that there would be a direct sequel to one of the greatest adventures ever made? It left a LOT to be desired. But does TOTK truly live up to the hype? Let's try to fuse all these elements together and try to make sense of it...

In a nutshell: It's like Minecraft in Hyrule! You take the same open world template from Breath of the Wild. Triple down on the map & add heavy emphasis on crafting abilities. Combined with hundreds of side quests, treasures, characters and challenges sprinkled across the largest open world in gaming history. (If you can find a larger open world in a game, please let me know.) When you boil it down, Tears of the Kingdom should be considered tears of joy!

The Good: The Legend of Zelda: Tears of the Kingdom is a BEAST of an adventure game! The cel shaded anime inspired graphics are simply gorgeous. These screenshots would be good enough for the artwork inside the 8-bit game manuals of years past. Trying to imagine those details on a 8-bit platform was great for the time. But being able to control those stillframes now like a beautiful moving painting is like a dream come true. Most open world games are pretty rich in terms of a playable area with missions sprawled across the land. But I don't think I've played a game world this deep? And I mean that literally. You have the vast continent of Hyrule to explore. Same map from BOTW. All of it's valleys, lakes, mountains, islands and more. And when I say more, I MEAN MORE. Because now you have islands hundreds of feet in the sky to explore. In addition to the underworld depths hundreds of feet below the surface. The deepest bowels of a planet you can think of? And it goes DEEPER than that! I find it difficult to express myself through words, how packed this game map is. But you have the freedom to explore it all, however you like! And boy, does this game offer a rich variety of CHOICE. Something I feel is an gift AND a curse in this game? For now, let's talk about how AMAZING it is to create almost ANYTHING your imagination can handle...based on the items scattered throughout the land.

Your Sheika technology from the previous game has been replaced with new Zonai fusion technology that will allow you to combine all sorts of objects, monster parts and broken vehicle pieces to construct all sorts of cool contraptions. From simple suspension bridges to complex flying automatons with rocket launchers! There's a bit of a learning curve to manipulate pieces and placing them in functional spots. But once you get the hang of it, it becomes 2nd nature. You can even save your creations to quickly assemble duplicate machines, which is convenient at times. But that is only ONE fraction of your creative capabilities. You are also able to create custom weapons, armor and arrows to expand your arsenal. You will need these abilities to explore the land, skies and depths of Hyrule. It's an experience that can grow beyond your imagination. Which sounds amazing. And it is, in so many ways. However, it also one if this game's many problems...

The Bad: I hate to say it, but this game is the very definition of "trying too hard". Breath of the Wild is off the charts fantastic! Almost a perfect game. So when you're tasked to make something great even better? Sometimes adding more ingredients to a stellar dish ruins the meal. Like, imagine the best 5 layer cake in the world...perfectly frosted, with sprinkles and a cherry on top...and now add a tomahawk steak, and a peanut butter & jelly sandwich, and nacho cheese fries with frosted flakes sprinkled on top of that? A bit much, right? That's how this game is... You have an entire world of objects and machine pieces and monster parts. But there's only so much you can do to actually function well in the game. What's the point of building an elaborate hovercraft when a crude assembly of logs & rocks can get the same job done? Which leads to the weapons. One of the main things I hated about BOTW are the fragile weapons that break after a few swings. This game not only brings back the shitty fragile weapon system, but now you have the burden of crafting your own weapons. Which is FUN... for about 5 minutes. But when you are in the heat of battle? Quickly assembling weapons or sifting through my entire inventory under durress was more annoying than it was fun. And don't get me started on the Blood Moon. A couple of times would have been ok but like every 10 minutes?! Give me a fucking break! Let me build this wooden helecopter in peace LOL!

But refocusing on the positive, overall, this was a fantastic gaming experience! But even though this play-thru was satisfying. There were too many flaws that effect the final score. Tears of the Kingdom would have been a decent spin-off game. Like, focus on the Sheika Lab team and have them rebuild Hyrule and deal with the Ganon threat with building gadgets. Harvesting minerals underground. Rebuilding towns devastated by the Calamity. That would've been cool. But as a Zelda adventure? It falls short when you compare it to the other masterpieces throughout the years. But when you put aside the competition? Tears of the Kingdom is a stellar game experience!

A-Class

[dokidokitsuna]

...I just remembered I wanted to make my own statement on the AI thing. ^^;

So you've probably heard, but in case you haven't: Tumblr just sold out everyone's data to the AI trash compactors, they probably did it long before they gave us the option to opt out, and even if you do opt out they're probably still taking and using your work anyway (telling people to opt out instead of actually asking for their permission is already scummy business practice, but when it comes to AI it's functionally meaningless. :/ It's always "well, we're telling them not to use these people's data and we're hoping they'll be nice and go along with it" with no regulations or consequences if they decide to just steal everything indiscriminately...)

Despite that, I am not leaving Tumblr anytime soon. I'm looking into other sites*, but at this moment in time, I have nowhere else to go. ^^; Besides, I still like it here. When I left DeviantArt I was already getting sick of the place, having my art stolen regularly by "fans" and paradoxically getting less and less interest in my work over time. By the time the devs turned the website into eye-blinding slop with Eclipse, I was more than ready to move on.

But I still enjoy using Tumblr. I like writing long text posts that no one would bother to read anywhere else, I like answering asks, and I like the unique sense of humor and style among the users here. ^^ It would take a lot to force me out.

Also, I can take a little solace in the fact that AI-bros do not value "low-quality" art like mine. ^^; If messy cel-shaded sketches with visible pixels ever become popular, then I'll worry, but for now I think it's highly unlikely that anyone will want to wholesale regurgitate my art. If anything, I think prioritizing it in their datasets would only make them worse...and on that note, if you do have "high quality" detailed/painterly/semi-realistic art that would be targeted, I'd recommend 'poisoning' it with Nightshade/Glaze. Although I heard a rumor a while back that AI is "building immunity" to Nightshade and already learning to work around it, but I'm really hoping that was just a wishful lie from the trash compactors themselves. I haven't heard it repeated since then, so I think it's still worth a shot. ¯\_(ツ)_/¯

So anyway, like the post I reblogged said, I think the best thing we can do now is to make it clear that WE DON'T WANT AI ART. We don't care how easy it'll be to instantly generate thousands of hours of mindless 'content' to look at; we don't want it. Since regulation is lagging so far behind (wanna know why Disney's copyright hounds didn't shut this down on sight? Most likely, they're hoping to profit from it down the line) the only way to fight this right now is with individual litigation and consumer demand.

Don't support projects made with AI**; don't hate-watch them or spotlight them. Focus your energy on the millions of human artists who are still here, and need your support now more than ever.

*I've heard people mention moving to Twitter and/or Artstation: fam, you're jumping out of the frying pan and into the fire. ^^;;; IIRC, Arstation was one of the FIRST art sites to start flirting with AI, and Twitter has been selling off its users' data for several months already. Go there if you must, but don't go under the impression that it's "safer".

**Please keep a cool head when discussing AI art, and keep in mind that it used to mean something other than "mass theft". Artists have and still do create AI tools that are built on limited data sets with permission/compensation, that are used to aid them in their work and encourage human artistry (Vocaloids and DAW's, for instance) rather than stamp it out. Until a specific word evolves into popular use for exploitative AI, we're kinda stuck with this confusion, so remember to get the facts before you speak out.

P.S. Praying every night that this is a dumb fad that will soon die and go to the same hell as NFTs. >_< Praying every morning that the influx of AI art into its own datasets will eventually corrupt itself and make it useless. >_< >_< Praying every afternoon for both at once! >_< >_< >_< Like to charge, reblog to cast, all that