#artisit update

[fv-afton]

[askribbonmiku]

wah

Wah

dO I LOoK

weEeeEeEeEeEeE

hELLO lovelies! Is been such a long while since that post ! ya gurl is in Uni now ! attending art courses ! Imma gp straight to the point about this lil comeback yee ?

So apparantly my artstyle has been changing drastically and ive been learning stuff!

And since the motovations has been coming back lately i HAVE been planning to make a small comeback ! But with the story being stuck like this i decided to let the girls have a resetted timeline , where everything goes back to zero and starting over !

It will be a better for me to actually think about what lore should be focused on , and lately ive been standing on the angst side so be sure to be ready for a bubbly moment to went down angsty pretty quick >:D

It be possible to actually draw half bodies or specific headshots in this style , while the others might be on chibi style for bubbly moments !

So the banner will be taken down and will be replaced within the story progressing ! If you would like to see the store up and running again feel free to interact to progress it further more ! and even maybe a chance to participate in the lore as a side : D

pss- side characters CAN be a main key to further stories , yknow-

but anyway its been such a long while i came back to the vocaloid tumblr community and i hope to meet some more friends and local artisits and mutuals !

As said i think i may or may not be super distracting and be very much losing motivation easily , so i opened up another blog specifically for a minecraft character i owned ! Send asks its way to interact with you from the blocky world ! It'll keep me up to update one and another for it to not died down so quickly so do pls look foward !

Blog right here ! ---> @thebookinthecorner

Thats all the updates for now!

Cant wait to start a fresh new life , and be able to interact with ya;ll once more !

Stay ribbonized!

-luv , da coming soon back mun and wanna say why does uni hostel and school area needed to be seperated by a street b r u h

[importantangelbird]

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[peacelovealexandria]

Alex here, things have been better today.

We started a new medication and although the appointment we had scheduled with our psychiatrist didn't go exactly as planned we are a bit more hopeful.

We have an alter that is artisit and loves to draw and paint and she she stopped painting about 2 years ago when we were talked into an extreme amount of electroconvulsive therapy that we are still recovering from since we have stopped.

Idk

Things are looking up, just thought I'd update from the last post.

[luncalxartwork]

Challenges are fun and I invite anyone to give it a try. It is a great way to practice breaking down a piece into its vital components and also getting out of a rut.

Finished this prior to my surgery. It was a collab challenge with a friend of mine, 10 different art style challenge. We picked out some that would over lap and the. Cause we both ha e different tastes we did our own versions too. This was alot of fun and I'll post up the full thing with each individual style over time. It may take time while I am recovering. I want to make a video with each of the time lapses and explain my process.

To find my friends stuff you can see his results here. Their name is Stalmos. They do alot of good art and helped me get back into mine. Give them some love.

[meggiedoodlebug]

Why the hell does it show me random reblog additions when I'm looking through a tag on mobile?? Just show me the original post; if I wanted to see people's replies I'd look in the notes.

[zombyvamp]

MY INSTA

hey y’all, i made an instagram for my art in lieu of recent events. i’m still setting it up a bit but you’re welcome to find me there if you like! 

i’ll still keep this blog around, there’s a lot of art memories on here. i’m just a tad frustrated now that my art doesn’t appear in tag searches--and for all my fellow artists out there who are facing much bigger frustrations. 

please take some time to find the artists you like on other platforms 💖  

[khiphop-discussions]

Theres a clubhouse group called “beef in the k music industry” soo I’ll try to update lmao first thing

“The smtm season with snoop was embarrassing”

“Killigramz is good, i dont really f with him but I definitely think he’s better than woodie go child”

“Bewhy does not play, he is good hands down”

“There are very few artisit that are on bewhys level that arent part of the original og groups”

I thought the BeWhy one said “BeWhy has good hands” at the end. I thought they had tea of him fighting some one LOL

[darksaiyangoku]

RWBY- Redesigns

When it comes to fanfiction, redesigns are one of the most common elements in a story. Sometimes, it’s just for fun and sometimes it can be used to make fanmade works stand out from one another.

I am no exception to this, I’ve been thinking a lot about some redesigns that I’d like to do for Team RWBY in RWBY Versus XV, along with Team LAPS (Noctis, Gladio, Prompto, Ignis) and Team JNPR. Reason being because I like to experiment a lot.

Now don’t get me wrong, I LOVE the canon designs for Team RWBY. I mean, just look at this:

You can’t get more iconic than that! But I want to try something new and give RWBY Versus XV a fresh perspective, while also staying true to the spirit of RWBY. So what kind of redesigns did I have in mind?

Well first thing’s first, these outfits aren’t going away. Let’s just be clear. These outfits will stay in RWBY Versus XV, but they won’t be the primary outfits for them. What I had in mind for the new look of Ruby and Weiss are similar to their alternate outfits in Volume 2:

As for Yang and Blake, I was thinking something similar to Ruby’s fantasy in the Red Like Roses manga anthology:

Really cool outfits that unfortunately never got to be fully realised! 😭

As for LAPS and JNPR? Well I do have some outfit ideas in mind for JNPR, and my buddy OddNub is redesigning LAPS upon request, to make them feel more RWBY-like.

I have a list of other outfits I’d like to explore too, including;

Casual wear- You’ve seen Ruby’s and LAPS’s in the first chapter, I wanna do the same for WBY and JNPR. Like their combat gear, they’ll also have a change of casual wear as the story progresses.

School Uniform- These will largely be unchanged, but I’ll be matching the uniforms by Kingdom colour. So expect a lot of green.

Mistral Arc Combat Gear- I was thinking of a modified version of their volume 1-3 outfits.

The White Fang- Still undecided at the moment, but I would like their Grimm-masks to look more like Grimm.

Team CRME- I’m actually gonna keep their outfits as they are for the Beacon Arc. Mistral onwards, they’ll have new designs.

Salem’s Cult- Various new ideas I have, such as a complete redesign of Tyrian. I’d like to incorporate more purple into his outfit.

Team SSSN- I’d probably only change Sun and Neptune’s outfits. I want them to have different combat gear and have their original looks as their casual wear.

Team STRQ- Summer and Raven will remain unchanged, while Qrow will have more black on his combat gear and Tai will wear a gi. Kinda like Ken from Street Fighter.

Branwen Tribe- A hybrid of Celtic/Japanese warrior clans.

And that’s all I have at the minute. I’ll update on any new ideas I have in mind whenever I do. Also, don’t expect any drawings from me anytime soon, I’d rather commission artisits for something like this.

Man, this was an unusual post.

Source for Team RWBY lineup: https://www.deviantart.com/einlee/art/RWBY-portraits-459635361

[fandom-artworks]

Fandom Artworks Tumblr update

Okay so a little update.

This blog will no longer provide tags on reblogs. only post from externally sources and submissions will get tags. So post will now happen randomly, it can happen any day at anytime, but it will posted in my queue with runs at every 30 mins if there is anything in the queue. if not there will be no posts until I add more to the queue.

For more  info you can continue reading under the break.

The reason, I am doing this is because I need to focus on studying again and plan to do some online courses. I am also working again so I may not that much time to run this tumblr. I still don’t want to close or abandon this tumblr just yet. Tagging the post just takes way too much of time. And so this is the only option. 

So I hope you continue to follow despite there being no tags and I hope it still helps the artisit. 

I am not sure if I will be able to find the time to tag the post in the future but if I do I will update here again. 

Thank you for following Fandom Artworks. - Mod.

[mysketchhub]

An update on the previous painting.  Will post the final painting in a bit

[fromationstudio23]

Quick update: If you ever get a notification of "thefandommania" liking your art, that's also me. I don't wanna give off the impression that I don't like other people's rad fan art on here.

[robertogreco]

Strict Forms

This is a thread from last month that I've been thinking about ever since, but never got around to posting here. It starts with a series of tweets from Guillermo del Toro:

Tweets on why I am interviewing Michael Mann and George Miller (2 weeks each) about their films this Sabbatical year.

I sometimes feel that great films are made / shown at a pace that does not allow them to "land" in their proper weight or formal / artisitic importance...

As a result, often, these films get discussed in "all aspects" at once. But mostly, plot and character- anecdote and flow, become the point of discussion. Formal appreciation and technique become secondary and the specifics of narrative technique only passingly address[ed]

I would love to commemorate their technical choices and their audiovisual tools. I would love to dissect the narrative importance and impact of color, light, movement, wardrobe and set design. As Mann once put it: "Everything tells you something"

I think we owe it to these (and a handful of filmmakers) to have their formal choices commemorated, the way one can appreciatethe voigour and thickness and precision of a brushtroke when you stand in front of an original painting.

Aaron Stewart-Ahn responds, in particular to the final paragraph above:

Our media literacy about movies tends to prioritize text over subtext, emotion, and sound vision & time, and it has sadly sunk into audiences' minds. I'd say some movies are even worth a handful of shots / sounds they build up to.

To which I added:

Our education system prioritizes text. Deviation from text is discouraged.

“To use the language well, says the voice of literacy, cherish its classic form. Do not choose the offbeat at the cost of clarity.”

“Clarity is a means of subjection, a quality both of official, taught language and of correct writing, two old mates of power; together they flow, together they flower, vertically, to impose an order.”

That comes from “Commitment from the Mirror-Writing Box,” by Trinh T. Minh-Ha in Woman, Native, Other (via):

Nothing could be more normative, more logical, and more authoritarian than, for example, the (politically) revolutionary poetry or prose that speaks of revolution in the form of commands or in the well-behaved, steeped-in-convention-language of “clarity.” (”A wholesome, clear, and direct language” is said to be “the fulcrum to move the mass or to sanctify it.”) Clear expression, often equated with correct expression, has long been the criterion set forth in treatises on rhetoric, whose aim was to order discourse so as to persuade. The language of Taoism and Zen, for example, which is perfectly accessible but rife with paradox does not qualify as “clear” (paradox is “illogical” and “nonsensical” to many Westerners), for its intent lies outside the realm of persuasion. The same holds true for vernacular speech, which is not acquired through institutions — schools, churches, professions, etc. — and therefore not repressed by either grammatical rules, technical terms, or key words. Clarity as a purely rhetorical attribute serves the purpose of a classical feature in language, namely, its instrumentality. To write is to communicate, express, witness, impose, instruct, redeem, or save — at any rate to mean and to send out an unambiguous message. Writing thus reduced to a mere vehicle of thought may be used to orient toward a goal or to sustain an act, but it does not constitute an act in itself. This is how the division between the writer/the intellectual and the activists/the masses becomes possible. To use the language well, says the voice of literacy, cherish its classic form. Do not choose the offbeat at the cost of clarity. Obscurity is an imposition on the reader. True, but beware when you cross railroad tracks for one train may hide another train. Clarity is a means of subjection, a quality both of official, taught language and of correct writing, two old mates of power; together they flow, together they flower, vertically, to impose an order. Let us not forget that writers who advocate the instrumentality of language are often those who cannot or choose not to see the suchness of things — a language as language — and therefore, continue to preach conformity to the norms of well-behaved writing: principles of composition, style, genre, correction, and improvement. To write “clearly,” one must incessantly prune, eliminate, forbid, purge, purify; in other words, practice what may be called an “ablution of language” (Roland Barthes).

See also Keguro Macharia on strict academic forms (and various other posts on linearity and academia):

Proposals for radical ideas in strict academic forms. Radical thinking requires radical forms. It’s an elementary lesson. Perhaps more academically inclined people should co-edit with poets. Figure out why form matters. I am most blocked when I resist the forms ideas need to emerge.

Update [7 January 2018]: To go with the above, I think it makes sense to add this passage from Ryan Brown’s “Fred Moten: A look at Duke's preeminent poet”:

As for how he thinks of his own writing, Moten explained to the literary journal Callaloo that he doesn’t see poems as neatly wrapped ideas or images. Instead, he believes that “poetry is what happens… on the outskirts of sense.” What do you think?

This unorthodox approach to writing extends beyond Moten’s own projects, spilling over into his teaching philosophy. In a Fred Moten English class, a standard essay on a piece of literature might be replaced by a sound collage or a piece of creative writing reacting to the reading. It’s an attempt, he said, to get his students to write like they actually want to write—not the way they think they need to for a class. What do you think?

“School makes it so that you write to show evidence of having done some work, so that you can be properly evaluated and tracked,” he said. “To me that degrades writing, so I’m trying to figure out how to detach the importance of writing from these structures of evaluation.” What do you think?

Second year English Ph.D student Damien Adia-Marassa said this means that Moten’s classes are never the same. Last Spring, Marassa worked as a “teaching apprentice” in one of Moten’s undergraduate courses, “Experimental Black Poetry,” for which he said there was never a fixed syllabus. What do you think?

“He just told us the texts he wanted to study and invited us all to participate in thinking about how we might study them,” Marassa said. What do you think?

But is Professor Moten ever worried that students will take advantage of his flexibility with structure and content? What do you think?

Actually, he said, he doesn’t care if students take his courses because they think they will be easy. What do you think?

“I think it’s good to find things in your life that are easy for you,” he said. “If someone signs up for my class because they think it will come naturally to them and it won’t be something they have to agonize over, those are all good things in my book.” What do you think?

In the Spring, Moten will switch gears as a professor, teaching his first creative writing course since arriving at Duke—Introduction to Writing Poetry. But whatever the course title may imply, he won’t be trying to teach his students how to write, he said. Instead, he hops they’ll come away from his class better at noticing the world around them. What do you think?

And he hopes to teach them to that, in order to write, you first have to fiercely love to read. That’s a skill he learned a long time ago, out in the flat Nevada desert, when he first picked up a book of poems and started to read, not knowing where it would take him.

Update [23 February 2018]: Here come several more passages that fit with this theme of breaking forms.

First, Fanta Sylla on “Metrograph Celebrates the Inventive Truth-Telling of St. Clair Bourne”:

Let the Church is so free of form and spirit that, presented without context, it could easily be seen as a fictional piece. It is not clear how much the scenes are staged, or, indeed, whether they are staged at all. Right from the first interaction, in which what seems to be a religious teacher laboriously explains the purpose of a sermon, there is a distance with the people filmed (broken on occasion by extreme zooming and direct address), as well as a writtenness and theatricality in the dialogue that can be delightfully confusing. What one learns while watching Bourne is that there are many ways to enter a subject, and one mustn’t refrain from exploring them, especially not in the name of nonfiction convention.

And now “Hilton Als on Writing,” in an interview with T. Cole Rachel:

T. Cole Rachel: Your essays frequently defy traditional genre. You play around with the notions of what an essay can be, what criticism can be, or how we are supposed to think and write about our own lives.

Hilton Als: You don’t have to do it any one way. You can just invent a way. Also, who’s to tell you how to write anything? It’s like that wonderful thing Virginia Woolf said. She was just writing one day and she said, “I can write anything.” And you really can. It’s such a remarkable thing to remind yourself of. If you’re listening to any other voice than your own, then you’re doing it wrong. And don’t.

The way that I write is because of the way my brain works. I couldn’t fit it into fiction; I couldn’t fit it into non-fiction. I just had to kind of mix up the genres because of who I was. I myself was a mixture of things, too. Right? I just never had those partitions in my brain, and I think I would’ve been a much more fiscally successful person if could do it that way. But I don’t know how to do it any other way, so I’m not a fiscally successful person. [laughs]

[…]

I believe that one reason I began writing essays—a form without a form, until you make it—was this: you didn’t have to borrow from an emotionally and visually upsetting past, as one did in fiction, apparently, to write your story. In an essay, your story could include your actual story and even more stories; you could collapse time and chronology and introduce other voices. In short, the essay is not about the empirical “I” but about the collective—all the voices that made your “I.”

From a profile of Lorna Simpson, by Dodie Kazanjian:

Lorna graduated early from SVA and was doing graphic-design work for a travel company when she met Carrie Mae Weems, a graduate art student at the University of California, San Diego. Weems suggested she come out to graduate school in California. “It was a rainy, icy New York evening, and that sounded really good to me,” Simpson says. “I had no idea what I was getting myself into.” She knew she’d had enough of documentary street photography. Conceptual art ruled at UCSD, and in her two years there, from 1983 to 1985, Lorna found her signature voice, combining photographs and text to address issues that confront African American women. “I loved writing poetry and stories, but at school, that was a separate activity from photography,” she says. “I thought, Why not merge those two things?”

Arthur Chiaravalli in “It’s Time We Hold Accountability Accountable”:

Author and writing professor John Warner points out how this kind of accountability, standardization, and routinization short-circuits students’ pursuit of forms “defined by the rhetorical situation” and values “rooted in audience needs.”

What we are measuring when we are accountable, then, is something other than the core values of writing. Ironically, the very act of accounting for student progress in writing almost guarantees that we will receive only a poor counterfeit, one emptied of its essence.

“How to Teach Art to Kids, According to Mark Rothko”:

“Unconscious of any difficulties, they chop their way and surmount obstacles that might turn an adult grey, and presto!” Rothko describes. “Soon their ideas become visible in a clearly intelligent form.” With this flexibility, his students developed their own unique artistic styles, from the detail-oriented to the wildly expressive. And for Rothko, the ability to channel one’s interior world into art was much more valuable than the mastery of academic techniques. “There is no such thing as good painting about nothing,” he once wrote.

Update [10 July 2018]: Here’s a great thread from Dr. Lucia Lorenzi on form in academia, but also on the value of silence and pause.

I have two academic articles currently under consideration, and hope that they'll be accepted. I'm proud of them. But after those two, I am not going to write for academic journals anymore. I feel this visceral, skin-splitting need to write differently about my research.

It just doesn't FEEL right. When I think about the projects I'm interested in (and I have things I want desperately to write about), but I think about writing them for an academic journal, I feel anxious and trapped. I've published academic work. It's not a matter of capability.

I think I've interpreted my building anxiety as some sort of "maybe I can't really do it, I'm not good at this" kind of impostor syndrome. But I know in my bones it's not that, because I'm a very capable academic writer. I know how to do that work. I've been trained to do it.

This is a question of form. It is a question of audience, too. The "what" and the "why" of my research has always been clear to me. The "how," the "where," and the "who," much less so. Or at the very least, I've been pushing aside the how/where/who I think best honours the work.

In my SSHRC proposal, I even said that I wanted to write for publications like The Walrus or The Atlantic or GUTS Magazine, etc. because this work feels like it needs to be very public-facing right now, so that's what I'm going to do. No more academic journal articles for now.

With all the immobilizing anxiety I've felt about "zomg my CV! zomg academic cred!" do you know how many stories I could have pitched in the past year alone? SO MANY. How much research and thinking I could have distilled into creative non-fiction or long-form journalistic pieces?

It's not like I haven't also been very clear about the fact that I probably won't continue in academia, so why spend the last year of my postdoc doing the MOST and feeling the WORST doing my research in a certain way just for what...a job I might not get or even want? Nah.

Whew. I feel better having typed all that out, and also for having made the decision to do the work in the way I originally wanted to do it, because I have been struggling so much that every single day for months I've wanted to just quit the postdoc entirely. Just up and leave.

In the end, I don't think my work will shift THAT much, you know? And I've learned and am learning SO much from fellow academics who are doing and thinking and writing differently. But I think that "no more scholarly journal submissions" is a big step for me.

I also feel like this might actually make me feel less terrified of reading academic work. Not wanting to WRITE academic articles/books has made me equally afraid of reading them, which, uh, isn't helpful. But now I can read them and just write in my own way.

I don't want to not have the great joy of sitting down and reading brilliant work because I'm so caught up in my own fears of my response having to replicate or mirror those forms. That ain't a conversation. I'm not listening if I'm already lost in thinking about how to answer.

That's what's so shitty about thinking as a process that is taught in academia. We teach everyone to be so hyper-focused on what they have to say that we don't let people just sit back and listen for a goddamn moment without feeling like they need to produce a certain response.

And we wonder why our students get anxious about their assignments? The idea that the only valid form of learning is having something to say in response, and in this way that is so limited, and so performative, is, quite frankly, coercive and gross.

As John Cage said, "I have nothing to say and I am saying it." When it comes to academic publications, I am saying that no longer have anything to say. I do, however, have things to say in other places to say them.

My dissertation was on silence. In the conclusion, I pointed out that the text didn't necessarily show all the silences/gaps I had in my years of thinking. I'd wanted to put in lots of blank space between paragraphs, sections, to make those silences visible, audible.

According to the formatting standards for theses at UBC, you cannot have any blank pages in your dissertation. You cannot just breathe or pause. Our C.V.s are also meant not to have any breaths or pauses in them, no turns away, no changes in course.

I am making a course change!

Update [7 March 2019]: Maya Weeks makes this point on Twitter:

i'm so over the fetishization of language!!!! not every1 is ~good~ at formulating thoughts thru words & we need systems that reflect ppls' various strengths! prioritizing work done in words (rather than literally any other action, like dance, or organizing) is elitist as hell!!!

u might think i'm kidding about this but i'm a professional writer with 2 degrees in language (linguistics & creative writing); i have been thinking about this for 12 years

[ijustwannabeskinnnny]

Just an update on Grayson and Eden’s family...

(top) Samantha Gray: Social butterfly + kleptomaniac

(second) Lane Gray: Artisitic prodigy+ good

(third) Collette Gray: Charmer

(fourth) Bonnie Gray: Clingy

(bottom) Zoe: the Gray’s cat

[luncalxartwork]

Yule goat is coming along great but having trouble on the legs atm. However my art gift for my gf is done!! I can't post it yet till after Christmas day cause spoilers. I will post photos of yule goat tomorrow and where they are at.

[ashacadence]

Surprisingly it doesn't happen all that often at me anymore but some times or when it did or when I updated a ref of a character. I can't tell you enough how rude this is. It makes the artist feel like they are being put down for their work and their idea even if certain characters share similar physical traits to some other well known characters. Keep those "oh this reminds me of..." to your damn self. It's belittling whether you realize it or not. If you aren't artisitically inclined and perhaps have written up a short story or shared a story idea and someone says right back to you "oh that sounds like blah blah from blah blah story." Guess what you are going to feel that same feeling too. Same with any idea and it could have come from another already done. It's up to you to execute it differently of what makes it yours and stands for itself. Everything has just about been literally done or created. Hardly if anything is original anymore. There is no harm in taking inspiration and changing it to make it your own either. If I sat down with someone and spilled my guts out on my headworld stuff and character stuff I would also tell you certain elements are inspired from my experiences of reading, watching or playing stuff according to my interests that helped develop and manifest into of my own story.

I rarely show my artwork to any of my family members any more because they either compare my work to pokemon or dragons. Even if i were to draw a dog with wings my grandfather would ask oh is it a dragon wolf? My dad would find ways to say racist shit too or something violent to happen too. It's like they have this image of 10 year old me drawing pokemon and dragons or anime almost always and they can't get that out of their head if I show them any personal work. I can't anymore. So I don't bother showing my family anything. I rambled a little too much into personal stuff and I got off track.

Point is. Keep those comments to yourself. Don't be afraid to ask what inspired the artist. Or how did they come up with the idea. Something along those lines. Artists or creative people love to talk about their work. Some anyways. But I like to share if people are interested. I treat any artist or creative person the same respect like my own work. I know it's not a common sense thing as some people who aren't artists or writers or more creatively inclined do ask those questions and honestly there is no way to stop them. Spread awareness of those typical hurtful questions are actually not good ones to ask. They may not think its rude but if they are told and encouraged to ask it differently it would help creative people too.

me: Oh hello these are my original chara-

some of y'all: “Hey, they remind me of [insert characters i’ve never heard of]” / “They look so much like […]” / “Is this […] ?”                  

me: