#exercising my muscles for simplifying shapes | Explore Tumblr posts and blogs

heph · 25 days ago

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TLDR: Got any drawing exercises to recommend?

I’m in loooove with the way you use lines, shapes and colors/shading to show form in your art. The way you draw bodies shows a lot of understanding of the shapes that go into them, and that’s something I often personally struggle with. I’m familiar with the shapes of a face, but when it comes to connecting them to the shapes of the body and so on, I get frustrated that it’s jumbled instead of cohesive.

I was wondering, when you’re looking to practice, whether that’s anatomy, line-making, still life shapes or whatever, do you have any exercises you’ve done and would be willing to share? I’ve been trying to crawl out of the no-art-depression-hole for a bit and want to start with things that don’t take much willpower but help me improve

I might be the worst person to ask this! My relationship with art is not typical and I do not practice mindfully! (I just draw whatever I want and that's my practice, y'know?

Anyways, here's my progress of how I learnt to draw :3

Step 1 is proportions - breaking up the human body into manageable blocks and pieces. And step 2 is learning the muscles that build up the body, and from there you can simplify as needed... Or do that thing anime art kids do and skip directly to the simplified bit! (You probably shouldn't do that but if it's a hobby who cares!)

For specific tutorials, I find that proko is probably the best mix of entertaining/educational content you can find, but aside from that I watch a lot of speedpaints.

As a sort of get rich quick scheme, I think the absolute easiest way to get stupidly good at art is studying perspective - but you at least need a basic understanding of proportions and anatomy before you can draw someone in a funky perspective.

Everything in life is in perspective, and every piece of work you will ever make will have perspective in it. Perspective is sort of like an all-encompassing thing in our reality that you don't realise is there, and maybe even not realise is missing in your work (just that something feels... Wrong) AND LIKE NOBODY EVER TALKS ABOUT IT! WHAT THE FLIP!!!

I don't really have a specific source for learning perspective, because I've been on-and-off trying to wrap my head around it for a few years (I'm still awful at it but I'm getting there...!) here's a video!

I do think that drawing with progression in mind might help, but I think with art (as a hobby) the most important thing is probably love for a special guy and joy of creation. You have to love what you're drawing and the simple act of creating, or it just won't work out. If you're in a depression hole maybe just try creating for the sake of it, and don't give yourself too many expectations :)

#and composition that one is important too #but comp is more “how make picture look good” and less “how get better at art”#but picture looking good does indeed make you better at art so!#and besides if you have eyeballs that work youre already further along with understanding composition than perspective #because again #its an all encompassing thing we dont notice is all around us #we know picture look good because we have eyeballs that work #but we dont know why this cube look weird and this one doesnt. because cubes all look normal irl and you dont think about it #ok done. anyways yeah i dont recommend figure studies that shit is boring #if youre just doing this as a hobby ofc #heph answered #im showing too much of my personality here im going to bed #also i realise that im not answering the question #but i do also think the not connecting to body shapes thing might be an issue of perspective #draw different body part in perspective. start connectimg them. boom profit

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artvaris · 11 months ago

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Hi! Your artwork is stunning! Do you have any advice for learning shape language and form the way you do? I absolutely love how you shape characters, like older women or less-commonly-drawn facial structures.

Hello! I'm so glad you enjoy my work! Thank you very much for your kind words. When it comes to shape language & stylization (and how I think when I draw) it basically boils down to this simple rule of thumb: Everything - even the most complex subject matter - can be simplified & mannequinized into basic, almost geometrical forms, such as spheres, triangles, boxes, rectangles, etc. These simple forms are much easier to understand, remember, draw, and manipulate. This particular educational video explains the whole concept of using simple shapes & manipulating those shapes to build and draw more complex forms: https://shorturl.at/ewT38

I highly recommend watching this whole video with thought, maybe even multiple times. I have done so myself. It is important to use references & study the fundamentals and real-world to understand what you draw and aim to stylize. If you wish to draw humanoid characters with varied facial features, learn the basics of human anatomy and proportions and study real humans. Remember to use references. The ability to draw from imagination is just the result of a lot of practice and drawing from reference, and you can do that once you have a bigger visual library so to speak. But even then, it's always good to use references! Important note: Stylized art is based on reality and the understanding of reality. I also think it is beneficial to know the classic proportions before you "break the rules", because that way, you have much more control over your shapes and stylization/shape language. This does not, however, mean that you need to know and memorize every muscle and bone of the human body to start drawing. When it comes to learning, I think it's good to follow the same "formula" you follow when you draw: work from big to small. Learn the "big basics" before you focus on the intricate details. If you are a beginner, start from the beginner basics.

Analyzing the work of other artists can also help you understand the concept of shape simplification and manipulation on a deeper level. Try to see and analyze how these folks manipulate their shapes and why. How do they stylize and mannequinize reality, what shapes do they use and why? Doing the exercise of mannequinization - which is explained in the video - is very helpful. Focused, analytical practice is often better than just copying what you see. So when you look at references, try to understand what you see and dissect the complex subject matter into simple forms.

#varis talks #art talk #I hope this helps #but I'm also self-learned and I'm not a teacher

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tomatoart · 2 years ago

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mwah your art is good and nice :>

can I ask for some advice? no worries if u don't want to answer.

do you have any tips on how exactly to practice art? everytime I ask for art advice everyone always says "practice" but idk what to practice first! do you have any strategies for learning how to draw something? do you do excercises? and if so how do they work?and are there any beginner mistakes I should look out for and change specifically?

thank you so much!! have a wonderful week :>

thank you so much! im ok w answering! i dont want to speak as if i am an expert on how to draw things in general as i am learning as well and definitely am not completely learned, so i might not be the best person to ask since im not very professional w my art as I do it as a hobby (and I can only speak on mostly digital cartoon matters) but i reallly hope to try and help u out even a lil ! im really happy that you’re eager to draw :] I wish you so much luck muwah muwah

i also hated when ppl told me “just practice” and i dont wanna inflict tht on u EITHER LOL but also thats just what i ended up doing for awhile but i tried to find some things to help ^_^

tips for practice: My number one rule is that practices should be challenging but still fun, I know it can get frustrating trying to redraw a pose over and over trying to get it perfect. And over time it rlly is all about muscle memory, the longer you draw the more your eyes will pick out specific shapes in everyday life and convert them into its own vision of them! or at least its good to look at life that way, try to pin point key shapes and stress less on details in practices. after you look at key points, THEN you can go over what you have and draw in and over it to make it more “complete.” To stop practices from getting too stressful I recommend starting out drawing what you want a little more simple looking than ur desired finished product. This helps eliminate the pressure of everything not looking “perfect” and keeps your art more loose and fun. Doing this a few times is gonna get ur brain to recognize patterns in art and how things look/flow in anatomy and such. dont get stuck in ur own head abt perfecting everything to the point you either 1) give up bc ur not at a level capable of it being 100% “perfect” or 2) focus so much on making it perfect that you end up saying the work looks “wonky” or stale in dynamics, So while I do think studies help, don’t get too lost in them. I always practice with media I enjoy too, whether it’s characters or fashion I enjoy.

Strategies learning to draw something: people get mad abt this one but I think tracing reference photos is great. its been awhile but When I tried learning to draw hands better at first I would trace them then put the traced image to the side of the canvas, then try and replicate what my mind saw as its most important angles and aspects. Same for clothing folds/hair/etc! I think it’s maybe not the best idea to trace the ref and use the tracings as is, because you learn more from tracing it then trying to replicate and simplify what u learned into the style you’re working in. Find what shapes you like from them and don’t over detail it. you may have to go by eye and think “what parts of this ref photo should i simplify to fit my style” and for me, its usually adjusting the length of the torso and then the limbs by associations. i dont recommend feeling like u need a reference for every art you make though, its ok to let ur own head try out its own sometimes too while trying to learn this, see if it remembers any call bad from the past referenced sketches! over time ull remember where everything goes more, these days i rarely kick myself to use refs but im sure they still would help to use, but figure drawing simple blobby figure in a bunch of random poses was a big thing i used to do as well to get better at full body art + overall dynamics (still does this). also paying attention to silhouettes is great

Exercises and how they work: I WANNA HELP U SO BAD BUT to be honest, all the works on my blog ARE exercises! i rarely actually do finished pieces, if u scroll thru my posts ull notice most r sketches. i usually just fill up a page and call it “warm ups” then i get attached to some of them, take a few, and just line them up pleasingly on a smaller page, then color them in (or sometimes fix the lines to be more clean too). im not rlly a person who “exercises” to practice, it more so happens from just me drawing a lot for fun as a hobby! but i really should. i will tell u this has humbled me a lil i need to start practicing too 😭 LOL but a good exercise is to look at what ur inspirations do, and study it. Make a collage and write out what you like most abt their styles/what u want to gain from them. For ref Here’s a page I did awhile ago when someone asked me abt my insps:

i also look at fashion magazines and as well as anime figures and take insps from that sometimes with learning cool poses and compositions to convert into my own things

Beginner mistakes to look out for: its hard for me to pin point “mistakes” beginners make, as sometimes we cant avoid all of them or even notice them, progress comes from growing out of old ways. some mistakes are even the foundation of ur future amazing cool style! but i think some things to look out for could be these, from my own old art experiences

Hands were the first thing I learned bc i liked drawing them. I don’t know if that is the best way to go but I think it is smart to practice sooner than later, here is a lil guide thingggyyy wingyyy from awhle ago

i see beginners shy away from drawing signs of age in people, sometimes adding too much detail on an older person in cartoon art makes it look weird, so i try and hit the key markings on ppls faces of age.

Too thin of lines. sometimes its a stylistic choice to use thin lineart, and it can look amazing ! but sometimes it can flatten an image if ur not familiar with its flow. im not saying use thick line art, but more so to keep in mind the weight of ur strokes, adding depth with a thick thin combo of line art can do SO much for the simplest of pieces. heres a visual from a while back when i talked abt my brush + more abt lines:

but if ur desired style is thin lineart that is cool too! tbh it was just harder for me as a beginner

sometimes artists think they need to do full lineart for everything and then hate how it looks compared to the sketch, do not fear i will introduce u to my bff: painting over a sketch, extractinging the lines, then calling it line art. i only do this sometimes but its a fun exercise-ish thing to do in a pinch. example:

finding what shading fits ur art. sometimes ill see ppl starting out who have a style thats very simple, but they use a very detailed rendering process on it. this is not something id ever police of course, art is each persons own choice! And it CAN work. It can be so cute! but sometimes mixing two very contrasting mediums of art can throw off the “put together” look of it. i use to abuse the airbrush tool thinking it made my simple style look super cool and detailed, but looking back on it now those pieces looked a little off, having such a simple style have somewhat more realistic shading. dont get me wrong the ability i see ppl use rendering like that is so insanely talented! but i found cellshading to be a good match for cartoony art like my own. a tip i learned way too late abt that is rather than shading each layer by color picking a darker color, instead use a clipping mask over the entire art (above line art too as I color my lineart) and lasso tool the areas u want shaded + fill it w a saturated purple then set to multiply + lower opacity. also, sometimes coloring can come out chalky looking when u meant for it to be smooth and transitional, i think this comes from overshading and overlighting pieces without reason. pay attention to where the light source is, and focus on making the shaded and lighter areas nice shapes that cover the necessary areas, then u can add additional shading to the smaller details of what should have a casted shadow/light

its good to spice up ur art now rather than later, focusing making ur art pop more w backgrounds will help ur coloring skills look better too! i dont mean detailed huge backgrounds, a small lil color pallet and design rather than a blank white bg. like this will make u feel better abt it or at least it helped me *sweats* yeah:

beginners tend to draw blank faces like “:)” but I think a good thing to do is try and get silly with expressions early on. It’s okay if the mouth hangs off the face cartoonishly with joy or shock, it’s ok if the eyebrows are super high in surprise.

tracing and pasting it as is (already said this but I’ve seen ppl do it a lot with hair styles and it makes it look alienated from the rest of the style) (final fantasy fans found critically injured) n if need a ref for a pose, using a real humans anatomy as-is doesn’t look quite right on a cartoonyish drawing. Shortening torso and legs usually comes out of this for me!

flip ur canvas i promise u it’ll be less embarrassing over time!

using guidelines for perspective and foreshortening is GREAT. Do it stylistically rather than realistically to add some groove to it...yay. Having silly perspective in art can make it look like a 10 so easily opposed to a normal front facing sketch. Look at cool poses from fashion magazines! Don’t be scared to draw something you don’t feel confident in conveying perfectly, this is why progress redraws exist :)

Drawing the hairline b4 u draw the hair is great, it helps u understand where their hair flows from, where it starts and stops, AND prepares u for drawing bald ppl. Also don’t make the head too big, the skull IS bigger up top, but sometimes I see an alien head affect.

Anatomy is an interesting mistake that beginners make a lot, but it’s one they find harder to notice! When I started out, all my art would be SO wonky, but I didn’t even realize it! It still happens today too! specifically though I see beginners struggle with the arms in this department. My advice is to try and measure them out and make sure they don’t go past the knees, and are the same length as each other when Unfolded. asking for criticism is hard but it helped me realize when i would make something bigger/longer than it should have been in my art, and stuck with me being able to go “oh... i see it LOL”

clothing wrinkles- do not over do it! Too many wrinkles and shading can look unpleasant and wirey- like a plastic table cloth all bunched up which isn’t exactly what ppl wear. pay attention to gravity too

I hope this helped even a lil im sorry tht I’m not very good at explaining or didn’t have much to sayyy! If u have any troubles no guarantee I’ll have the answer, but ur always free to ask!

#asks #faq #I hope ur week is going good n that u’ll have fun creating 💙🐠#long post #not tomaart

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nettblur01 · 1 year ago

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Today I created a sketch with my darkest background with charcoal and pastel I used my sketch book charcoal and pastel to create a very patterned background. Firstly I have to create the background. As a frame, I went over with charcoal creating straight or edgy strokes for this method, it is best to have putty rubber or glue tack. Squint best to do I learned and remind myself this post if I wanted to see shadow and tone start point I had to wrinkle slightly close my eyes and darkness started out Not using a line using 3 tones shapes column

I enjoyed seeing everyone work especially single colours combined together and the outcast was great I noticed many people don’t express faces or just fill the face-up darker shadows I wanted little relevant with colours outs stand on my drawing but over ambitious my work.

My tutor had spoken about the materials being made of charcoal water colour and gauche and oils and other paint I hope I could share on my next post

The more I try to control the less control I have to leave something more alive both abstract believing eyes tell stage to go over the top once o rehearsal then run it poetic distingue character see the tone local colours simplify fill the frame certain things frames stretch the forms observed go around movement can be simple or realistic abstract looking this way or looking down visual clues I find fun to sketch try out new method against with time playing tennis without trying tv report works for everything doing exercise muscle increase so much frame mind.

I need to improve my measuring and layer applying for sure because difficult to balance both colours and black pastel not over lap.

#my artwork #classmateartworks #charcoal #shapes #realifedrawing #pastels #lessons #mdx #mdxart

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thedivinefish · 1 year ago

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divinefishingtips · 1 year ago

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TGIWednesday: The simpler the better

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If you’re looking for a sign of spiritual significance here it is! St Dimitrios Romanian Orthodox Monastery, Middletown, Upstate NY Submitted by Lucia / New York

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The next opportunity for Tampa office sessions: TBD

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365dailyaffirmations · 1 year ago

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TGIWednesday: The simpler the better

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kate-cosette-vocals · 2 years ago

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Everything You Need to Know About Singing (in a nutshell)

(I made a YouTube video on this exact stuff too. If you’d rather watch that, here’s the link!) One of my top priorities as both a singer and a singing coach is to simplify the singing process as much as possible. When I was learning how to sing, I filtered through hundreds of concepts, theories, exercises and read or watched any and every video I could find on singing. And sometimes, the things you find contradict with each other, are completely off track, or are just simply overwhelming.

So, as I was learning to sing to simplify my learning process, I came up with something I personally like to call the Holy Trinity of Singing, though it has no religious connotation at all whatsoever. (But it has a nice ring to it, right?)

Throughout my years of study and experimentation, I learned that there are only three concepts that singing boils down to. And no matter what you’re struggling with singing-wise, no matter the level of your talent, you can always pin your issues back to one, two, or all three of these three components in this Holy Trinity of Singing to fix what needs fixing.

The (un-religious) Holy Trinity of Singing

(AKA, the ONLY places you ever have to look to improve*):

1. Breathing

2. Vowels (Mouth Shape)

3. Vocal Placement

These three places (breathing, vowels and placement) are the only places you’ll need to look. This guide you’re reading has to do with how you’re singing, rather than what you’re singing.

If you learn each of these three components to your fullest potential, and you will have the voice you’ve always dreamed of. I’ve written these three components in the order I learned them, and the order I teach them. I suggest you learn them in this order, and I’ll explain why in a little bit. (But again; learn to hear yourself first if that's something you struggle with!)

Now first, let’s learn what each of these three components are, how they can be messing with your vocal improvement, and why they’re so important to learn correctly and fully.

Breathing

Anyone who’s done their fair share of research in learning to sing has probably heard of, “breathing from your diaphragm.”

Breathing from your diaphragm is so important because, without it, you’ll never have enough air, and you’ll never be able to use it wisely.

Diaphragm breathing is just a fancy way of saying to breathe lower. When you breathe normally, a muscle (imagine it as being horizontal) underneath your ribs called your diaphragm moves down as you breathe in. This allows your lungs space to expand as you take in air. When you exhale, your diaphragm moves back up, gently pushing your air back out.

When you breathe normally, your diaphragm only moves down a little tiny bit—barely at all, really. It moves down just enough for you to take in a little bit of air, which is all we need to simply breathe and survive and speak. You don’t need a ton of air to speak and breathe normally, so your diaphragm doesn’t bother moving down so much.

But with singing, you often hold notes a while, and often much longer than with speaking. So, that small amount of air you usually take in just isn’t going to cut it.

Singing is literally the result of how you exhale your breath. Which means that how you breathe is vitally important! And often, even after you learn how to breathe from your diaphragm, singers will simply forget to breathe during a song. Sometimes they don’t breathe low enough, they don’t take in enough air, or they aren’t controlling their exhale and they let all the breath out in an instant instead of pacing it.

Here’s some things you may be experiencing if you’re breathing incorrectly:

- voice is too breathy

- you’re out of breath quickly

- pitch inaccuracy

- unable to maintain enough air for long notes

For tips and techniques on how to breathe from your diaphragm, check out this post here!

Vowels (Mouth Shapes)

I have a post on what exactly singing vowels are and how to form them, but here I’ll just explain their importance to singing and the problems you may experience if your vowels are incorrect.

Vowels are very important. Without perfect—or close to perfect—vowels, you’ll run into a bunch of vocal problems, and you’ll never sound as amazing as you are capable of sounding.

If you’ve done even more digging into learning to sing, you may have heard the term “singing vowels.” Always remember: although we call them vowels, they aren’t the same vowels we know and love from English class: A, E, I, O, U and sometimes Y.

Singing vowels are: Ah, A, E, O, and Oo.

In essence, saying each of these vowels correctly (shaping your mouth in a very specific way as you do so) forms your mouth into a very specific shape. So you can also think of singing vowels as mouth shapes.

Each of these five singing vowels—mouth shapes—are the only five mouth shapes or vowels you’ll ever use while singing. Because, each of these five vowel sounds are the ONLY five different sounds that make up every word you’ll ever sing.

(Much more about vowels in the vowels post).

So, why is it important how we pronounce words when we sing? Why can’t we pronounce things the same way both speaking and singing?

Because—when we speak, we don’t care about how our tone sounds. We don’t need our voices to sound angelic. We just need to get our point across. When you’re trying to sound pretty, however, that has to do with how you pronounce things.

It all has to do with that air you’re breathing out.

We talked about how it’s important to take in enough air and release it at a controlled pace, but we also have to consider how you shape its exit.

Think of mouth shape and air the same way sound reacts in a room. A spacious room that has hardly any furniture or carpeting to absorb the sound and no open windows or open doors (such as a cathedral or a bathroom) gives singers and musicians great acoustics. The sound circulates freely and it’s very concentrated; it has nowhere to escape. On the other hand, if you’re singing in a room that has open windows and open doors and plenty of furniture for sound to absorb into, it has plenty of room to escape. You don’t get that glass-like, beautiful tone that you get in a church.

The same idea goes for how air circulates in your mouth.

Your mouth shape is your room, your breath is your voice. The more space you have in your mouth and the smaller/narrower the opening of your mouth, the more glass-like your voice comes out. If your mouth is open too wide, that’s like opening the windows in the room. You’re letting the air escape and breaking that glass-like tone of your voice. (Not to mention causing a bunch of other issues).

Singers like Ariana Grande and Kelly Clarkson have beautiful glass-like tone because their vowels—their mouth shapes—are so perfectly shaped. They’re both classically trained, and classically trained singers are usually taught very perfect vowels. Anyone can achieve glass-like or autotune-like tone if they perfect their vowel shapes.

With imperfect vowel shapes, you may experience:

- breathy voice

- pitch inaccuracy, usually too flat

- dull tone

- difficulty singing higher

- lack of flexibility in voice

- lack of air

If you’re experiencing any of these issues, go back to your vowel shapes. Polish them up… the results may astound you.

Vocal Placement

Last but not least, we have vocal placement.

Vocal placement is simply where you concentrate your voice when you sing. It’s where you place your voice in your body.

The reason I both learned and teach this last is because you often can’t learn this either easily or at all until you have breathing and vowels under control (and my definition of “under control” is the ability to do them without having to consciously think about it. After you’ve made them a new habit).

Now, why is placement important?

Where you put your voice in your body is so important because singing doesn’t occur in just one spot. That’s why, when people struggle to sing higher, it’s often because they’re trying to sing notes that don’t exist where they’re trying to sing them.

If you’re struggling with placement, you might be experiencing:

- a break in your voice as you try to sing higher, like you’re hitting a wall in your throat

- a light, soft voice that is unable to sing with power

- a heavy, thick voice that is unable to soften

- any trouble singing high notes

- any kind of tension or strain in your throat while singing

Another reason I leave placement until last in this Holy Trinity of Singing is because placement takes the longest to master (and for me, it’s been four years and I still wouldn’t say I’ve “mastered” it). If breathing and vowels are like a sports player’s equipment and uniform, placement is the player actually playing the game. Placement is the heart of singing.

But to put it simply, you have two major “places” to sing: head voice and chest voice.

Head Voice is located from pretty much the roof of your mouth and upward through the crown, or the back of your head. Head voice is comprised of the highest notes in your range, and sounds thinner, softer and lighter. We all use head voice when we talk to an adorable puppy or baby, in that soft, high voice.

Chest Voice is from the roof of your mouth and down, and you'll feel it resonate in your chest. Chest voice is comprised of the lowest notes in your range, and sounds heavier and thicker. You've used chest voice all day long; chest voice is your speaking voice range!

The problem occurs when you try to go from chest voice to head voice (or vice versa). The point where your two voices meet is called your “vocal break”. Everyone has one, and it’s different for everyone. You'll feel where your vocal break is when you have that “hitting a wall" feeling in your throat as you try to sing higher. Most beginning singers try to force their voice up past their break. But that's called straining. It also sounds like straining, and it's almost always unsuccessful. Trying to bust through your vocal break isn't just the way to sing through your break, it can be very damaging! So, don't strain! Ever!! Because there is a way to sing up and down your range smoothly and easily! And that has everything to do with where you're putting your voice: placement.

The way to stop that break from happening is by smoothing the transition between head voice and chest voice, and we do that by learning mixed voice.

Mixed voice is a mixture of head voice and chest voice. And it is one of the most beautiful things in the world of singing, because it opens you up so much!

When you try to sing higher in chest voice and you don’t switch to mixed voice, you hit what can be described as chest voice’s “ceiling”. Pretty much, all the notes below your break can be sung in chest voice, but those above your break cannot be sung in chest voice; your anatomy doesn't allow for it. You cannot “raise” your chest voice by trying to pull or force it upward. It physically cannot happen; it’s like trying to push a car to go 60 mph in first gear; it simply isn't made to work that way, and you’ll either stall or break the car or both. How do you go 60 mph in car? You switch gears. Essentially, that's what we're doing with vocal placement! You have three gears in your voice, and it's your job to make sure you switch them before you try going faster, or singing higher.

What we’re doing with placement is moving your voice to a different place. A place where you can hit those notes.

So, if you find yourself always tense and straining, running into that vocal break all the time… look no further than this. Learn vocal placement and you’ll never have to strain to hit the notes you want to hit ever again. (post on placement coming soon!)

So, that is my Holy Trinity of Singing. I’ve narrowed it down to the only three components of singing—so, master all three of these, and you’ll have the vocal freedom you’ve always wanted.

I’ll reiterate what I said about learning these in the order I wrote them if you’re a beginner; don’t try learning placement first. That would be like trying to bake a cake without proper ingredients; it’s not gonna work and certainly won’t taste good. Learn breathing and vowels until you don’t have to consciously think about them anymore. Because trying to learn all three components—breathing, vowels, and placement—at once is very overwhelming and a recipe for disaster. (Can’t get away from the baking analogy, apparently).

Take your time with these, and learn them thoroughly. You’ll thank yourself in the long run and save yourself a heck of a lot of time. Again—don’t take the cake out of the over before it’s done baking. (Okay, that’s the last one, I promise).

For those of you intermediate or advanced singers out there who are still struggling with one or two smaller, specific issues, really, honestly, ask yourself if you’re breathing correctly and using perfect vowel shapes.

I’ve had many clients who rolled their eyes at re-learning breathing or vowels because they “learned it already” in chorus or wherever. But often, they didn’t actually or completely learn how to do them correctly—they just thought they did. You can roll your eyes at the basics all you want, but you’re only hurting yourself if that is your problem and your pride prevents you from giving it another honest look. They may be basics, but they’re basics because they’re your foundation. They’re the wheels on a car or the walls on a house (or the chocolate in the cake batter… sorry, I had to). Set yourself a strong foundation to build upon, and you’ll be grateful for it, trust me.

With that said, use this little guide any time you find yourself struggling in any part of your singing; you’ll find the solution in here somewhere. Really pinpoint what’s wrong and revisit these three components of singing to figure out what’s going wrong, and you’ll be on your way to becoming the singer you’re meant to be in no time.

*Note: there is one other place someone may need to look, but that is only if you find yourself singing off-pitch (pitch is simply the note you're singing. If you're off-pitch, you're either singing flat, which is under the correct note, or sharp, which is over the correct note). If you have problems singing on the correct notes because you have trouble hearing yourself, you will first need to look at Pitch. When I say hearing yourself, I mean that when you sing, sometimes or much of the time, what you think you’re singing with what you really are singing aren't the same thing. I will make a separate post dealing with that alone!

Any questions? Drop them in an ask, a reply or an email on my website here! I’d be happy to help! If you need any one-on-one help, feel free to set up a consultation with me!

#singing #singing tips #how to sing #sing better #voice tips #voice teacher #singing teacher #voice #singing lessons #sing

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sivsii · 3 years ago

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How did you go from drawing animals to drawing humans? How did you adapt? I'm having a hard time doing it...

Honestly I really struggled with it for a long time, too. I spent like 2 or 3 years trying to practice human anatomy and very occasionally doing the odd piece of fanart here and there, but it was hard for me to translate anything I was learning into casual art and gain actual mileage until I got into critical role and was motivated to be drawing every week. Being able to separate myself from that “practice practice practice” mindset and become less analytical while I drew meant that any practice/study I was doing was less “I’m practicing aimlessly with no clear end-result to motivate me” and more “I wanna draw a thing I like > I don’t know how to draw this particular thing > I’m going to problem-solve until I figure it out > I drew a thing I like!” and then repeat. Basically, practice as a problem-solving means to an enjoyable end, rather than the end itself. It’s still hard, and time-consuming and frustrating for a while, but in my experience it was a far more productive way of learning than trying to separate practicing and drawing into two different things.

That all said, tho:

Tracing is your best friend when you’re trying to draw something new. Find some reference photos, trace them in a way that breaks them down into simple shapes, and then reference those tracings and redraw the pose. This does two things: the tracing helps build muscle-memory and familiarize yourself with the body without having to do a ton of thinking - a pretty relaxing/mindless and quick exercise to do as warm-ups. And then referencing that tracing can (again) help build muscle-memory through repetition, but also gives you a more more simplified form to recreate without getting lost in details. I do this both as occasional practice sessions and when I want references for actual drawings I’m doing, which is actually pretty often still

As a slightly more intensive version of this exercise: you can also look at (artistic) references of musculature, and then look at reference photos to try and to identify where the most recognizable muscles are and how they work in action.

That all said, the human body is squishy as fuck. Like seriously, knowing skeletal/muscle landmarks is fine and all, but my art really improved once I started recognizing how mailable and inconsistent most forms are. To help with that, an exercise I like is to doodle lumpy shapes either as general warm-up, or when I’m tracing/referencing a photo like in the aforementioned exercises. It helps with line confidence and comfortability.

One of the things I struggled with was style consistency. Knowing that I had something established in one area of drawing but not in another really tripped me up, but the sooner I got out of my own head about trying to manufacture a style, the sooner I was productively learning. A style will develop naturally as a result of personal influence and developing your own shorthand, and will eventually merge with or existing styles.

Watch how other people do things. Borrow their stylistic quicks and shorthands and try them out for yourself. Tutorials and walk-throughs of people explaining their processes is something I like having on in the background, and it can be surprising what you absorb through them.

It might just be because I’m an absolute nerd, but I could pour over anatomy/art books all day, and I’m certain that they’ve positively influenced my art in the last few years even tho I never actually read through them. I’ll reblog with a list of recs, but books on either art anatomy or books of concept/development art are both super valuable to at least browse through.

I wish I was better at offering advice, but really all I can close out with is how important I think it is for you to find something you enjoy drawing. Practice sessions are good, but it’s really valuable to problem-solve as a means of learning, and not get caught in the mindset of “drawing and practicing are separate things, and I need to practice X amount of times before I can start drawing things I like” really just go for it and try to enjoy yourself. There are so many ways to practice, and no chronological way of going about it. It’s kinda just a process of bouncing around, finding what works and when, and learning as you go. It’s gonna be frustrating and hard at first, but you gotta push through and eventually you’ll see progress.

#sivsi speaks #asks #art tips #art stuff #this is an unhelpful mess I’m sure #It’s hard when there isn’t really a set method for improvement #it’s all a lot of “fuck around and find out” tbh and the most helpful is to try and get to a place where you enjoy what you do #thats what’s most productive at the end of the day imo!#but it can be frustrating to go from something u feel skilled in to something that makes you feel like you’ve undone #years of artistic progress #the starting point always sucks and it sucks even more when you know you’re capable of better

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evelmiina · 4 years ago

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My resources for animation art and illustration learning

I’m trying to be more available and present for questions and advice about portfolio/career things. In the past one of the issues in my availability has been that questions I get are very broad or general. The other issue is that I don’t always have time, and things get lost in my email box. So I thought for starters to share what has been useful to me in recent years. Mind you, this is not general masterpost of anything, it is just interesting tidbits from my point of view that might be useful to others.

Perspective and layout:

https://imgur.com/gallery/V5Prm

Thomas Romain’s tips for perspective. Perspective is hard in the beginning, but I promise it gets easier the more you do it. This is a good reference for whenever I feel confused or struggling.

Books:

Marcos Mateau-Mestre: Framed Ink highly recommended! Informative, for beginners and professionals alike.

Tod Polson: The Noble Approach a look into animation history particularly from layout and design point of view. For anyone who’s interested in very graphic and shape oriented approach to animation layouts and philosophy behind it.

Hans Bacher: Dream Worlds a book that takes a quick look on all aspects of animation, I think it’s a good resource for sparking interest in variety of departments in animation and understanding how feature films are made. Often referenced when explaining basics of visual development and concepting for animation.

Character anatomy:

100 Tuesday Tips With Griz and Norm

http://grizandnorm.squarespace.com/tuesday-tips a great collection of variety of helpful tips for drawing from two Disney feature artists.

https://line-of-action.com/

Where to start with online figure drawing. It’s free! The goal for figure drawing should be to draw meaningfully. I’ve spent years of my life doodling and only absorbing a little bit of information, but I think there are more effective ways to learn. These exercises I do are to make me better at drawing dimensionally and so that the characters are acting and interacting in a space.

Exercise 1: Drawing long sessions - taking the time to observe. We should always aim to draw the characters as 3dimensional, even if desired result is heavily stylized and simplified. In the beginning, it might be more helpful to start with thinking anatomy as boxes and balls and pyramids (I draw boxes, but different artists have different methods), I’ve found it helps me to improve my perspective and dimensions. Starting to draw muscles and skeleton straight away, it can be difficult to place them correctly, until there’s enough knowledge to break them down into more basic shapes. I find it takes time to start understanding and really visualizing things in three dimensions, but these exercises help.

A great demonstration: https://fyeaharttips.tumblr.com/post/23113717282/eyecager-tutorials-done-by-stanislav-prokopenko

Exercise 2: Drawing over photographs. I saw storyboard artist Ethan Becker on Youtube teach this and found it useful. I do this sometimes, because this too, helps to see how exactly all building blocks of human/creature are acting in different poses and action. The point is not to just idly doodle-trace over outlines, it’s to learn to see the underlying geometry.

Exercise 3: Croquis - the short poses. These exercises are to particularly push the line of action, the direction and force of the pose. It’s also good for seeing how well the basic shapes are working and how they stretch and bend in motion.

Color and light (painting):

Studying how light works immensely helps to figure out how color works. It’s also a necessary skill in BG painting or visual development for animation and very helpful for illustration. Other than that, I’m including a few videos of painting that I think are interesting and have been relevant to what I’m doing.

Schoolism course: Fundamentals of Lighting with Sam Nielsen https://www.schoolism.com/school.php?id=3

Schoolism course: Painting with Light and Color with Dice Tsutsumi and Robert Kondo https://www.schoolism.com/school.php?id=30

Books:

James Gurney: Color and Light - A Guide for the Realist Painter

Hans Bacher: Vision - Color and Composition for Film

Scott Wills painting demos on Youtube: https://www.youtube.com/playlist?list=PLvqCOo47Ag_GdWk_HXc1l_hD20yGca8TH

Four Disney artists paint a tree: https://youtu.be/9Dg8w6gk4cE

----

With these, a little disclaimer! My area of knowledge is mainly color and paint for backgrounds, illustration and a bit of character design. When it comes to storyboards and animating, I have next to no experience and there are many others who would be better to ask about these things.

#art books #blog #tutorial

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panfishonthefly · 3 years ago

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Five Reasons To Start Fly Fishing

There are probably dozens of reasons to pick up fly fishing as a new hobby. I have narrowed down that list to my top five to keep things short and sweet. Have you been thinking about learning how to fly fish? Read on.

1. Are you looking for a challenge?

I am not going to say that fly fishing is hard, but it is a skill that needs practicing and maybe a touch of patience. If you already have a background in fishing, it will be an easier transition, but there will be some old muscle memory to get past when it comes to mastering the cast. As an experienced angler, you will have a leg up on a beginner when it comes to things like reading the water and tying knots. As an instructor, I sometimes find it easier for beginners with no fishing experience as they are a clean slate with no preconceived conceptions. Either way, learning a new skill is a challenge, and if you are looking to put yourself to the test, learning to fly fish can be rewarding.

2. You will never stop learning.

Fly fishing is one of those things that you will never truly be a master of, with nothing left to learn. Put the time and energy into learning how to fly fish, and you will get good, outstanding in fact, but there will always be more to learn. New waters, different seasons, bugs, and the fish will constantly bring forth new challenges. Not a fishing trip goes by where you won't learn something new. Maybe it will be a way to improve your cast or presentation; perhaps you will discover a new insect that the fish are feeding on, or you will find fish holding in a new type of water. There is always be something new to learn. If not the fishing, you may learn something new about the natural world, which is just as rewarding.

3. You spend time incredible places.

Chasing fish with a fly rod will take you to some fantastic places. Regardless of whether you're chasing trout, exotic saltwater species, or one of the hundreds of warm water fish that you can find across the globe, you will find yourself immersed in beautiful natural environments. Whether it is a pristine mountain stream, a lush tropical jungle, the wide-open spaces of the American west, a saltwater bonefish flat, or a tranquil city park, fly fishing can take you to beautiful destinations. The best part about fly fishing is it can always fit into your travel plans. Whether you travel for business or pleasure, you can always pack a fly rod away in your luggage and find a new way to experience your final destination or the road to get there.

4. Fly fishing is relaxing.

Fly fishing is one of the most relaxing outdoor activities you can immerse yourself in. It can have a meditative quality to it at times. Although fly fishing can be complicated, it can also be made simple. Keeping things simple will enhance the relaxation factor. Some fly fishing methods such as tenkara simplify things, even more, making the activity even more stress-free and relaxing. In addition, fly fishing helps you to slow down. In our fast-paced society, few activities allow you to stand still and enjoy the world around you.

Just being in the natural world positively affects the human body. There is a reason that a babbling brook is one of the most common sounds on meditation and relaxing apps. It just so happens that that sound is often the background soundscape of fly fishing.

5. You get to spend time outdoors.

Being outdoors can be one of the most satisfying ways to spend your time. The sights, sounds, and smells of nature can be incredibly therapeutic to the body and soul. Fly fishing allows you to spend time in the natural world and observe its inhabitants close up. You will spend time in beautiful places, view stunning vistas and watch wildlife of all shapes and sizes. Fresh air and exercise are suitable for everyone, and the great outdoors is the best place to get it!

The time is now!

So if you have been considering learning how to fly fish, there is no time like the present to start. Don't know where to begin? If you're reading this, you already know the internet has a wealth of information on the topic. If you want hands-on instruction seek out your local Trout Unlimited chapter or a nearby FFI (Fly Fishing International) club. They often offer fly fishing instruction at little or no cost. Your local fly fishing shop is also a great place to start. Many of these businesses offer free fly fishing instruction to beginners from your corner neighborhood fly shop to industry giants like Orvis. Finally, another great option is to hire a guide. Fly fishing guides can be great teachers, and many guides specialize in the teaching of the sport as well as providing a great fishing experience. Fly fishing is a gratifying pastime that anyone can enjoy regardless of age, sex, or ethnicity.

#fly fishing

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thatfunkyopossum · 4 years ago

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drawing advice nonnie here! i guess,,,specifically the faces? your clones are so lovely and expressive and mine end up looking like eldritch monsters ajksdjfkl

Well, there’s no quick thing to being able to draw well, all you can do is study and practice! Without seeing your work there’s nothing specific I can help you with (and I’m not sure I have the time or energy these days to give specific critique) but where most people struggle with faces (including myself) is Anatomy and Volume.

So here’s what I recommend for learning those.

First, your supplementary online resources are going to be https://line-of-action.com/ which you can use in lieu of an in person drawing class (i recommend class mode settings) and the youtube channel Proko. I recommend studying with the use of a large pad of cheap paper, preferably newsprint, and willow charcoal if you don’t mind the texture.

The materials are not important, but I recommend large paper for studies like this because you can really let your body get into it. It’s completely fine not to have an easel to work on, in which case you can either prop up a large pad of paper on something with the use of a board, or you can have a smaller pad of paper. Anything works better than nothing, but if you can get large cheap paper, you absolutely should.

1. Look at Drawing on the Right Side of the Brain by Betty Edwards, [PDF here]

-I recommend checking this one out first. It teaches you the bare bones of drawing from observation and is absolutely invaluable to learning to see the way an artist does. The science in it is bunk, but its methods are sound.

2. Check out The Natural Way to Draw by Kimon Nicolaides [PDF here]

- Read the section on gesture drawing and practice it using Line-of-action, which you can set to do an endless stream of 30 second poses. I found it very helpful to do these studies in ball point pen (forces you to commit) or willow charcoal (difficult to erase and very soft), which was very freeing to me.

-The Gesture exercises can ABSOLUTELY be applied to just faces if thats what you want to draw. Faces are complicated and if that’s what you want to study, go for it. -I can’t vouch for most of the book as, tbh, i havent read it because i feel bad not committing to what the author asks of you. These specific beginning passages though on gesture and contour are very good!

3. Also get your hands on Drawing The Head and Hands by Andrew Loomis [PDF here]

I’m not going to lie to you. Andrew loomis might be one of the most boring authors in existence. I was reading his book aloud in a car once and it put my friend (who cannot sleep in vehicles!!!) to bed. His prose is boring as fuck. That said... he was an incredible artist! And may artists for decades have found his instructional books supremely helpful. I am very happy to have them on hand.

-For each section of the book, draw along with the examples. Copy Loomis’s art. Use line of action from the beginning, either for anatomy traces or from observation studies. Even in the planes of the face section, you can trace the planes over the photos either on paper held up to your computer, or directly onto the photo through use of a digital drawing program.

-Use Proko to supplement your learning with Loomis. It can be extremely helpful to get input from multiple sources, especially because IMO Loomis is honestly not the best teacher in his books, even if his methods work very well. The Anatomy and Structure videos in the Proko Facial Features playlist should be most helpful.

Please note, the sources on anatomy that I’ve provided here will only teach you how to draw the “ideal”, white face. They’re the sources that I learned from, which is why I’m recommending them to you. Which is why I want to outline right now what you SHOULD be trying to learn from these sources.

1. Underlying anatomy

Luckily, human beings from every race and national origin have the same exact bones and cartilage and fat and muscle, just in different places and attached at different points. What you are doing when you are learning anatomy, especially from biased sources, is not how the anatomy should be shaped, but rather what it is. If you get a deep understanding of anatomy, you should be able to problem solve and figure out by drawing from observation exactly what the underlying structures look like on anyone. The nose of a white person will, most likely, be pretty different from the nose of an east asian person, or a māori person, or a black person. That said, the cartilage and muscle attachments and bones are still all the same. What changes is the shapes.

2. Drawing from Observation

Honestly, learning to draw from observation is one of the most important things that an aspiring artist can learn. If you can’t draw from observation, learning will be an uphill struggle. If you can’t put aside your notions of what things should look like according to what you know, and instead start drawing them as they are, your growth as an individual artist will only ever come in switching out the symbols you use to represent different things.

As a last parting word related to that last thing: Imo, artists should not use symbols to represent reality, the way flash puppet animation does. What you should be doing, is you should be striving to understand the real, actual world, and then simplifying and streamlining and nudging it about into art. Symbol based art is, of course, still art, but its limited, and until we can break from these limits then our art can never reach its full potential. Draw as often as you can, draw with your shoulder and not your wrist or fingers if you can help it, do art warmups, and happy drawing :)

#long post

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0bigdiesel · 3 years ago

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#kiss

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poweredbydietcoke · 4 years ago

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Favorite books of 2020

This is normally a January or February thing...last year it was November, so May seems fitting in 2021. You can find the last few years here and here...

2020 book totals: 23 audio books 14 Kindle books 10 tree books

47 books total

I shifted a lot more of my reading this year to audiobooks, which I think is a combination of the baby (a lot of time that I could use my ears, but not my hands), more ranch work (got a nice set of ISOTunes bluetooth ear protection for running saws etc), and more solo travel time during the pandemic. I also read a lot more tree books, mostly as a result of some out-of-print titles and some baby-related gifts. And overall my reading dropped a bit, unsurprisingly.

[Reminder: these are all affiliate links, and it all goes to charity at the end of the year]

How to Have Your Second Child First: 100 Things That Would Have Been Good to Know--The First Time Around by Kerry Colburn and Rob Sorenson

When I told Bryan that we were expecting our first child, he insisted I read this book. It was fantastic, as far as parenting goes (targeted audience, obviously). But the basic message is chill out, it's going to be fine. Think about how many people do this multiple times. And all of the things you worry about for the first kid, like making it perfectly quiet for them to sleep aren't going to be possible for the second kid, so why don't you just treat the first kid the same way--it makes everybody more flexible. We've tried to put a lot of this to work with Cooper and at least so far is making our lives easier. No promises how he turns out yet. :)

Age of Ambition, Chasing Fortune in China by Evan Osnos

I’m pretty sure Scott Cannon recommended this to me a while back, I think after some of his time in China, and I really enjoyed it. I've been trying to read and understand a lot more about China these days for obvious reasons. I've started reading Sinocism by Bill Bishop. It's a lot, you have to skim it every day, or just disregard it some days, but it's got a lot of really interesting insight (at least to me) on how China is operating these days. At least I'm trying to build some sort of understanding because it feels as if it's going to be important at some point in our lives. The highlights of this book, for me, were probably starting to understand some of what are apparent contradictions in the dynamism of the entrepreneurial economy there combined with pretty aggressive state control. Sort of the way that the party is different from the state but isn't in many ways; it’s often the same thing “functionally,” at least as I understand it. The other interesting takeaway was the total aversion to a loss of control and the single overarching directive that seems to grip the party, which is no social unrest. I also read China’s Vision of Victory this year, but Age of Ambition was a better read. I’m currently working on Blockchain Chicken Farm, and while the title is better, Age of Ambition still comes out on top.

Expecting Better by Emily Oster

Love this book, and the second book by the same author, called Crib Sheet. This was given to us when we told some close friends that we were expecting and they said “Oh, this woman we worked with at University of Chicago (she's now at Cornell, I believe), wrote these books and they're very scientific, data-driven books on pregnancy,” which obviously appeal to both Lizzie and I. This one was great because it goes into the research and the studies on things like can you drink alcohol during pregnancy or not? What do you think about sort of deli meats vs sushi vs whatever in terms of how it's going to affect the baby? How much should you worry about different prenatal tests, which are the really important ones, which are the ones that have a lot of false positives, and so on. I highly, highly recommend this and in fact, have sent it to a number of friends who are now expecting kids. It really simplifies things in terms of what you need to worry about and not.

Honeybee Democracy by Thomas D. Seeley

I don't remember who recommended this, but I absolutely loved this book. It's a really fascinating (if pretty in-depth) overview of the science on honeybees. Obviously, part of this is appealing to me because Lizzie keeps honey bees here at the ranch. And we love their honey and love learning about them and seeing them in operation. But the thing that just blew me away about this book, in addition to just the detail on the explanations of how these things actually work, was how they did the study design. They would find a big offshore island that had no bees on it and actually go out and do these experiments in a “pristine” environment. Eg how did the bees decide where to set up their new hive? How did they lead or follow a swarm or anything else? And it was just brilliant...as an example, they figured out that bees like to establish hives of a certain volume, not too big, not too small. And so how do honeybees measure volume? It turns out that there are two measurements they frequently do: one is they walk around the circumference of the potential hive site, and two is they fly across it and kind of measure their flight time. And so somebody actually went to prove this and built a hive they had a “treadmill” on one wall, that they could speed up or slow down to change the perceived volume, and that did in fact change which hives were chosen by the bees. Really, really amazing book!

Educated by Tara Westover

Lizzie read this first and really loved it, and has been on my list for a little while. I finally read it and thought it was fascinating. This single story of a woman who's raised in, I think, Idaho in a very Mormon community. Fundamentalist and very conspiratorial/out there on the fringe family. And she ends up going to BYU and then studying in London and doing a bunch of stuff that kind of breaks the mold. But she talks about it as kind of an escape, and rationalizing/understanding how her parents shaped her and both the positives and negatives. One of the biggest things that was interesting to me was, and I've heard it in many ways, but this passage stuck with me: at some point, she made a little bit of money, maybe $1,000 in a single chunk rather than getting paid for a day of work. And she made the point that all of a sudden she'd never felt like that before, because she didn't have to worry minute to minute about where the money was and was going and whatever. Just an interesting reminder of the costs of all these things that many of us are lucky enough not to think about at that level. Year by year, sure, but day by day or minute by minute is a different thing.

Fire on the Mountain: The True Story of the South Canyon Fire by John N. Maclean

I think this one was recommended by Zuni, one of our neighbors. It was another post fire disaster investigation, this time for a fire in Colorado that ended up turning and claiming the lives of a bunch of Hot Shots and Smokejumpers. It was a really well researched book, very descriptive, pretty fast moving, not excruciatingly detailed, but a little bit overly detailed unless you understand this stuff, which I don't claim to. But worth reading if you live in a wildfire zone, as many of us do these days!

The Haywire Heart by Chris Case

Mark Gainey recommended this to me. It’s about how endurance athletes can develop heart conditions, from training so hard and bringing their hearts to such an unusual level in different ways, and the various arrhythmias that come from it. Also how blood pressure can be off because your heart gets so strong at pumping during anaerobic exercise, develops really strong muscles, and then your heart rate goes way too low when you’re resting/sleeping and then loses rhythm. Really interesting. I listened to it in an audio book, which wasn't quite the right format for it because you have to be really paying attention to some of the science. But it was fascinating and made me a little more thoughtful about paying attention to heart rate monitors as I get older.

Twelve hours' sleep by 12 weeks old by Suzy Giordano

A couple of people recommended this to me, Rick Morrison and Ashley Carroll were the ones that I remembered. For us it was the canonical sleep training book. It was really interesting and really good, but I don't think it works for everybody (seemingly different things work for different people, especially per Emily Oster’s research). But this is how we ended up getting Cooper to sleep well (he was largely sleeping through the night by 8 weeks, but I think that was mostly him and not us). Most of it is simply structured feeding and making sure that you can extend the time between feedings so that they can sleep longer periods of time without being really hungry. There are a bunch of really easy summaries on the web of, and the book itself was pretty tedious. I listened to it on Audible on my bike, and the number of examples like “every four hours, eg, 8a, 12p, 4p, 8p” ... I can do the math, thanks. But the method was two pages and really good. Obviously, again, doesn't matter if you don't have an infant.

My heart is Africa by Scott Griffin

Dennis Pilarinos recommended this book about a Canadian Doctor who goes and flies through Africa in his Cessna 185 (and even more adventurously, he actually flies it *to* Africa from Canada and back). Really cool fun book, some crazy stories like the usual kind of bush plane drama. Only available in paperback. I did order it somewhere random, but it was totally worth reading. Super fast and fun blending aid to Africa with flying and totally worth it. Very, very quick read but great for pilots.

The Billion Dollar Spy by David Hoffman

Alex Yakubovich recommended this to me and as always, his book recommendations are fantastic. This one was about Oleg Tolkachev and his work with the CIA while the Cold War was still going on. And all this crazy interesting information he passed and why he did it. And it was fun. It was like a spy novel that was real and exciting, but not over the top James Bond style.

Flatland by Edward Abbott Abbott

This was actually recommended by Sonia Wong at Sequoia in an interview I read with her. It's really quick and interesting, basically a story about living in two dimensions and trying to understand three- and one-dimensional worlds. How do you think about dimensionality, represented by the rules of these different, theoretical societies, if you will, that live in one or two dimensions. It's hard to describe well, but it was a really fun, interesting book, a very quick read. Even fully understanding the math of N space it was still really entertaining. I don't know if it'd be a good or bad thing for a kid to read, probably pretty good for a mathematically inclined kid. Really interesting.

The Storm Before the Calm by George Friedman

I read a lot of his work through Geopolitical Futures. I find it really interesting, just as an intellectual pursuit of understanding how the world works and how countries interact on a geopolitical level. And I've always thought his analysis is pretty insightful. He's a Polish immigrant to the United States, and a huge “patriot” in the unfortunately anachronistic sense. He writes about the four cycles he sees in US politics (institutional and socioeconomic, most importantly). And his primary argument is that in the 2020s, they're all going to end at the same time. And usually, when one of them ends, there's a little bit of pain and dislocation in the US. Historically, the US grew stronger out of it. It can grow, or it can obviously implode and cause a revolution. He thinks it'll grow stronger, and he thinks it'll largely lead to a decentralization of political power because the United States and its organizations and institutions have gotten way too complex to run centrally. Interesting parallel here to China in terms of the complexity of that organization and country, that's 4x, 5x the size population wise.

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divinefishingtips · 1 year ago

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