Stopping yourself mid-conflict to change your perspective is allowed! It’s okay and normal to be mid argument with someone and realize you disagree with your own stance. Often I find myself and others caught up in trying to win the argument (not the point of arguments!) or too embarrassed to back down and be wrong. I promise there is so much more pride in going “Stop! I’m wrong. I hear you and I see how I wasn’t in the right and I want to amend my view” than digging your heels in.
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the theme is same faces
(ID in alt text)
bonus + design notes:
sparknotes:
tridentarii: the building block was "lions" (corona's mane of hair and king vibes + ianthe's scar lionking swagger) but i think i lost that plot at some point. regardless peep the earrings for symbols of their twisted mutualism. also they have dimples <3 bc on corona they're perfect and on ianthe (when she smiles wide enough) they're sickeningly dissonant
the nonas: harrow has curls bc i think the only thing funnier than saddling a nun who's been shaving her head since infancy with fast-growing hair is for that hair to be horrible messy springy curls that are barely spared from frizz by the sheer grease #bathingisn'tsafeformern. please also applaud my restraint in adhering to canon and not giving nona dimples. she deserved them
the sixth: came to me fully formed honestly. palamedes calls camilla beautiful enough for the alexandrites so i just let my heart and sapphism take the wheel here. for pal when i first read gtn i visualized him very differently but other artists made such a compelling case for scruffy pal that now i can't see him any other way
the second: also let my heart take the wheel here. wanted to draw a man carved out of hardwood so i did <3 at the caliber of necromancer that g1d is i know he probably wouldn't have so much scarring but the heart wants what it wants (cool factor). in my head and in my heart they're from wake
naberius: i don't have anything to say in my defense. i rewatched teen beach movie, found the perfect face claim and set the wheels of fate in motion. i think babs is hot the way a ken doll is hot, y'know? it takes yanny piloting his flesh mecha for him to be gender (<- testimonial from my masc nb friend)
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Spider-Verse Artists Say Working on the Sequel Was ‘Death by a Thousand Paper Cuts’
Why don’t more animated movies look this good? According to people who worked on the sequel, Across the Spider-Verse, it’s because the working conditions required to produce such artistry are not sustainable.
Multiple Across the Spider-Verse crew members — ranging from artists to production executives who have worked anywhere from five to a dozen years in the animation business — describe the process of making the the $150 million Sony project as uniquely arduous, involving a relentless kind of revisionism that compelled approximately 100 artists to flee the movie before its completion.
While frequent major overhauls are standard operating procedure in animation (Pixar films can take between four and seven years to plot, animate, and render), those changes typically occur early on during development and storyboarding stages. But these Spider-Verse 2 crew members say they were asked to make alterations to already-approved animated sequences that created a backlog of work across multiple late-stage departments. Across the Spider-Verse was meant to debut in theaters in April of 2022, before it was postponed to October of that year and then June 2023 owing to what Entertainment Weekly reported as “pandemic-related delays.” However, the four crew members say animators who were hired in the spring of 2021 sat idle for anywhere from three to six months that year while Phil Lord tinkered with the movie in the layout stage, when the first 3-D representation of storyboards are created.
As a result, these individuals say, they were pushed to work more than 11 hours a day, seven days a week, for more than a year to make up for time lost and were forced back to the drawing board as many as five times to revise work during the final rendering stage.
"For animated movies, the majority of the trial-and-error process happens during writing and storyboarding. Not with fully completed animation. Phil’s mentality was, This change makes for a better movie, so why aren’t we doing it? It’s obviously been very expensive having to redo the same shot several times over and have every department touch it so many times. The changes in the writing would go through storyboarding. Then it gets to layout, then animation, then final layout, which is adjusting cameras and placements of things in the environment. Then there’s cloth and hair effects, which have to repeatedly be redone anytime there’s an animation change. The effects department also passes over the characters with ink lines and does all the crazy stuff like explosions, smoke, and water. And they work closely with lighting and compositing on all the color and visual treatments in this movie. Every pass is plugged into editing. Smaller changes tend to start with animation, and big story changes can involve more departments like visual development, modeling, rigging, and texture painting. These are a lot of artists affected by one change. Imagine an endless stream of them."
"Over 100 people left the project because they couldn’t take it anymore. But a lot stayed on just so they could make sure their work survived until the end — because if it gets changed, it’s no longer yours. I know people who were on the project for over a year who left, and now they have little to show for it because everything was changed. They went through the hell of the production and then got none of their work coming out the other side."
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The Amazing ... Circus!!
Wanted to experiment taking my time with a piece and letting myself do something a bit busier. I find I usually try to keep it simple because I worry about too much going on at once, but that was the goal here!
I'm pretty proud of how it turned out! :)
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if you devalue dressmaking and other clothing-related trades in your historical narrative, you have to reread The Female Economy by Wendy Gamber and leave flowers on Elizabeth Keckley's grave
I don't make the rules
(this post brought to you by: too many damn websites saying that Jeanne Villepreux-Power started as a Mere Dressmaker and rose to become a Great And Mighty Marine Biologist. when she designed and fitted and may have hand-sewn a princess' wedding dress at the age of 22. like. that sounds like she was already pretty successful, knowledgeable, and talented to me- but I guess because it wasn't in a field that usually-male arbiters of history have decided was valuable, it doesn't count or something?)
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