#the point of art is making something. like the process and the finished product and the planning not just the fucking ending

[okcoolthanks]

KILLING AI KILLING GENERATIVE AI FUCK YOU FUCKYOUAGANDNNDBDBSBSBSBSBNGNSHS

[raeygina-george]

raey's weekly art block update time⁉️⁉️⁉️⁉️⁉️⁉️⁉️⁉️⁉️⁉️⁉️⁉️

[raven-at-the-writing-desk]

Malleus Draconia: Made Up

… Why does Malleus continue to have some of the most “hey are u lost bbg” facial expressions + poses ever on his initial birthday card artworks… 💀

He really looks like his mom when his hair is all pinned back like in his alt and Groovy look. xbjsbsjww The makeup products he’s using… They look like Giorgio Armani 💰

Rise and Shine!

Humans were blessed with two hands with which to do all of their work. Malleus Draconia had no need for either of his.

Lipstick, liquid eyeshadow, and finishing powder lifted into the air, glowing an eerie green. They uncapped and began applying themselves, gliding easily across his lips, painting his lids, and patting down his pale skin. Already, a cloth was busy polishing his horns, and a brush ran through his hair. A mirror, magically suspended before him, displayed his regal visage--a work of art slowly coming into its peak form.

You had heard Scarabia's vice dorm leader mention that he used magic to do his hair--a complex, precise process--but had never in your life witnessed a show like this. You clapped for Malleus, as if a spectator that had just seen a most wonderous trick.

He cut you a curious look. "May I ask why the applause, child of man?"

"It's just so cool seeing you use your magic," you replied truthfully. "There's so many things happening at once, it's hard to know where to keep my eyes. You're really amazing!"

There was a sound akin to a stifled chortle. These, you had grown accustomed to.

"You never cease to surprise. This is but a modicum of what I am capable of." He almost seemed to pout as he said it, as if itching to demonstrate the full extent of his powers. Wanting praise for something more.

"Oh, trust me. I know you are--but it's nice to see the Malleus Draconia using his magic to do normal, everyday stuff too." You grinned, ducking behind him to peek into his mirror. Your gazes met in the sparkling glass. "I wish everyone could see this."

"It is hardly a matter of importance to share the details of my morning routine with the masses. Besides, Grandmother would no doubt grant me a thorough scolding for allowing myself to be seen in such an improper state.”

He yawned, and a hand moved to cover his mouth, where you caught a glimpse of pointed canines. A rare moment of cuteness, of vulnerability. A side of himself kept private. Such a mundane thing--it reminded you that he, too, was but a student, preparing to tackle another day.

"Maybe not, but then again… maybe they'd see what I see too."

You quirked a brow. "And what is it that you see?"

"That you're not as scary as whatever scary made-up version of yourself they have in their heads. It's not all doom and gloom, wrath and lightning. You're someone that laughs and cries too."

"... Do they have that impression of me?" Malleus brought a hand to his chin. "Odd. When I last conversed with a peer of mine, they were so elated to be in my presence that they fainted on the spot. Lilia commended me for making such a strong impression on them."

"Erm... Lilia might not be the best judge for that." You poked at the corners of your mouth. "You have a nice smile, so how about showing it more? That might draw people to you."

"Hmmm. Like this, perhaps?"

He attempted to imitate you. The result was an awkward facsimile of your smile. Not quite the same curve, and with the tips of his fangs poking out. His eyes, still ominous.

Clumsy, but a little dangerous.

Your heart sprouted wings and fluttered. “It’s a good start! You’ll get the hang of it with more practice.”

Malleus sighed, and at once, the items that had been hovering around him collapsed along with his breath. “This is a conundrum. As a public figure and representative of my country, it’s imperative that I maintain my reputation.”

The fluttering in your chest settled like a stone sinking into the bottom of a lake. A sudden weight, a sadness, sitting in your stomach. He cut a gallant figure--but without the fairy lights and fire, he was but a pitiful creature trapped within stone walls.

Lonely and misunderstood.

Without a word, you slipped a hand into his. Malleus felt cold to the touch, like some long-forgotten relic dug up from some ruins.

His eyes shot wide open with alarm. "What are you..."

"Let's walk to class like this," you suggested softly. "I know you wouldn't harm me. If everyone else can see that... they'd understand, right?"

Shock flooded Malleus's face. Then, like a flash of lightning and a fleeting bellow of thunder, it was over, replaced by the faintest chuckle.

"... Very well." He squeezed your hand, the motion sending sparks of electricity through you. "I would not be opposed to this. If they are to weave tall tales, then all we must do is flip the script and write a story of our own to combat theirs."

[morlock-holmes]

So, people explaining that AI isn't "real art" bother me, not so much because of the answer they reach but because most of the people saying it isn't seem to romanticize not just commercial art production, but also bizarrely to romanticize AI as well, in ways that bother me for subtle reasons I want to try to articulate.

So, first of all, I personally don't think fine art will be changed much by AI.

"What if the artist isn't directly producing the art but instead letting some process create it?"

Convergence by Jackson Pollock, 1952

"What if the so called "artist" is merely rearranging and recontextualizing something that already exists?"

"What if the artist outsources a tremendous amount of work?"

Cambell's Soup Can, Andy Warhol, 1968

The fine art world already confronted these questions and answered between 1912 and, what, 1980 at the latest maybe?

My point here is not to assert the artistic worth of these paintings but to assert their undeniable importance to 20th century art history.

Nobody paying thousands of dollars for a traditional painting on canvas is going to buy an AI version because it's cheaper; such people are already paying a premium for artistic technique and cultivated human talent.

Or, alternatively, I have absolutely no doubt that people would pay a lot for an AI project with, I don't know, Banksy's name on it, even if it was made with freely available, open source tools, because in other cases people are paying for, essentially, a name.

The fine art community already confronted the questions raised by AI art and we're already on the other side of that confrontation. Statistically, the large battles being waged over these issues already finished before you were born.

The actually (potentially) endangered part of the art world is the commercial art world.

Not fine art, but art produced as part of an essentially commercial process in large part under the direction of other people. Fan Art, scripts for films, stock footage, key art used for commercial campaigns, pulp fiction cover illustrations, etc.

And, first of all, the reason that you can be so romantically attached to low-brow, heavily commercial art in the way that you are without feeling utterly absurd about it is Marcel Duchamp's Fountain and the works of Andy Warhol, so maybe have a bit more respect for them and their place in history if you are going to romanticize commercial art production.

Second, because it is those things that are threatened, defenses of human art against AI tend to have this kind of implicit view that the things which characterize commercial pop art are the most important characteristics of art. There is something about this that kind of bothers me for reasons I have trouble bringing up.

Okay, like, one I just watched a YouTube video where the creator said, more or less, "Can you imagine a world where people are so alienated from the production of art that instead of learning to produce it themselves, they type 'woman painting a picture' into a box on a computer and something just pops out?"

The video background was stock footage of a woman painting.

You have this really obnoxious trend of people who make monetized YouTube videos out of other people's copyrighted clips (Claiming "Fair use") talking about how awful it is for AI to "steal" other people's works, and people who fill their videos with stock footage and library tracks talking about how crazy it is that anybody would want to outsource this stuff instead of learning to do it themselves.

But also, beneath that, there is a kind of picture of "What's important about art" that is being built purely out of commercial concerns but masquerading as belief in something higher, and that really bugs me. Stock footage is elevated to the highest of human endeavors purely because it is commercially threatened by AI production.

[liloinkoink]

i’m gonna wait and see how this event goes in the small scale in the two discord servers i’m hosting it in, but i want to do an interest check out here….

if i hosted an event where people could sign up and be paired with a random person to create an au/story together, would people be interested in that?

the idea is ppl sign up as a writer or artist (or either) and are randomly put in writer/artist pairs to then take a month or two and make a thing together. it’s meant to be super low stakes, so the finished product doesn’t have to be super polished—it can be a full, finished art/fic, or it can be a sketch or two and a bulleted outline of notes. could even be a playlist or an edit or something if that’s more your style. so long as you and your partner have talked and developed something together, you’ve successfully participated and completed the event

why? well, the point of art, in my mind, is to connect with another person, and making something with another person is basically my favorite thing to do. with the use of genAI and chatbots like on the rise, i feel like an event NOT about just making a finished project, but instead for celebrating the joy of making a connection and the process of creation, would be really neat

(also to address the most obvious concern i would have, sign ups would include an exclusion option, where you could write down names of users you don’t want to work with so you aren’t randomly paired (as well as the name(s) of your usually creative partner(s), if you have any, so you can meet new people). i’d probs also have something after a few days where people can divorce their soulmate if they find they have absolutely no common interests, their timezones are completely incompatible, or they just don’t get along too well and then reroll or pick themselves from that pool)

i haven’t 100% worked out the format yet, but it would ideally be a pretty informal, laid back, low stakes event. it’s mostly about enjoying the process of creation, especially with another person, and maybe making a new friend in the process

[guardevoir]

Fiber arts update! Featuring handspun and pin loom shenanigans!

Remember this stuff?

Left-to-right: 6-ply 50/50 silk/polwarth, 3-ply 60/20/20 polwarth/silk/yak, 4-ply silk/polwarth (same stuff as the 6-ply) and 4-ply 70/30 merino/silk. Made a scarf out of it.

And, well, I ended up with some leftovers! A very awkward amount of leftovers, not quite enough for anything, but too much to just leave lying about, especially because this is the good stuff.

So I figured I'd weave a bunch of pin loom squares, see if it's enough for something. Picked out a cowl to make halfway through.

I then promptly realized that I was gonna come up short by a decent amount of squares because I didn't have as much blue left as I thought... but I did have the same fiber in a similar colorway on my spindle!

(old photo, I had about 13g of fiber on that thing by that point)

I thusly guesstimated that I must've spun up about half of it, and quickly got the other half done on my wheel. Two-plied it, then cabled it, expecting that to be a pretty decent match to the other 50/50 4-ply silk mix.

It was not a decent match. The other blue shit is somewhere between sport and dk.

But thankfully I'm resourceful:

Most of the white squares have 4-ply warp and 6-ply weft for some texture and a denser weave; I did two of the blue ones with the 4-ply white stuff too to stretch the blue a little further, and for the more purple-ish ones, I ended up doubling the yarn for the weft, which means they had a 4-ply warp and an 8-ply weft. We're not even gonna talk about that gray/white square.

(4-ply/6-ply square in progress):

Sewed it up and felted it a fair bit, for more sturdiness and a more cohesive fabric:

And here's the finished thing, modelled by the resident giant owl plushie:

If you're wondering, the colors are laid out like that because I wanted the softer yak hair mix in the back, where it'd be touching my nape, because I'm super super sensitive to textures there and the merino/silk mix is a bit rougher. In the meantime, this also lets me have all the fun colors at the front. Win/win!

Anyway, this was fun. I always feel kinda dodgy just whipstitching the loops together because it never seems to quite fully come together... but I really enjoyed the process here, the end product is wonderful, and I am eager for more.

[shelandsorcery]

Etching and Acid Baths and Surrender

(this is another classic from my personal site I'm belatedly resharing on tumblr, ftr)

Friends, I just finished teaching the last third of a course on print production, and between that and the whole thing with twitter's crop changing (somewhere? not for me but somewhere?) I've found myself thinking a lot about copper etching and my relationship with the acid bath.

So, first up, copper etching is an art form where you engrave (through various means) thin grooves into a copper plate, then squeeze thick ink into those grooves, then wipe off the ink on the face of the plate, then soak paper so it's very soft, then push it all through a press.The pressure forces the paper into the ink-lined grooves of the plate, pushing the ink onto the paper, and you thus transfer the image from your copper plate to your paper. It's a magnificent art form you've certainly seen examples of, even if you didn't know! Here, a Rembrandt:

There's a lot of ways to create these grooves in the plate; Rembrandt used a steel point and scratched them in, a technique called drypoint. Later, artists used a technique where a waxy resist would coat the plate, then drew lines in the resist, then soaked the plate in acid.

This is the acid bath of which I speak.

There's a few ways to apply resist to a plate, and they give you different effects when you etch with them. First is a hard resist, which is a thick, firm wax that coats the plate and is removed by using that steel drypoint tool to create thin line work, like this Doré hatching:

You can also use soft resist, a malleable wax that allows you to press textures into it, like Barbara Smith has in her piece "Textures" here:

(my terminology might be a bit off, I'm noticing as I google, but hopefully the metaphor will still stand) 

And the third method, my fav, is aquatint; a process where you add a resist that is .. spotty. Something like a light spray, or a dusting of wax, so that the plate is covered with a rough, dithered dot pattern of resist, with exposed copper in between. Example via Wikipedia:

I decided to try out copper plate etching, also called intaglio print making, after seeing David Blackwood's work, where he works with aquatint extensively:

Aquatint lets you lay down fields of tone, which he uses in great contrast and collaboration with the linework he etches into the plate as well. It's magnificent work, but it's made all the more miraculous when you understand the whole thing with the acid bath. So, when you put a copper plate into the acid bath, anywhere on the plate that isn't protected by hard, soft or aquatint resist (also called ground) is slowly dissolved into the acid, creating little grooves. The longer it's in the bath, the deeper the grooves - kind of.

The acid is fickle, and the more copper already dissolved into it, the slower it will dissolve new copper. And that's a problem because you want to control exactly how deep those grooves go; the deeper the groove, the more ink it will hold, the darker the line will be on paper. Under-etch your plate, and your lines will be faint, hold very little ink, and be extremely hard to get ink INTO when you apply it before making a print.

But you can't know this until you take all that resist off the plate, wash it, and ink it up and print it.

OVERetch your plate, and the acid will start to eat the copper away from under your resist, widening your lines or flattening out your aquatint, so it's easy to get ink into the lines, but hard not to wipe it back out when you try and wipe ink off the un-etched face of the plate.

Again, not obvious until you go and try printing your plate.

And with intaglio, by which I mean copper plate etching, you might want lines of varying darknesses - you might want aquatint of varying darknesses - and so you will be adding and removing resists of various kinds, and etching and re-etching your plate over and over again.

And you can do various things to get the feel for the acid bath's ... acidity ... on the day you go to etch something in it, but depending on the size of your bath, you etching a large plate for a while might change the bath's acidity. Worst is if it's fresh and you didn't know.

So this whole art form, whereby people produce some of the most precise and exquisite pieces in the north western historical canon IMO, is actually an absurd collaboration with a rogue chemical that may or may not do what you want at any point in time.

And by my third year of making work like this, I had concluded that you simply had to think of the acid bath as a rogue collaborator who you handed your plate off to over and over again throughout your process. You had to just take a deep breath and accept chaos as an element.

Yes, you did your best to prepare your plate, get the right resist on it, draw the right lines where you wanted them; and yes you set a timer and kept an eye on your plate and checked the etch over and over again - but in the end you were teaming up with chaos chemistry.

And I loved it! I loved the surprises you got from acid bath, even if they went against what I had planned. I loved improvising around its unpredictability! Once I accepted that it was part of the practice, I found it exhilirating.

And for me, that's the appeal of all traditional media - I can't predict every little thing, I'm not 100% in control at all times, and artwork has to happen despite all that.

And so I expanded this concept for myself out to my larger practice. When I send a file to print? I'm collaborating with a printer; both the person, who I can maybe talk to, and the machine, that will have its own peccadillos. I prepare as best I can and still I may be surprised.I'm not saying I never threw out plates that got way out of hand, and I'm not saying I never had a print run of my work I had to send back or reprint - I'm just saying that my thought process around them has changed, so I allow for a wider range of surprises than I used to.

So when everyone was going on about the twitter crop finally changing, and I realized I didn't really care, I noticed that I had expanded this concept to publishing online as well. I prep a nice jpg and then I take a deep breath and accept twitter's chaos in collaboration.

And that's how I discovered that, to me, twitter is just another acid bath.

Read the full article

[gb-patch]

Hi! I saw your ask about skin tones and honestly, that is very much a barebones excuse to not include skintones in your game. You act as though adding skintones to a sprite would be a complete hand-drawn new asset when it would quite literally be filling in a pre drawn base for both Opal and the mc. Not only that but you potentially have thousands of mc outfits you promised for specific tier havers on the kickstarter. And then for 250,000 dollars, you're telling me we'll get more colors but not even 2 or 4 skintones when there are games with Less funding who have more skintones? Especially considering OL:B&A had the exact same amount of skintones and I could count all the afro centric hairstyles in that game on my two hands. I rather have more skintones than just pale, peach, olive, tan, brown and dark brown (most of which screams a 2000s foundation line of tones) than have more hair or clothing colors. I'm sorry, I love your games, I really do but that's an extremely lazy and abhorrent response from you and I am extremely disappointed.

"Hi. I just saw the post about you not adding in more skintones. I really hope this doesn't come across as rude or demanding but I find your reasoning for not being able to add them...lackluster at best. With all due respect, you set this goal for 250k, over three times the original goal you set for the kickstarter, the idea that somehow you can promise an additional set of darker colours for the clothes, accesories hair and eyes alongside the additional MC pieces people are going to request but not an additional skintone because of Opal seems a little ridiculous. I'm not an experienced artist but I do know how art files tend to work and I imagine adding additional colours to Opal's base design wouldn't be an extreme undertaking. In fact, by contrast, the work to add more colours to the clothes and hairs seems much more labourous considering the amount of them and the fact that some of the clothes have subcolours.

Again, I do hope I don't come accross as rude but I just feel like this announcement was highly dissapointing, especially considering the fact that the additional colours are currently the biggest goal for the kickstarter at the moment" There were two replies, so I put them together. I hope that's alright.

I understand. It would be bad and make no sense if that didn’t happen. I can say that this has nothing to do with funding. I'm not gonna attach more skin tones to a stretch goal, that’s not fair. It’ll be done whenever it can be regardless of what happens with the Kickstarter.

The other colors for hair and such is something I confirmed can be done by our programmer ahead of time using a color picker system in coding.

The situation as it stands today for Opal is that I personally don't have the skills to recolor her myself, the artist we have is in a situation where it would be unkind to increase how much work they have to do (it'd be easier if even less work could be on them), and while another artist could be hired- that hasn't happened at this point. So, saying it "could happen but maybe not" is cautious development process. It’s how it went with both the Cove Patreon Bonus Moments, where I pretended for months that it may or may not happen while working on it behind the scenes because I wasn’t sure how long I’d need to finish it and was worried it could be delayed for long stretches of time.

Being realistic, it is virtually a 100% certainly that before the game comes out, the skin tones will be expanded. There is no good reason why it wouldn’t. I was waiting until things got to a better point in production before coming out to officially say that it’s happening.

And I could’ve said it’s extremely likely but we’re not able to do it quite yet and avoided making anyone feel hurt. I wish my way of handling it hadn’t made the people who believed in our games sad. The reason why I didn’t is that I just can’t help but be averse to making promises I can’t do/the team can’t do and so have to rely on something else working out at some point in the future, even if it is entirely likely that it will.

That’s because I know that these things will make a lot of people happy. I want the excitement and any praise that might come to not happen until the goal has been achieved or is on the way to being achieved for sure. To a degree it’s helpful for players to have confidence in what the company is promoting, but it’s mainly to help with my own habit of catastrophizing. I tend to believe bad things could happen and I’ll let people down even when it’s so unlikely it’s not worth considering. I consider it anyway. And so, you get this kind of long-term hedging before the feature people hoped for suddenly appears. Even now my compulsion is to add a caveat that “there’s still a chance something (I don’t even know what) could happen and it won’t be added so don’t thank me yet” despite me already coming out with the truth that there’s every intention to have it added. I’m sorry to have disappointed you and made you feel disregarded by doing this. Hopefully when the skin options are expanded people will be able to enjoy the game a lot more than how it is with the current demo. And thanks for taking the time to let me know what you thought rather than giving up on the project entirely.

[elysiuminfra]

i was watching video essays digging into AI and what people who advocate for AI generated music and art think about it. i could not wrap my head around why on earth anyone would want to cheat and skip all of the fun parts about making something. it's because all they care about is profit, popularity, or some other personal gain. AI artist dudebros see it as a way to gain something, they don't make it for the love of art at all. it's not a mindset i can fully understand but it does make sense. they see artists as people who are in it to make money, since alot of the time an artist's job IS art, because they themselves want to profit off of AI art. but they miss the whole point of why artists are drawn to their mediums and it's because we love the process. at least in my case art defines the way i see the world entirely. it's not something i could ever just put down. i LOVE art and i don't think i could ever stop making it, even when theres no profit incentive. like ohhh i get it now. THAT's why they're so insufferable. AI artists literally only make AI generated images for some kind of personal selfish gain rather than for the love of the medium, and then attack actual artists trying to make a living. same with AI generated music. it's all for the money, for the popularity. is this obvious to most people? definitely. but i genuinely could not fathom why someone would want to just..... skip the blank canvas. they don't want to go through the "imperfect" stages of making art and get right to the finished product. but i'm of the belief that with enough training yourself, enough time and patience, anyone can learn to draw. but they just don't want to put in that kind of work. its very sad

[tangibletechnomancy]

The AI Boom and the Mechanical Turk

A hidden, overworked man operating a painting, chess-playing robot, generated with the model Dreamlike Diffusion on Simple Stable, ~4 hours Created under the Code of Ethics of Are We Art Yet?

In 1770, an inventor named Wolfgang von Kempelen created a machine that astounded the world, a device that prompted all new understanding of what human engineering could produce: the Automaton Chess Player, also known as the Mechanical Turk. Not only could it play a strong game of chess against a human opponent, playing against and defeating many challengers including statesmen such as Benjamin Franklin and Napoleon Bonaparte, it could also complete a knight's tour, a puzzle where one must use a knight to visit each square on the board exactly once. It was a marvel of mechanical engineering, able to not only choose its moves, but move the pieces itself with its mechanical hands.

It was also a giant hoax.

What it was: genuinely a marvel of mechanical engineering, an impressively designed puppet that was able to manipulate pieces on a chessboard.

What it wasn't: an automaton of any kind, let alone one that could understand chess well enough to play at a human grandmaster's level. Instead, the puppet was manipulated by a human chess grandmaster hidden inside the stage setup.

So, here and now, in 2023, we have writers and actors on a drawn-out and much needed strike, in part because production companies are trying to "replace their labor with AI".

How is this relevant to the Mechanical Turk, you ask?

Because just like back then, what's being proposed is, at best, a massive exaggeration of how the proposed labor shift could feasibly work. Just as we had the technology then to create an elaborate puppet to move chess pieces, but not to make it choose its moves for itself or move autonomously, we have the technology now to help people flesh out their ideas faster than ever before, using different skill sets - but we DON'T have the ability to make the basic idea generation, the coherent outlining, nor the editing nearly as autonomous as the companies promising this future claim.

What AI models can do: Various things from expanding upon ideas given to them using various mathematical parameters and descriptions, keywords, and/or guide images of various kinds, to operating semi-autonomously as fictional characters, when properly directed and maintained (e.g., Neuro-sama).

What they can't do: Conceive an entire coherent movie or TV show and write a passable script - let alone scripts for an entire show - from start to finish without human involvement, generate images with a true complete lack of human involvement, act fully autonomously as characters, or...do MOST of the things such companies are trying to attribute to "AI (+unimportant nameless human we GUESS)", for that matter.

The distinction may sound small, but it is a critical one: the point behind this modern Mechanical Turk scam, after all, is that it allegedly eliminates human involvement, and thus the need to pay human employees, right...?

But it doesn't. It only enables companies to shift the labor to a hidden, even more underpaid sector, and even argue that they DESERVE to be paid so little once found out because "okay okay so it's not TOTALLY autonomous but the robot IS the one REALLY doing all the important work we swear!!"

It's all smoke and mirrors. A lie. A Mechanical Turk. Wrangling these algorithms into creating something truly professionally presentable - not just as a cash-grab gimmick that will be forgotten as soon as the novelty wears off - DOES require creativity and skill. It IS a time-consuming labor. It, like so many other uses of digital tools in creative spaces (e.g., VFX), needs to be recognized as such, for the protection of all parties involved, whether their role in the creative process is manual or tool-assisted.

So please, DO pay attention to the men behind the curtain.

[nadianova]

How much time do you spend planning some of your visual novels? At least going by some of them being jam submissions, it feels like you go from pre-production to a finished build very quickly, and it's amazing how you can manage that while still having an awesome story and so many assets.

Also, what is like, the process of planning a story out for you, if there's any vague or concrete similarities that you've noticed?

i think the important context here is that if i get bored/have nothing to do i jhust immediately get really suicidal its like ridiculous how bad it gets(ITS FINE DONT WORRY ABOUT IT IVE HAD 5 YEARS OF THERAPY). so i hate being bored and want to occupy my time wit something fun whatever that is. if i have a project to focus on but especially if I'm working for a game jam i have a deadline and i just decide to myself okay i will release a game now.

because ive made a decent amount of games i roughly have an idea on my capabilities, i can estimate how long it takes for me to write a story so and so long and how long it takes for me to draw stuff i need and how long it takes for me to throw stuff in renpy. these are estimates like as in I'm not accurate with it but still enough that i generally know where to start cutting ideas since the most important part is just having something to submit. i also know to plan around my brain wanting to slam my head into a wall an my hands suddenly giving up on being able to draw.

i think thats the beauty of game jams it forces you to just go for it and release something. releasing a 'bad' game is better than no game at all. experience only comes over time and i think just going for it is the best approach there is. like its literally 2 weeks 1 month whatever of your life. if you have the time and motivation go for it. make it work or fuck it up it wont matter in the grand scheme of things

im not sure what is the motivation behind the question but i do want to point out that this is just my method (if you can even call it a method) and the only way to figure out what works for you is to just try until you find something that actually works for you

idk not everyone will find it doable/fun to plan around spending two weeks gamedev 10 hours a day just cause i wanted to fit in 100 cgs for a jam game but apparently i can do that when i cheat my stupid adhd brain into hyperfocus with adhd meds

READMORE BECAUSE I CANT STOP RAMBLING

as for planning tho i think ideas on their own are worthless and its always about execution in the end. a great idea or a meh idea are the same for me but i do still enjoy the planning process so i keep notes

like i see a great tumblr post or i see some art or visual novel has some scene that inspires me: i save that shit for myself

having a big collection of random floating ideas like that helps me easily pick from especially during a jam type duration. right now i have like 4-5 half-baked project skeletons, some are literally like 3 pictures and some like naomida are a hundred hours worth of me writing world building about how the toilets work in a city with no plumbing cause its -30celcius(i love bringing this up)=

i dont normally plan that much, i tend to just wing it. like for malmaid i seriously just had some rough ideas and just went along as i wrote

same thing for dddeviance i had a handful of scenes that i really wanted to make and knew what kind of start and end it was meant to have and just figured out how to fill the in between. a lot of plot points changed vastly like halfway through i realised my devil + angel combination was stupid and i should just go for fallen angel + angel.

i think there really is no simple answer tho (as evident from the long as hell post) i don't really have a 'process' because every single game has been worked on has come with different type of planning since I'm always trying new stuff to try and distract me from boredom. like I've been using obsidian for naomida while previously I've just used a empty discord serve as my notes app for malmaid and dddeviance

and tbh with naomida I'm running to a new problem where I'm definitely planning too much. like I'm spending too much time fidgeting with details in chapter 4 even when i haven't finished writing chapter 1 just cause its so easy to get in the loop of "oh ill just change this one line" and boom 20 mins spent playing with my notes that didn't really progress my game since by the time i reach this point the whole scene might have shifted to something else

.

but if i had to squeeze an answer itd be something like everything related to my art or writing or games is just like "oooooo that seems fun i should remember this for later" and then i just string 10-100 of those into a story

i tend to write my stories in a format of

character A does this and that

this happens here

puppy play ryona piss orgasm

new day and then this happens here

sad thing happens

more piss orgasm

the end

and just like start filling in more details and working on my story in a nonlinear fashion until i feel like i have a strong enough skeleton that i can start writing my scenes. i hop around a lot, often preferring to write the fun scenes first like ero stuff or the ones I'm the most interested in and then the rest is just filling the blanks and stringing the cool scenes together

[emytellsrandomstories]

Production stages of the Fan Comic of "The Wish Kingdom" !!!

(written by @annymation)

And as promised, here is the "schedule" I said I was putting together for the Comic fic production process.

In the end, this isn't really a "timeline", it's more like a list of what I'll do to build the comic. I want to make all the processes very clear and described to give you an idea of how it will be done and a small idea of how long it will take.

Remembering that I am a human being, not an AI to do things quickly, I have another life beyond networks and this project.

Besides the fact that none of us are being paid to do this comic (although I really wanted to, I'm not going to lie), all of this is being done on the basis of love, affection, positivity and adoration for the initial concepts dispensed by Disney, their classic films that really made that company grow and the main messages conveyed by Walt Disney while he was still alive: "If you can dream something, you can make it happen!" and "It's fun to do the impossible!"

So please be patient and kind to me and the entire team! I already love, adore and thank everyone willing to follow our project.

<3

Well… Let's get started!

1- Rereading and Separating the text:

Starting today (02/26/2024) I will be re-reading Anny's fanfic, separating all of her text into scenes, highlighting the following points:

Atmosphere

Characters (designs made by @uva124)

Speeches and facial expressions - the message

Thus defining "who says what, how and in which place?"

Since I will be doing the setting art myself, as the story progresses, I would really appreciate a little help. I'm guessing if you're reading this you've probably already read The Kingdom of Wishes and consequently imagined the scenarios! If you find any images online that remind you of the locations of the scenes in your mind, you can send them to me as a reference! I'm always open to references for drawings!

2- Make the "Thumbnails"

I don't know what term foreigners use to define the thumbnails that make up the first drafts of comics, but here in Brazil, we call them "Doll", in reference to the fact that the sketches are a "test doll" for the comic strip .

Anyway, I digress! It is at this stage that I define the composition of the scenes through sketches. This is where I define what appears or not in the scene, what the scene will be focused on, how I will guide the reader's eye by the meaning of reading the scene, where the lines, the characters, their movements and others will be located… It's a planning phase on how to portray the scenes; the most complex I would say.

3- Review

Here I take a break for two days or three days at most, to relax and forget about the project for a bit. I come back with new energy and review everything that was done, ask for opinions and suggestions from the team, in short, I give a great evaluation and improvement in everything!

4 - Finalization and Publication

In this last step, I transform the sketches into final artwork using graphite pencils, colored pencils and pens that I have available.

When they are all finished, I will publish the comics here and on all my social networks!

------------------------------------------------------------------------------

Finally....

I would like to say that yes, I will be posting spoilers for all these stages, watch them at your own risk!

Remembering that English is not my native language, so I really hope everything was understandable! But if you have any questions, you can send questions to me or any member of the team!

And if you want to know a little more about my arts, you can check out my Instagram!

Kisses full of light and stars!

Let's work!!

[natalyarose]

𝑅𝑒𝒻𝓁𝑒𝒸𝓉𝒾𝑜𝓃𝓈 𝒶𝒷𝑜𝓊𝓉 𝓂𝓎 𝒶𝓇𝓉… (𝒽𝑒𝓁𝓁𝑜, 𝒮𝓊𝓃 𝒾𝓃 𝐵𝒽𝒶𝓇𝒶𝓃𝒾!)

~ This is a bit of a personal one lol, maybe I'm getting a little too comfy on tumblr- but hey, I like it here and I'm very grateful for everyone who's taken an interest in whatever I have to say :)

~ tagging this on Nakshatra tumblr because I feel like this reflection perfectly encapsulates Venus Nakshatras and is very aligned with the Sun moving into Bharani, the birth of Venus among the Nakshatras

// warning, cringe and angsty lmao

I have such an odd relationship with my artistic process. Unconventional? Stubborn. Sometimes just straight up bad lol.

I want to create beautiful, meaningful things, yet I have this sort of extreme resistance to being perfect or professionalism (however, somehow perfectionism and such a ruthless self-antagonism for not being 'enough' at the same time..).

It's almost like I purposely sabotage my art by intentionally leaving in mistakes, or leaving it somewhat dishevelled in protest of perfection. In hopes that the beauty and artistry still manages to shine through to the right people.

I guess it's also this thing where I feel like the imperfection makes art more unique, more exclusive- more personal & dearly held to the people who do find the beauty in it that I initially wanted to communicate. But, there is a difference between artsy, grungy, rawness and... just being crap, lazy, unrefined, undisciplined. (I'd never refer to someone else's work in this way but myself... mann).

Knowing full well that my artistic creation likely 'needs work', is not a finished product and will very likely be criticised for its' imperfection, I still have the overwhelming urge to go ahead and share it with the world/post it. In all of its' messy (again, maybe just straight up bad lol) glory. Then I wonder why I'm not gaining the traction I want haha. When I inevitably receive criticism, I get so hurt by it, I beat myself up and it eats at me to the point that I can't sleep at night, I'm up reciting the criticisms in my head and weaving them into my very own nightmare!

I don't understand why I do this to myself lmao. Later on after posting & putting myself out there, I hear that imperfection in the song, I hear those vocal parts I stubbornly left in and didn't want to redo, I see the dodgy brush strokes I refused to fix up in the name of authenticity, and I cringe. In fact, I feel such a deep shame for it all that I take everything down out of embarrassment. Even though it was fully my decision to put up something amateur sounding and imperfect.

Maybe it's something like the weight of desire for perfection is too much, so I just go 'to hell with it!'.

It's like an endless cycle for me, and I realise that over the years, if I'd just left things up online and was more patient with myself, I'd probably have cultivated a following of some sort by now, or maybe used peoples' criticisms to improve the art to a greater extent. I mean, there are people who have mentioned to me when they notice the art is imperfect and needs work, but there are just as many lovely people who have gone totally out of their way to express deep appreciation for the music/art I've put out and enjoyed it.

Here's my 'theory' as to why I do this to myself: when I create art, I don't just want to make pretty things, though I want that too. I want to be loved, and FELT. I want to bring people to this raw, vulnerable place in my heart where my ideas emerge from. I want to be loved not in spite of the imperfections, but alongside them, all encompassing.

I don't want to have to be perfect, have $1000 worth of equipment, hours and hours of recording time trying to 'get it right' in order to be understood and deemed beautiful. I don't want to show off how perfect or skilled I am either, I want to make people feel something. I want it natural.

r a w.

I kinda enjoy for art to be unfinished and slightly unpalatable on purpose.

Maybe it's a bit of entitlement on my part, expecting that even if I do a mediocre job, people will still enjoy it and see my 'talents'/message.

Truth be told though, that's how I love other people, how I enjoy others' art as well, it's not just something with me.

When I listen to artists I love, I adore seeing something beautiful, yet somehow messy and jarring. A sort of underground-esque, 'wild feminine' creation. It evokes that much more feeling and passion that something designed to be perfect just lacks to me.

I can't get into a lot of bands that are considered 'objectively good' by many people because they just sound too perfect to me- There's a lot of times I come across artists that sound technically good, very clean but my heart just can't get into it. I find myself listening and thinking 'I wish this was recorded on a toaster', or 'I wish there was a more rough sound to the vocals' lol, I crave the rawness & intimacy that imperfection and roughness lends.

Ugh, it all creates such an internal conflict- like I want my art to be seen, to be loved yet I somewhat reject things it takes for the art to be considered objectively good & well rounded.

The harsh reality might just be that just because I see the beauty in imperfection, just because I know I've got this personal, very niche vision of what 'good' sounds like/looks like in my mind, that doesn't mean other people are going to find value in the same things.

Of course, maybe all of this is just pretentious excuses & my own self-hatred manifested (I don't actively hate myself, I try to be much kinder to myself these days but yknow)

Anyway, I realised that it's the start of Bharani season in galactic centre mid-mula Ayanamsa today & I think this write up really aligns with that.

Thankyou for reading lol.. again, a bit of an angsty personal thing but maybe it could be relevant to someone, if y'all wanna know what Venusian artistic angst looks like in real time lmao 🖤🥀

[hvlcy0n]

Momose seems the type to be sitting next to you somewhere and he just starts going ham drawing on your arms/hands with little tattoo markers and before you know it you've got a whole sleeve. Like it starts out with the smallest little heart or leaf of a plant and if you get distracted by something he goes for the other arm too watch out

this is such a cute idea i'm gonna throw up i need him yesterday

like now i'm thinking . . . i feel like he's the type who thrives off the comfortable silence he's able to share with you, where you both can do your own thing. granted, there are times where he'll just tail you around or sit next to you and talk your ear off, but he really enjoys simply having you in his vicinity while he draws.

being the girlfriend of one of the four kings means you occasionally get to sneak onto the rooftop during the early hours of the morning before school begins and join momose as he sketches the skyline or a section of umemiya's garden. he finds solace in the brush of your knee against his as you settle at his side with an open book propped up on the picnic table you're seated at, basking in the tranquility of the atmosphere where the only sounds are the soft chirping of birds and the quiet scratch of his charcoal pencil over paper.

you can tell that he's finished when he falls silent, but you don't look over, unsure whether it is a product he would be satisfied with showing off to you. there's a moment where he remains still before he flips his sketchbook shut and leans over to take a peek at the contents of your book.

"what'cha reading?" he scoots closer and cranes his neck.

"just some novel i picked up at that one secondhand shop." you explain, only to chuckle when your eyes absently skim the following paragraph. "it's not very interesting, though."

"oh . . ." momose muses. for a moment, he doesn't say anything else and simply turns away to reach for his pencil case, so you continue reading, figuring that he found something else to draw. there's a quiet rustle and a pronounced click! before, much to your surprise, your boyfriend scoots even closer to you. in your peripheral vision, you watch him fold his body over the edge of the tabletop to rest his temple against the arm he has lackadaisically tossed over the wooden surface.

his face is close enough to your free hand that you can feel his rhythmic exhales ghost over your wrist, and you're about to move your arm for his convenience before you feel something cold and remarkably tiny land on the back of your hand.

"what are you doing?" you laugh softly. when he doesn't answer, you spare him a glance and find him preoccupied with dragging the tip of a ball-point pen over your skin. you find the way the tip of his tongue pokes out from between his lips in concentration to be endearing, and you smile fondly.

"it's a surprise" is all he says, and that's all you need to hear. his drawings range from decorated hearts to winding vines that curl between your fingers to abstract art that only makes sense to him, but you don't stop him, not even when his pen gradually makes its way beyond your hand and up your arm. he's so focused, you'd hate to disrupt him.

"done!" he finally announces, a bright smile playing on his lips as he clicks his pen once more. "you like it?"

only a fool wouldn't.

in the process, he discovered that he enjoyed drawing on skin more than he thought he would, but you're definitely his favorite canvas. you'll never be safe again. you can't sit on the stairs above him, either, because he'll get your ankle for sure. his drawings on your skin are constant reminders of his presence in your life, and it becomes common for you to sport a half sleeve done in pen ink or a drawing of a cat on your knee or a drawing of saturn on your ankle or a heart at the base of your neck. once he gets his hands on you, you're done for. he's so cute i need him.

[spicypepperflakesss]

૮꒰ “ . . ꒱ა

{Referencing this post: https://www.tumblr.com/muriels-brainrot/755439602787139584/how-do-you-cope-with-the-fandom-being-so?source=share }

Forgive me if I'm intruding but I recently came across some very helpful advice which I think is quite insightful.

To set the scene, before I found this advice, I myself was struggling with staying consistent with art. This time however, I had decided that no I won't keep procrastinating. SO, in my attempt to find resources, I stumbled onto this video. Now suddenly it all began to make sense. The reason I was struggling was not because i'm lazy and horrible and lacking motivation. Rather it was because I had outcome related goals. TLDR: I was focused on the outcome (wow rlly iri we didn't know that's what outcome related goals meant pfft-)

Anyways so, instead of focusing on the process, I was instead focusing on the end product aka the finished drawing. Ofc I'm a beginner so I wouldn't look like I wanted to. Not bad but it wouldn't be what I wanted so i'd get frustrated and eventually give up on drawing . . . before inevitably returning with my tail between my legs cause I still rlly want to get better.

Honestly, it's natural and normal for these feeling to occur, because like you said we pour so much time and dedication. Not to mention heart and soul to make these creative projects that it feels almost personal when it doesn't get engagement. But if there is something i'd like for you to know, it's that it rlly helps if you take enjoyment in the process. Draw inspiration from odd places and craft scenarios.

Don't write for others, or the cliche of writing for yourself but rather think of it as you sharing your brainrot with ur future self haha. Write stuff that you'd wanna read yourself! (then come back to read it like a crazy person at the dead of night . . . wait, don't tell me that just me-)

Just . . . let your brain do its thing! Let your brain create instead of letting the ideas and projects fester in your head. Keep growing your skill because you never know, these might be the very thing that comes in handy later on in life. Think of singers like Sabrina carpenter who was niche (I mean to say not worldwide popular yknow, but u get my point) for a long time. However, if you look at her now that she's gone viral, it's the hard work during the years she spent creating with most of the world with their backs to her that is the sole reason she continues to be so well known for her . . . well, everything! (For example: She is extremely comfortable on stage while performing and looks like she's in her element even with thousands of eyes on her . . . it's cause she's been performing for almost 10 years I think.)

So, to both anon and anyone else reading this, pls keep creating stuff. Especially passion projects. Even if you feel like you're screaming into a void. You'll only get better IF you continue. Also, you never know maybe there is someone out there that really enjoys your work. Even if it's one person, that still someone out there that keeps coming back just for your work. This silly tangent I went on, won't completely get rid of all the thoughts and feelings . . . but it's a start. Hope this helps . . .

(Example: I always find myself coming back to this artwork by @cinsilly cause Asra's expression here is so funny. No not once a week but every few days oops- )

Oh my god thank you!! I'll post my thoughts in the comments. But it was honestly v cool of you to share this, the only thing that keeps me together in any fandom is knowing we're not alone in feeling this way :'> !!!

[crabbng]

i actually got some in process shots for this #WebcomicDay ! they are of an episode 12 page, so this doubles as a sneak peek 🤣 you can see i forgot to take a pic of the finished lines before i started on coloring (whoops)

there are a few secret steps after finishing up backgrounds etc. (scanning, cleaning up) but since this is a sneak peek, i didn't want to put the Final Product out there.

I guess I'll ramble a little bit about The Process below the cut.

SKETCH: I don't plan out my pages as much as I should other artists do. I think about the next couple shots I want, what I can probably fit on the page, and then decide how tall the panel should be. after that I draw a big line across the page 🤣 sometimes the panel gets bisected, usually not trisected. I love it when people consider the whole of the page and make the paneling choices that elevate the art. I just don't do it lmao

luckily for me, I don't have a requirement to make every piece of my comic pages The Best. So, I focus on what I enjoy: expressions and conversations.

LINE DIALOGUE AND PANELS: For inking/lining, I ABSOLUTELY have to put in my dialogue/dialogue balloons first. Since I'm doing everything on the same page of physical paper, I can't really shift things around partway through to make the dialogue and art fit better together. I also have to make sure it all fits within the panel lines I have planned. I've gotten into situations where the WORDS fit in, but in order to make a word balloon with decent space around the words, I cross over a line. Sometimes it works, but for me.. it doesn't work most of the time. So, gotta plan ahead.

You can also see down in the final section, I handwrite my dialogue! So, if I mess up, I sometimes have to add in a few letter that I can substitute in during editing.

FINISH LINES & ERASING: All I have to say about finishing lines/erasing, is that erasing can be such a challenge lmao. JUST YESTERDAY... when I was erasing.. I tore a page a little bit. And I often accidentally crinkle a corner while erasing. The obvious solution, and what I know people do, is to sketch on one page, and then use a light table (or equivalent) to do a cleaner, lighter sketch on a new page, and then do lining on that. Which is a good idea, maybe someday I'll try it lol.

COLOR FIGURES: There's really no good reason I start with the figures, besides that I like watching them come to life with the colors. It feels weird when they're blank on the page. They're also generally the most important part of the page for me, and seeing them colored helps me decide on which panels I want to do flat color backgrounds for.

But! This means I can't go back and edit skin tones etc. to be in different lighting after the fact, unless it's to make them darker! So that's something I have to be cognizant of and plan for in advance.

I use Copics for most part of the figures, except when I know there's going to be several large areas to color, like Aoife's hair or her sweater and pants. I have character's hair planned in Copics, but I have several browns from other brands (Prismacolor, Blick, Winsor and Newton, Artist's Loft) that get pretty close to her hair color. Clothing that has large areas that need to be colored are planned as being from one of those other brands from the start. I don't want to use up all my Copic juice on them!!

Also don't you just love seeing the texture of the paper through the marker? I love it. I love the natural variation you get.

BACKGROUNDS & OTHER DETAILS: Color everything else! Backgrounds and shadows generally. For backgrounds I'm once again using my alternative brands. I've got a lot of space to cover, and those markers, along with being cheaper, are generally larger than my Copics. So it works out.

Sometimes I tend to go a bit wild with the single color backgrounds, to the point where I think it can get distracting. So I have to rein it in and leave some panels with white backgrounds, so the reader isn't just blasted with colors from every angle. My rule of thumb is to try and only have color on one panel in each of my lines of panels, and to alternate sides, if possible. I feel like that guides the eye easier.

Doing things traditionally means I don't really get any shortcuts when it comes to backgrounds, including just flat color backgrounds. Every square millimeter has gotta be colored purposefully by me. And maybe that seems like a pointless use of time and effort! But man, I love the end result. I'm all for shortcuts, it's just a lot of the ones I see floating around don't apply to me 🤣

I'll talk about my other steps here too, might as well.

SCANNING: After colors and everything, I scan the pages. They're too big to fit in my scanner, so I scan the top and bottom halves separately, and stitch them together (I use PhotoStitcher).

From there, I rotate it to (more or less) make it straight on my canvas, make a .clip version, and send it off to my iPad!

I got my iPad in a workplace raffle, and though there's a lot about the UI I don't love, it's been really convenient!

EDITING: Editing consists of: cleaning up things that should be white (like eyes, teeth, and word balloons), and then cleaning up marker that's bled over into areas it doesn't belong, and is distracting. I try not to overdo it on marker cleanup, because 1) it takes a while, 2) it can stress me out if I decide I need it all to be PERFECT, and 3) it feels slightly disingenuous, just TO ME, about my OWN work. I don't think 3) is valid, so I try to ignore that part, but sometimes in my head I'm like 'mm but Jacki can you say its traditional if you have to do so much work in post to make it presentable??' (said in a very snobby voice). I went from not really caring -> REALLY caring -> hopefully I'll get to caring a reasonable amount.

FINISHING: Last steps are to send it BACK to my computer, where I have two auto actions to size the page and to export it as a .png in a large and a small size. I should be rightfully criticized for how I size the pages lmao, it's 2647x3560 pixels. Why that number specifically? That's 1) how I've done it since the beginning, so they are all this very strange size, and 2) it's about the maximum area of scanned page I can consistently get.

I think that's it? I don't know why you would, but if you have any questions, feel free to hit me up and I'll answer them to the best of my ability. Hope someone finds this interesting or helpful LOL

bye 💕 happy webcomic day!