#this is why people hate abstract art

[haberdashing]

things all y'all missed out on by not being in one particular discord server with me: me judging the hell out of the milwaukee art museum

[sskk-manifesto]

Ep 5!!!

[badolmen]

I’m trying to find a way to parse this but like:

Make up culture is bad because of how capitalism has twisted appearance to be a basis of worth and social value. However, humans have been putting stuff on their skin since our ancestors started losing hair (maybe even before?) and ornamentation does have significant historic cultural value outside of modern late-capitalism induced self loathing.

Like. Make-up is not a thing in my immediate family. My mother and older sister? Nothing. My little sister is going to be so lucky to grow up in a space where she won’t have any expectation or support for make-up culture. I know make-up culture a shitty phenomenon; I know it steals time and money and self-worth from people at its worst and at its best feeds back into an appearance based cultural hierarchy.

But. But. There is such a rich and vibrant history to cosmetics outside of what is sold to reinforce that inevitably toxic culture. So many forms of art in face paint and more permanent and interesting body modification! There’s history and traceable evolving styles and intentions! And it fucking sucks that it’s been so corrupted to the point of no longer reflecting it’s original intent of being creative and unique and interesting!

Sometimes it just sounds like ‘don’t have tattoos don’t you know those annoying punks and degenerates have those?’ has just been repackaged as ‘don’t wear make-up don’t you know those annoying preps and conformists do that?’ Like I get what you’re trying to say but there is nuance to these conversations and willfully ignoring that nuance makes you sound ridiculous at best and outright hostile to any deviation from your standards at worst.

[peapod20001]

When I love a song, I’ll love it forever

[mangotangorasi]

I already want to quit university

[vimbry]

man those notes sucked to open! what is it about drawing someone as an animal that makes people absolutely pee their pants

[lixies-favorite-cookie]

calling skz clingy headcanons ◦ ot8

Paring◦ ot8 x reader

Words◦ 3,578

Genre ◦ hurt and comfort

Warnings ◦ reader blows up at the boys a few times, mild cussing I think, hyunjin is lowkey toxic in this but the reader is more toxic, honestly all of our boys are pretty dramatic lmao, they keep getting lazier and lazier😭, I fucking hate y/n in this like fr I'm gonna kick her sorry little ass, seungmins is... suggestive...dirty talk and fingering only for like one line, so is hans lmao all happy endings because I am not sadistic... or realistic

Taglist ◦ @thetoastghost222, @ur-fav-lvr

A/N ◦ honestly this is my super random chaotic thoughts I had at 2am bc I was really hating the way I was writing a love lived between the stars and the sea so I wanted to take a small break and clear my pallet I hope you all like it even though it lowkey sucks lmao <33

Also im lowkey fucking with making headcannons this is kinda fun...

~cookiecreates 🍪

chan

I feel like Chan would be the most emotionally mature about the whole thing, especially when he sees the storm brewing in your eyes before you even spit those venomous words.

"Fuck Chris, do you have to be so clingy all the time?" You shout, your mouth curling in a disgusted sneer. 

You've never flinched away from him like that, never been so mean-

He's first hurt then he sees it-

There are cracks in your demeanor; large gashes in your heart; he could read you like an open book; the stories your soul wished to tell resided in your glassy eyes.

Hurt people hurt people.

You didn't think he was clingy; no, you loved his touch. You were simply overwhelmed, overflowing with so many simmering feelings—his love did not have room to shimmy through.

So he makes room-

He tilts your chin up with a sincere voice and asks, "What's the real reason why you are shutting me out?"

The unadulterated dedication in his words leaves you in shambles. 

Chan would tear open his heart before your eyes just to prove that there are openings for your soul to pour all your pain into him.

and he would still find a way not to spill a drop

"It’s so hard,” you sob. “They told me you were too good for me, that I wasn’t enough. They said I should shut you out, run away before I got too attached. I had to make you hate me so that I could never weigh you down again."

Chan is fuming.

He wants to ask who said that? He wants to ask where they live? He wants to ask if you want to witness their destruction? He wants to ask if he should use a knife or a gun?

But instead, he says, ‘Darling, you would have more luck breaking the bounds of the moon than untangling the way you are threaded into my soul."

what. the. fuck.

Chan the next William Shakespeare up in here

...was this based on something I wrote for my new series...yes. am I ashamed... no.

I'm a hopeless romantic who wants to marry a poet.

Sue me.

You never thought the apocalypse would be so rewarding, because you are reeling, spinning out of orbit, a meteor spit out into space, hurling towards unknown destruction—destruction that tasted like fresh morning dew.

Chan was perfect.

what the fuck were you thinking?

He holds you through the night, chasing away the whistling of the cold winter wind, his warm arms creating a home around your heart.

lee know

do not ever ever ever ever ever ever ever call Lee Know clingy unless you are willing to dedicate your life into creating the next wheel of time because after you plant the seed in his head, he will blossom a garden of newfound insecurities.

"Can you please not be so clingy right now? I'm having a really bad headache," you whisper through the thick fog clouding your brain; you have been living with a red hot rod skewed through the back of your brain all day. You didn't mean to say the word clingy, but it is futile to search a thesaurus from a blurry page, and right now the world seems to be nothing more than a piece of abstract art.

He just wanted to hold you and you call him clingy??

To others, the sentence would be like water rolling off their backs, but to him, it was a ragged shard of glass stabbed straight into his chest.

Lee Know is extremely inexperienced in the world of intimacy, often clumsy with his actions—hesitant with his words, so why would you say such a thing?

Knowing how insecure he is??

You would only ever say it if you meant it fully and completely??

Honestly, in his head, he would be lowkey, really dramatic, but he's so beyond hurt, feeling like you're just picking at a gaping wound.

like I said, dramatic.

justified. yes.

dramatic... also yes.

I am a firm believer that his tough-guy act is only that.

an act.

He was pretending like he didn't care what you said, but when he gets into the other room, it takes everything in him not to shatter into a million different pieces, feeling so overwhelmed with how many emotions are coursing through him.

No matter how much you apologize after that, no matter how much you prove what you said was nothing more than your head foggy and in pain, it still will take lifetimes for that scar to fade.

and he will only ever get over it with a million reassurances and a thousand conversations

which you are willing to do as long as he needs it

changbin

Honestly, I dont really have a clue with this one, but I am definitely leaning towards him being more like Chan in the emotional mature way he handles it, but instead of comforting you at the drop of a hat, he just leaves the room and lets you stew on your sorrows.

"Your so clingy," you groan, shoving his arm off; rolling your eyes as the mattress shifts with his weight. You just want to be left alone. You weren't sad. You weren't mad. You were just tired and did not want to be touched.

In perspective, could you have handled it better? Yes, but what can you do now? I'm going to punch this bitch in the face I swear I hate y/n and I'm creating her

He's first very confused, then the hurt hits like a falling star crashing into his chest.

What do you mean he's clingy??

"Fine," he states, still dizzy from the utter whiplash you were giving him.

like what the hell?

Sleeps on the couch that night (bad idea don't do this)

He stews about it far past the dreams in his head

That is, until you trudge out of your bed in the morning with red-rimmed eyes and a face filled with regret.

After a shitty nights sleep without the heat of your boyfriend's arms, you realized very quickly what it would feel like if you were to never feel it again, and all of a sudden, you never want to be left alone like ever again.

The grudge he was previously trying to hold drained out of him, and in that instance, he jumps up, pulling you into his arms.

He is very quick to forgive you, when you voice your reason for snapping at him, was nothing but compressed frustrations manifested into the wrong source.

hyunjin

hyunjin. hyunjin. hyunjin.

I feel like in a fit of both hurt and the toxic trait of self-isolation, he would be petty and stay at the boy's house for a few days.

He had tried to give you a good morning kiss that day, but you were stressed and late for work, rushing to put on your clothes. The way he whined about wanting to be touched ground your gears beyond belief. You got stuck in your shirt, which was too tight after you shrunk it in the dryer, and your firm has yet to give you another one. Hyunjin's flighty hands wrapped around your waist, trying to help you untangle yourself from the mess of fabric, only for the button to get caught in your hair, pain ripping through your scalp.

"Stop it hyunjin!" you shout, attempting to unthread the way your hair has meshed into the slits of the button. "You're so fuckin' clingy."

It was all a mess—your heap of shifting fabric and jerking limbs, hair sticking up at every angle. His heart was crushed somewhere in a pulp on the floor in front of him.

He just wanted to help...

Your red-hot anger quickly bled into a tightening anxiety that pulled underneath your ribs as you imagined the look on your boss's face when you came in disheveled and late.

"I just wanted to help," Hyunjin sniffles, bouncing his eyes around the room, filling with tears. You heartlessly roll your eyes.

"Here come the waterworks," your voice is steady, flaming with annoyance mixed with a sickening tilt of mockery. His jaw drops.

you're being so mean

His ears burn when you glare at him, disgusted by the tears streaming down his cheeks. He desperately wipes his emotions away with the back of his hand, suddenly embarrassed to even be showing you the cracks in his soul.

He runs away, like, quite literally runs out the door, sprinting to his car and driving straight to the group's house, collapsing in a fit of sobs in Chan's arms.

He stays there for a good 3 days, ignoring all your calls and texts.

No matter how much it hurts his heart not to talk to you, he shuts you out in a weak attempt to show you what it would be like to live without him.

But this tactic is short-lived when you arrive at the boys' house, snot sobbing into his chest.

"i-im so sorry," you repeat over and over and over into his skin, hoping the further you dig into his chest, the closer the words will hit his heart. 

He's not going to lie; no matter how much you cry, a little bit of pettiness will still stay during the conversation, a small scar of his hurt dictating his choices.

"Why didn't you come home? I thought we were over?"

"I thought that asking to sleep in the same bed as you would be too clingy"

Your heart cracks. He sees it, immediately regretting all his words.

"I'm sorry!" he yelps, pulling your head straight into his chest again.

You shake your head remorsefully, "No, I deserved that."

Even though so much of him still wants to be petty, his love for you trumps the feeling.

(I'm not forgiving you though wtf)

han (this one is long asf)

Han is freaking out.

I mean like the devil's bony hand gripping at the base of his spine, stale breath wafting down the skin of his neck type of freaking the fuck out.

You had a job that required you to go on-site, on-call often, like Han’s—that’s why you were so understanding about his busy schedule; yours was just as bad.

Today was a nightmare. Your coworker, the devil in disguise, didn't show up for the presentation she had created, and since she threw you under the bus saying you helped her (you didn't), you were forced to come in and present it.

Leaving Han at the restaurant waiting for you to arrive-

You forgot-

It was debatably the biggest presentation of the year, showing off her new design to multiple new investors, and yet your phone kept buzzing.

You told Han this was important

You never sent the message

You don't think you have ever seen your boss so furious

From Han's point of view, he's been sitting here for 2 hours, and you are still not here.

There are so many scenarios flying around in his head—

Are you okay?

Did you stand him up?

Are you breaking up with him?

Did you get kidnapped??

Han got tunnel vision when he was scared, his restless brain shooting out dire scenarios faster than he could decipher the impossibility of them. It was overwhelming. The walls were closing in on him. Nowhere in the world was safe. His head was swimming, the room was spinning, the earth was popping through space.

He keeps texting and calling and voice mailing. The icy anxiety crystallizing in the pit of his core turns his fingers brittle, creaking as he jams them into his phone screen.

He can't breathe.

Too many possibilities.

Untill-

Your boss got fed up with your phone ringing, screaming at you to go answer it since it was clearly more important than your job.

he was a prick

You answer it, the heat of your building anger curdling a deadly brew inside your soul. Without looking at the 200+ messages Han had sent you, you answer the 50th call of the day, immediately hissing into the speaker, "Do you know what you just did, Han? I got yelled at by my boss in the middle of a presentation because your clingy ass can’t exist without constantly needing my attention for more than 5 minutes. Stop texting me." Your finger smashes the end call button before unruffling your skirt and walking right back into the room.

Han feels like he might just melt straight into the seats, the way his whole body burns.

The whole world stops for a moment, the earth bleeding down the walls, swirling into pools of muddy color. He was sinking, lungs filling with the ink of a million different sweltering elements.

He ruins everything.

He was so wholly overwhelmed he could barely crawl into his car, desperately gripping the steering wheel while the earth collapsed in on him.

He ruins everything.

It's almost impossible to get to his house the way his tears blur the road.

(that's actually fr dangerous don't drive while crying)

He ruins everything.

He doesn't cry when you walk through the door.

He doesn't touch you when you run to him, standing over him, huddled on the floor.

He doesn't breathe as you cry over his body, twinkling in and out of consciousness.

He ruins everything.

Your makeup runs down your cheeks as you try to shake him awake.

He fainted in the kitchen. It wasn't uncommon when he was alone during his panic attacks, the anxiety ripping harsh bouts of oxygen from his lungs.

You squish his cheeks together, forcing his lips into a pout, shoving your faces together, pouring unadulterated passion into his system.

He short c i r c u i t s.

"I'm so sorry," you sob against his lips. "I didn't mean to be so mean. I didn't mean anything I said. I was just stressed, and I thought I sent the message telling you not to text me, and I didn't. I'm so sorry. I'm so, so sorry." Your voice is high and wet, pushing his mouth deeper into yours.

It would be sceintifically impossible for your lips to get any closer-

and yet his tries.

He pulls your trembling body into his lap, fireworks exploding from the ashes where your words had lain.

"So you don't think I'm clingy?" His voice cracks, fresh tears collecting on the outer corners of his eyes. You have never shaken your head so adamantly in your whole life.

"No, never, never ever."

"Then come here."

You two have never been so close before in your life, hearts tangling in your chests as he presses your body into his.

You were going to prove just how much you loved his touch.

:D

felix

Oh Felix, my kind sweethearted boy that deserves nothing less than prince treatment. He’s so kind, even though he’s so hurt. He’s actually scared he’s annoying you, so he makes himself more distant so he doesn’t bother you.

""Fuck, Felix, can you not see I am clearly just trying to relax? I mean, you don’t always have to be up my ass all the time," you snap, curling back up into the sheets Felix ripped off. You were exhausted—there was no excuse; you were just really tired. Felix, being the loving boyfriend he is, wanted to hold you while you slept, but of course, you being the dumb idiot you are, shouted at him.

are you stupid like fr cause like THE LEE FELIX WANTS TO HOLD YOU AND YOU SHOO HIM AWAY

you deserve federal prison

Felix is so many synonyms for destroyed that it should be physically impossible to still be alive with a heart that lies shattered in the pit of his stomach.

Felix doesnt know how to feel sad, angry, hurt, upest, embarrassed.

He just clenches his jaw, trying to keep his bottom lip from trembling.

Felix has always been secretly self-conscious about the way he expresses his love toward people, often being very touchy-feely. He understands that this isn’t everybody's favorite thing and how it can get fairly annoying.

He’s already so terrified you’re going to leave him; he overanalyzes every interaction.

But this interaction did not need to be analyzed to know what you meant. You were very direct about that.

The way your venomous words attached to his stomach, pumping him with poison that swirled his stomach sick.

You don’t apologize when you wake up, not believing you need to justify yourself. He was being clingy, and you had every right to express your opinion about it.

im going to punch this bitch in the face

As surprising as this is, he actually doesn’t cry about it. He doesn’t cry about it because he is so worried that him crying about it would annoy you, so he would rather let his sadness seep into the back of his brain than show you emotions that could potentially turn you off.

Like I said, destructively kind.

He really takes what you said to heart, trying his best not to give you any skinship unless it’s to guide you through a crowded room or pull you away from the bustling activity of the road, holding your hand until you get to your destination.

He actually feels like he can’t function without your touch, but he muscles through it, relishing in the small actions he can get.

He tries to show his love in other little things that aren’t physical touch. It gets to the point where he is so deep in his head he shies away when you try to initiate skinship, terrified he’s going to get back into the habit of the joy of touching you and make himself seem annoying again.

He’s so beyond scared of being a nuisance.

It’s been two weeks with this flighty physical touch, and it all finally starts to click when you notice his smile isn’t nearly as bright anymore and some of the stars in his eyes have faded away.

"I want you to be clingy again, please, please, please. I mean, cling wrap, Kola. If you ever think you’re being too clingy, please hug me a little tighter. I’m an idiot, a complete and utter moron. Really, I should be evaluated on why I am even able to exist in society."

His heart literally bursts so relieved he can finally touch you again.

He gives you the most dopamine-coddling, brain-boggling cuddles known to mankind that night.

Your skin is so close together it feels like there isn’t a part of your body Felix doesn’t occupy.

He has created a home in your heart that no other man will ever stay, where he will rest until the day you fade away.

seungmin

Oh bro is pissed

"You're so clingy," you deadpan as his arms wrap around your waist. You had seen a stupid TikTok prank on your For You page and had the brilliant idea to try it on your boyfriend. But the way his whole body tenses against your skin, muscles rippling underneath your fingertips, you know you are so beyond fucked. "What did you just say to me, baby?"

well you just signed your death certificate

So many ideas brewing in that beautiful head of his-

Like, your ass will be red, your stomach will be painted, your mouth will be filled, and you will be descending into the grave. Like all the rest are lovey-dovey 'I’m sorrys,' no—your sorry will be told on your knees.

He will edge you intill you are teetering on the ledge of oblivion

"You want to cum, baby?" He's so condescending, easily lifting your waist from the sheets, his sticky fingers creating bruises when he pins your legs down to gain more access to ruthlessly abuse your g-spot.

"Yes, Yes, Yes, please," you beg, body trembling on the bed, large qaukes of pleasure rushing through your bones as his mean fingers plunge into your messy cunt.

"But that would be too clingy wouldn't it?"

oh how i want his fingers

(this one is really short bc i hate writing smut but i feel like this would be smutty)

jeongin

I honestly have no clue. I feel like he’d be more confused than anything because, like, me?

clingy?

mf I barely touch you?

Honestly, kind of annoyed more than sad—like pissed that as soon as he wants to touch you, you think he's clingy. But he's like Chan in the fact that he sees past your words and into the anger brewing in your eyes, allowing both you and him to cool off before he says something he will regret.

He just walks out of the room and lets you calm down.

I am also a firm believer that this man is healthy as hell.

He could tell that his heart was starting to beat a little too hard and his head was getting a little too fuzzy with all the raging words he wanted to say. But instead, he just walks away and lets you calm down, then talks to you about it before you go to bed because he is also an extremely firm believer in the fact that you should NEVER go to bed angry.

this one is shorter bc like I'm lowkey running out of motivation and ideas

did you like this? check out my new series a love lived in between the stars and the sea here

or maybe read doomsday here

[txttletale]

i tried reading chili and don't really get it? I read a bunch of dahl as a kid and got, I think, most of the references, but I don't find it good

it feels like a book mired in hatred, not in a bigoted way but just so absolutely misanthropic that it sucks all life out of what might be some okay jokes

respectfully what do the chili-likers see in this crap?

i don't know -- i think that if you read chili as 'misanthropic' it is because it is reflecting and critquing dahl's own misanthropy. similarly while i think there is some level of obvious vitriol and disdain for dahl, i don't know how you can come away from a work that puts so much effort into pastiching him and referencing every corner of his ouvre with nothing to say about it other than 'wow this author really hated dahl in an uncomplicated way'

what do i see in it? it's funny, of course. it's also sometimes effective horror, from the clams to the down rooms to the more existential abstract horror of having one fact. but it's also very interesting engagement with the original text that has interesting things to put forward about... intertextuality, about our relationship with artists and the art they make. from truncatism to the the marble maker monologue to the fakeout downer ending to the ridiculous 'challenge' at the end to the genie's conversation in the denouement, there's a really interesting tension here examining whether artists 'owe' people anything, and why they might feel that way if they don't.

tldr: seems like someone didn't get fudge revelated

[mclalan]

Can you share what your art-making process is? What software and tools do you use?? I'm falling in love with your work!!

Thank you, I'm so happy you like my work and are interested in the process. The short answer is I mostly use Adobe Animate.

I hate how I'm using an Adobe product (although I still regard it as a MacroMedia Flash product), but there's just no other software that compares to its jankiness. Perhaps it's just my long familiarity with the program, but nothing I've experienced matches how it simultaneously feels like drawing in MS Paint and using Microsoft PowerPoint vector shapes. The result is something that feels in-between the two; handmade yet computer-generated.

Typically, I'll start with a hand-drawn sketch, often beginning as a thumbnail done with pencil and paper.

I'll then do a mix of hand drawing and vector shape tool rendering. I use the Paint Brush tool to hand draw strokes, and the line and shape tools mixed with transform to make more geometrically accurate shapes. The design is rendered into divided closed loop shapes, ready to be filled with a solid. The strokes are kept or removed depending on the design.

These fill shapes are then either coloured and rendered in Adobe Animate, using fills, gradients, or a more complex process of masks and effects.

Alternatively, I'll bring all these vector shapes into Photoshop and use them as clipping masks. The vector shapes act like masking taped areas or shields to maintain sharp edges, while the brush is like an atomized airbrush used to build soft volumed forms.

Please excuse all that horrible Adobe Cloud and AI bloatware...

And there we go!

Variations in the process include just using MS Paint, index color in Photoshop, or 3D programs.

Very old works of mine were almost abstract, just exploring digital mark-making, which was a trend I was following in the mid 2010s that I loved. This kind of stuff.

While my current work uses its digital material specificity as an intermediary to the subject in the illustration.

For example, #ersatz.world parodies clip-art and flash edutainment styles but imagines the characters living within that kind of world. The designs are meant to be cute, easy to read, light in computer processing, but also irreverent, janky, and generic too.

People typically regard this sort of clip art style as ephemeral trash, but I always found them charming. I use Ersatz World primarily as a satire vehicle, parodying educational formats to spoof corporate explainer content and digital media.

However, part of the problem with Ersatz is I've made it look too polished, complex, and I've grown too attached to the characters, which I imagine is a typical issue with overbuilding a world. So recently, I've made an even jankier Ersatz-like set of characters to play about with, using an even simpler style with less cohesion. I like to try and use slightly different styles and digital material styles to relate to the property at hand.

That’s why #autonymus has a bitmap digital material and a denser feel to it. Unlike Ersatz, Autonymus is not meant to be an overt semi-meta fiction. It’s not exactly pixel art, but the pixels are just about visible, as the intention is to create a digital expressionist depth to the setting. Although it’s still stylized and not realistic to our world, I definitely still want to evoke semblances of our world. That’s why there’s attention to landscape, plant life, and implied life beyond what you see in the frame with the characters, etc. But I'm still making a cartoon, and I still want it to feel at ease with itself being a digital material work. Characters are therefore flat, simple, stiff, and the speech style is like a bad Shakespeare parody. I like to balance between ugly and appealing, simple and complex, familiar and unfamiliar.

In regard to things like inspiration, references, and my relationship to aesthetic genres; these things certainly factor into my work, perhaps I'm even overtly dependent on them. My work can definitely be post-modernist in method; creating new, ironic, or fragmented interpretations through deconstructing a mix of various styles or methods. But at the same time, I'm still trying to make a digital gestural representation where the aesthetic is driven by my relationship to the software and techniques directly—not simply in an attempt to reference a style. For example, I like drawing lines in sweeping strokes, not to a point of geometric perfection, but just in a way where the curves are smooth and simple. But if I want perfectly curved or straight lines, I'll use the vector tools.

Working this way, you can sort of learn why certain styles and design choices in past vector aesthetics were made, as they would have also needed to make similar choices. That’s why I’m more mindful of using digital material specificity as a foundation to build narrative and subjects upon these days.

For example, genre references like cyberpunk clichés for #cyberhell or late medieval design for #autonymus or 2005 to 2015 era subculture fashion for #gradientgoblinz.

I think it’s important to take inspiration and reference from a wide variety of sources, but I think they’d mean nothing without having something to say or express. Autonymus, although it is a collection of tropes and clichés, isn’t just about that. It’s a story about the tensions of socially constructed systems and how that shapes faith, technology, and the natural world, or at least that's what I'm aiming for anyway.

But despite all that, I think there’s a danger of locking myself into the past by using these methods. For example, using nostalgia and references to past aesthetics can result in just recreating the past in a form of role-play. To avoid that, I try and evoke the past through a messy, inaccurate pastiche rather than caring to accurately re-enact anything. I’m probably not always successful at communicating the deliberateness of this, and it can certainly get very frustrating and pedantic. To be honest, I do kind of hate aesthetic labels (terms like Y2K, global coffee house, utopian scholastic designs from a pre-9/11 world).

I do not believe that a project aimed solely at mapping history through aesthetic styles is worthwhile. Sure, they can be handy for organizing style trends, but they can also be reductive and ahistoric. Who are these people to define the history of these design eras? The result is a kind of suffocating simulation of design history but removed from context, perfect for moodboardism. I wish it felt more tongue-in-cheek, less absolute of itself in its own practice. Instead, it acts to legitimize and engender those making these labels, almost giving them ownership of the design styles. It’s similar to the logic and process of generative AI and its databases in a way, just done manually.

I’m very inspired by artists like Oneohtrix Point Never in this regard, as I think he’s able to create an aesthetic portal to all kinds of memories, feelings, and worlds reminiscent of the past, while still being in the present. It’s more a reflection of how timelines are messy now, like a memory or dream, rather than an audacity to say the past was actually like that, or to try to actually map some kind of timeline.

I think the benefit of this process is how it avoids the other side of the spectrum—being locked into chasing the cutting edge of digital processes. I don't necessarily think using an old digital process means your work inherits the semiotics of old aesthetics. Non-digital mediums don’t have this issue to this degree, as you can still paint in oils and be considered contemporary, or at least it's not frowned upon to such a degree. And I also don't think anyone in the heyday of Flash ever made work the same as I do, especially as computers are more powerful now so can handle more. I probably shouldn't boast too much about that though, as artists at the time probably just had more sense than to use Flash like a painting program! So then, why is my use of Adobe Animate critiqued as obsolete and an aesthetic dead-end? Because to whose standards is this process obsolete? If you value digital aesthetics as an apparatus in industry practice, then sure, my work is redundant.

But as wonderful as the latest tech can be in creating new aesthetics, I do feel it can be overtly dependent on the trends and directions of tech corporations, and therefore act as an indirect propaganda tool to their hegemony over digital aesthetics, such as the ever-demanding processing power needed for simulated realism. If anything, work that does follow in the direction of the latest tech trends is ironically the quickest to date once the trends move on.

I've noticed I've not really described what my work is about, just the process, in this text. But I don't know, maybe I like Flash because it is regarded as redundant. No one really cares about it, so I feel free to make whatever I want, and can decide on form myself, to my own standards, the quality of my work. As fun as making images is, I find it difficult to put into words what it is exactly I'm expressing in my work, and perhaps that would spoil it anyway.

[anglerflsh]

What the fascistic hatred for abstract art and idolisation of only the Rational, Realistic Art, the only one that comes close to a science, the only one that can be excused as existing (because the more realistic it is the less you see the artist in it and the more it can conform to a standard) have done is unforgivable. btw

Fascism notoriously hates abstract art, and positivism's legacy was a degradation of humanities that led to a distate for art that couldn't be objectively graded on a clear scale or measures in scientific truths. The result is the need to be able to give a correct and rational value to art, and the scale chosen for it was realism.

Which inevitably brings the thought that was isn't realistic is bad, on principle! It is idiotic because art is inherently subjective! You cannot grade it in such a way because it is not meant to be a surefire and technically onthologically correct or incorrect pursuit, it is meant to be art, but fascism hates what it cannot grade as either superior or inferior, degenerate or inspiring, and therefore makes up ways to do that that actually have no meaning and make no sense.

+ It is also why hyperrealistic art is often soulless - not always - but think of (as the example that Jaja gave me, hi) those Instagram drawings of perfectly photorealistic lips or eyes. They all look the same. They all look maybe even incredible, but by virtue of all looking the same, they lose the artist. Could you tell if two drawings of the same set of lime-biting lips were made by different people, when they are so so similar, and so so realistic? What of the prevalent AI art artstyle, a mesh of perfect rendering, all looking the same? Where is the individuality in making all art look identical! Where is the artist in a drawing that does not show any stylistic choice!

The point is. Your art style isn't holding you back because it isn't "realistic enough." You can do what you want forever

[creaman]

Hi there! I apologize for taking up your time, I am just so curious: When you tackle a comic, what does the process behind it look like?

Asking because I found myself scrolling through your blog once again and couldn't help but marvel at all the beautiful effects you use, at how flawlessly the structure guides the viewer's eye across each page, how the graphic weight seems to always be in just the right places…, and wonder how you learned doing this. Everything you put out looks incredibly professional and I aspire to reach your level of skill 😌❤️

Thank you Finz!! You're no bother at all, I'm an open book. This is such high praise for a guy that really doesn't have a set process, I feel like a hack. Ha. Rest assured my style is still developing. Besides the referencing of the linework and composition of official comic books, (practicing by redrawing panels for fun), explaining the process makes me feel like a serial killer but I will do my best.

(WIP Riddler panel, scrapped Scarecrow composition)

My comics usually stem from a single panel or concept — I like to focus on/emphasise particular panels of my pages, the heavy hitters, the main piece that catches your eye. I know I'm not a profoundly technically proficient artist so I prefer visually interesting elements and formatting, i.e. drawing characters outside their frames, negative space, notation, perspectives etc.

(Kung Fu Panda 4 sketch god I hate Kung Fu Panda 4)

I like to establish 'main focus' panels, the bits of the comic that really, well. make people want to chew on it. This is where the technical effort is concentrated, really, and the rest of the comic is generally build around these concepts.

('Restaurant Balthazar' focus panels)

Textures and effects are done on individual panels first, then the entire page as a whole to even out the unity. Generally, blocking in shadows, hatching for visual interest + middle tones, then textures/half-tones, then highlights.

(Script excerpt WIP)

I'm not a writer per se, but having a vague 'script' in your pages helps with pacing and direction. Comics are a versatile story-telling medium. I only really do scripts for comics longer than 2 pages. An optional but recommended strat is to send your script to a friend for a second opinion.

(Script excerpt — 'Restaurant Balthazar', annotated by @vincepti0n I don't know why he drew a face in the middle)

With the script crudely slapped together, I rough out the thumbnails and composition with the text, prioritising coherence and clean integration of previously mentioned 'main focus' panels.

Settling on a composition sucks the hardest. Drawing is fun, thinking makes brain hurty. Variety is good! Close-ups, wide shots, visual metaphors. Every panel is its own artwork.

The text bubbles are usually added in post, yes, but I'm just one guy and I don't have a writer to call me a good boy for doing things correctly. Bite me.

(Early 'Restaurant Balthazar' drafts)

In addition, keeping the text graphics in mind help create a sounder composition wherein even if the panels don't read cleanly left to right + top to bottom, the text can stagger and create the same reading order effect.

Panels and concepts are constantly tweaked, and my comic process is still highly experimental. A lot of industry standard comics aren't illustrated to their full potential due to deadlines and such — I strive for visual epiphany by treating each panel as its own artwork, and every page as a a bit of a mural.

(Old art hurts the soul)

Constantly experimenting allows you the insight of looking at your current art in comparison to your older works. In more recent works, I've been blocking in more shadows wiht lineart with thinner lines and more line weight, and learned to integrate the subject characters with less plain, abstract backgrounds.

TLDR: I have no idea

[thetrashywritingwitch]

Despite his parents' success in fashion and design, Katsuki just doesn't get it. That kind of visual creativity isn't something he naturally inherited like his quirk or how he annoyingly is the spitting image of his mother. It never seemed important. What benefit could he get out of art that would help him as a Hero? To him, jack shit.

Yeah, someone designed his suit and support items. Or rather, brought his shitty doodle idea to life. But that's their job, not his. He still remembers being scolded for folding one of his dad's client sketches into a paper airplane and sailing it out the second story window.

He barely remembers the middle school field trip to an art museum. Didn't pay attention to whatever the guide had to say, and didn't much care. Katsuki and his lackeys friends just joked around the entire time. All the weird, abstract stuff was ugly. All the realistic stuff was boring. No painting was gonna prove important to meeting his goal.

... However, it pissed him off that the stupid art classes he had to take caused him so much grief. He could easily get an A in every other class, but the string of B's in every art class from middle school up through UA felt like a stain on his good record. Why the hell did he need to draw vases and shit anyway?!

Katsuki Bakugo sucked at art, and he hated it. It was the one thing he couldn't figure out. He could study and memorize for a test, easy. He could practice and train to perfect his quirk, strength, and endurance. But all his drawings were rough and sloppy. His lines were shaky and uneven. Painting was messy, and if he fucked up, he couldn't easily erase it or start over like a math problem. Whatever, he didn't need to know this stuff anyway. Waste of time and energy when he had more important things to worry about.

So it comes as an uncomfortable shock when a friend sends him a DM of some art they found. "Hey it's you!! Saw this on my feed." And it's... Yeah, it's him. The tags at the bottom confirm it. Of course, his actual account wasn't tagged because he goes out of his way to actively avoid people begging for his attention so badly.

But it's weird. It's not some high impact action shot. Or copy of his unsightly mug screengrabbed from an interview. He's calm. Serene, almost. He never saw himself as "pretty" or whatever the weirdo fan clubs call him. He's got scars on scars and a scowl deep enough to reach the Earth's molten core.

He never considered the difference between how artists see the world vs how he sees it. Or how he sees himself. Is that why it never clicked? He lacks an ability that can't be acquired by training or studying harder than everyone else?

It makes him grimace.

Clicking your profile, he scrolls the gallery to see that it's all art. His portrait isn't the most recent, either. There's this confidence in the mark-making, like you know how it's gonna look before the brush hits the paper. And he knows something about confidence - that to back it up, you gotta work for it.

He knows the bubble of jealousy, too. But that's stupid. This stuff doesn't do him any good. It's not useful. It doesn't help him. So why does he absentmindedly push the "Follow" button before hiding his phone in his back pocket?

The notification ding vibrates your phone as you're eating lunch. Another spam text to block? Surprisingly, no. "New follower on Instagram: Dynamight_Official"

[rh3maji]

Lil rant abt Caine

Caine is just a lil guy, despite it all. From a design standpoint I thought I was gonna absolutely fucking hate looking at him because those chattering teeth toys make my skin crawl- but the art direction really helps make him look more appealing and whimsical than a disembodied pair of talking dentures sounds on paper.

The thing with Caine is I didn't initially like him that much after the pilot. While his interactions with Bubble were quite funny, that one episode left me feeling like he'd just end up being kinda one note or at the very least one note in a way that'd get on my nerves. Then everything changed when Pomni Wake Up Time to Go On an Adventure! attacked

The comedic timing throughout that announcement video was so fucking funny and thanks to his line deliveries and animation/model [?] upgrades- CAINE LOOKED AND SOUNDED SO ADORABLE!!

Legit it wasn't until this came out that I realized I actually could be on board with Caine as a character and it's been uphill from there. Episode 2 was better than the pilot not only comedically and visually but also in terms of showcasing just how actually unsettling Caine can be as an antagonist. Not because he's vengeful or malicious, but because he's so oblivious to how people work. His mind's always buzzing with terrible ideas and he's so so eager about these adventures, but at the end of the day he really really doesn't get the circus crew. Try as he might to include them, keep them engaged [ZOOBLE WAIT!], or even give them what they want [Exit doors] he doesn't realize how traumatic and distressing their current situation can be. The very nature of being trapped in a digital world is bad enough but it's especially rough here bc not only does its god have limited capabilities, you also are very well acquainted with him, and he can't fully understand your pain nor can he truly save you from it. He won't mourn your abstraction. He will not attend your funeral. He will not understand the distress of your arrival, nor the weight of your departure.

This isn't just sad from the pov of the circus gang, it's also very sad for Caine- not because i think he'll ever feel sad about it himself necessarily, but instead because the situation is sad. New members appear over and over, you craft adventures and games and distractions like [i'm assuming] they'd asked you to, but over and over, one by one, they abstract. They stop laughing at your jokes. They don't like you. They want you to leave them alone. It's confusing and maybe even inconvenient.

Where I'm hoping the series takes Caine is that this dissonance between Caine's intentions and the distress of the circus gang gets worse and worse and worse until something's got to give. I'm hoping that maybe at some point a character will try to sit down and talk with him and for it to either sorta get through to him but completely backfire in some form because he misinterprets what the others want from him OR i'd also be down for him to listen, but not understand any of it and proceed as tho nothing happened. I don't want Caine to come around really, it'd be interesting to see how Goose would go about having him come around to being a better host that empathizes more with humans, but personally I do prefer him to keep on keepin' on being this oblivious and eager antagonist.

My favorite Caine lines/line deliveries so far:

"You, my friend, stumbled into an incredible world of wonders, where anything can happen!…e-except for swearing."

"And here we have THE GROUNDS! Drown yourself in the digital lake, or engage in ridery at the digital carnival!"

"What do you think of XDDCC? You're right, terrible, LET'S TRY THAT AGAIN!"

"Kaufmo abstracted? Why didn't anybody tell me?"

"Bubble you can't say that"

"-ZOOBLE WAIT!"

"Why are you all just standing there?! The- The Canyon- C-Candy Canyon Kingdom needs you now!" [according to his VA, this was an actual line flub but hoo boy am i glad they use it bc it's hilarious]

"I know you guys love your NPCs, but if I start losing track of who's a human and who's an NPC, who knows...what. could. happen..."

That last line there specifically surprised me the most because up until he said that I was under the impression Caine was linked to every single NPC. I even thought he could see through their eyes if he so chose thanks to his "hundreds of all seeing eyes" line in the pilot. Him saying this here implies lots of things. Has Caine forgotten before? Is someone in the circus secretly an NPC ooooooooh~

"Who knows what could happen..."

Honestly, when Caine first said this I did immediately theorize Jax as being an NPC but now that it's been *checks calendar* three months since I watched episode 2, I don't think this is the case anymore. Jax being an NPC would be...something. Jax not knowing he's an NPC would be interesting [i like it when ppl's realities get shattered], but honestly I think this line was a way to telegraph to the audience that no Caine isn't actually all knowing. He didn't know Gummigoo was coming through that portal until he saw him with his own two eyes. My theory is that Caine is only able to teleport, create, censor, transform, and destroy the world around him, but isn't able to see all of it at once unless he tries to. I think Caine's default state is one where he only knows what he sees directly in front of him/what he himself has left waiting for someone else. And rather than implying someone in the gang is an NPC, I think that line in episode 2 was mainly implying Caine can be tricked, that it's possible to hide something from him, to surprise him even. Though I'm not opposed to an NPC we haven't met trying to join under the guise of being human, it'd potentially create some fun tension assuming the audience was given enough reason to care about them.

Jax is actually my favorite character in tadc, but i couldn't fill an entire post with things to say abt him. Caine seems to be- at least as of right now- the easiest of all the characters to try and wrap my head around. I'll probably have a lot more to say about Jax as he exists in canon as the episodes come out [EPISODE 6 MY BELOVED]

but uhhhh yeah, that's all the things i had to say abt Caine. Pls go watch/listen to the fansong Digital Land bye!

[cereovo]

A set of very conceptual notes I drafted a while back for someone asking for advice on learning to draw humans. I'm entirely self-taught so this is less of a tutorial and more of a very rambling set of general principles I follow and ideas that helped while I was learning. I figured I'd post it in case anyone else could get use out of it!

I also recommend checking out:

Drawing East Asian Faces by Chuwenjie

How to Think When you Draw (lots of good tutorials in this series)

Pose reference sites such as Adorkastock

Transcript and some elaboration under the cut:

Img 1 - Drawing a face

The two most important elements (at least for me) when drawing a face are the outline of the cheek/jaw and the nose*. I often start with a circle to indicate the round part of the skull, then add a straight like and a 'V' to one side [to create the side of the face and the jaw]. The nose creates an easy template for the rest of the face's features to follow (eyebrows at the top of the nose bridge, eyes towards the center of the bridge, ear lines up to eye) and the placement/direction and overlap with other features is a very simple way to indicate dimension. [A sketch of a face that has been adjusted by moving its parts to create 3 different angles. The following text is underneath:] -Different 3/4th views can be created just by adjusting the position of and amount of overlap between the facial features. - The top of the ear usually lines up with the corner of the eye. Think of how glasses are designed [specifically, how the arms run from the eyeline to the ear] [I go on a tangent in these next few paragraphs] *One thing I see many artists do - not just beginners - is learn how to draw A Person. As in, one singular person with one set of bodily proportions and one set of facial features. It's an issue that runs a bit deeper than 'same face syndrome' because sometimes these artists can draw more than one face, they're just not very representative of [the diversity present across] real people. Part of the reason I'm talking more about how to think about approaches to drawing - rather than showing specific how-to's - is because there is no one correct or right way to draw a person. The sooner you allow yourself to explore variety - fat people, old people, people of color, people with [conventionally] 'unattractive' features - the easier it'll be! Artists often draw their own features honestly and without [harmful] caricature, so it's always a good idea to look at art made by the kinds of people you're trying to draw if you're ever unsure about how to handle something. In general, it's far more important to learn how to interpret a variety of forms than to learn how to replicate the Platonic Ideal of the Human Body.

Img 2 - Stuff that helped me

Jumping into drawing humans (faces or otherwise) straight from photo reference can be overwhelming. The trick is to simplify forms into shapes - but even this concept is sort of abstract and it may be hard to know where to begin. Good news - Thousands of other artists have already figured it out. [When starting out] I needed to learn from photo reference AND artists I admired in order to improve. [When looking at stylization you are inspired by] ask yourself: WHY does this simplification work? How can I translate it into a different pose? Instead of copying what you see in a photo reference exactly, try to focus on the general forms first. My two biggest style inspirations for humans while learning to draw them were Steven Universe and Sabrina Cotugno's art. SU gets a lot of hate [in this instance I was specifically referring to a time on tumblr when the art was knocked for 'losing quality'] but its style does a great job of simplifying anatomy in a way that still portrays a diversity of bodies + features. [Extremely simplified drawings of Lapis, Steven, and Amethyst] SU characters are still identifiable- and still read as 'human' - even when reduced to just a few lines!

Img 3 - Things I keep in mind while drawing side profiles

- Eyebrows + eyes close to the 'edge' of the face - Forehead needs enough room for a brain - Eye is > shaped from the sides - Mouth kinda halfway [between the nose and the chin] but closer to the nose - Skin/fat exists under the jaw [and connects to the neck] - neck is about one half the width of the whole head - the back of the skull always sticks out a bit further than you might expect - Sometimes less is more - contours exist on every face, but drawing them in may make your character seem much older than they're supposed to be. However, it's a good idea to use them when you *want* your character to look old! These are very general notes- every face is different and has different proportions [and playing around with them creates unique and interesting character designs]

[hd-tarot]

🔮✨ HD Tarot Week 1 Roundup! ✨🔮

Our first week (plus two days) has unveiled an incredible array of fic and art. Here's what the cards revealed...

· ⋆˖⁺‧₊☽ Fic ☾₊‧⁺˖⋆ ·

🔮 Because This River Is Wild (T, 14k words) 🃏 Six of Pentacles, upright: generosity, community, help, support, sharing, gratitude Six of Pentacles, reversed: inequality, taking advantage, strings attached, extortion, unfair power dynamics Consider this, though: how do you know you’re looking at the card the intended way? Or, Harry and Draco struggle with the explosive nature of passion without trust Card(s): Six of Pentacles

🔮 Twilight Eternal (M, 23.9k words) 🃏 Wherever Draco is, the sun sits eternally on the precipice of setting. His father feeds his peacocks on the manor grounds. Harry is the only one who can communicate with Draco. A malevolent force haunts the house, nipping at Draco’s heels.Draco intended for himself to come to this place. He only wishes he could remember why. Card(s): Five of Cups

🔮 all i need (G, 3.9k words) 🃏 What would have happened if Draco Malfoy went down to the cellar again after Wormtail seemingly disappeared? Card(s): Six of Swords

🔮 I Watch Your Light (E, 9k words) 🃏 Harry spends his nights out pretending that he isn't sitting across from Draco Malfoy. This is rather difficult to do since Malfoy won't stop staring at him. Why, oh why, did his boyfriend have to be friends with the blond wanker? Card(s): Six of Cups, King of Cups (reversed), Four of Cups (reversed)

🔮 Little Black Dress (E, 4.9k words) 🃏 Returning for a mandatory eighth year and secretly dating Harry Potter, Draco is a bit of a mess. Harry wants to go public with their relationship, but the last thing Draco needs is another reason for people to hate him. As they work on their Tarot assignment for Advanced Divination, could a change of heart be in the cards? Card(s): Eight of Pentacles, Queen of Wands, Queen of Cups (reversed)

🔮 Abstract From a Moment (E, 19.1k words) 🃏 What Draco thinks will be a promotion in the Department of Mysteries turns out to be a strange, morbid assignment. He can handle the macabre task and the slightly frightening interactions with his odd superior, especially if it means career success. Trust Harry Potter to ruin everything. Card(s): Ten of Wands (reversed)

· ⋆˖⁺‧₊☽ Art ☾₊‧⁺˖⋆ ·

🔮Death (G) 🃏 Card: Death

🔮The Strength (G) 🃏 Card: Strength

🔮A New Light. (G) 🃏 The choices that changed us.Card: The Tower

🔮The Moon (G) 🃏 Card: The Moon

🔮Surrender (M) 🃏 Draco Repents. Card: The Hanged Man

[pretentiousbrownie]

Art by @red-wood-raven

Art by @jadequarze

Art by jinxpawz

A lovingly curated collection of my OC power couple, Alto and Katherine: Bonded by the weight of shared responsibility, a common cause, and a fiercely protective instinct, the two are driven by a self-sacrificing love and the unyielding desire to fight for everything they believe in, to give their loved ones the happiness and safety they themselves so desperately sought.

This unlikely werewolf and angel pairing is one that represents two extremely distinct aspects of myself. Embodying strength, perseverance, and a quiet determination to persist, Alto is the protector of my true self - the savior of my younger self, and the guiding light towards the realization and acceptance of who I was then and who I am today. Characterizing grit, resolve, and a fighting spirit that is so unabashedly true to them, Katherine is the determination to not only exist and persist, but thrive, in all senses of the word. Together, they are the forces that helped me become the person I am today; they are the personified aspects of my past, present, and future selves, and all struggles they’ve dealt with in order to reach this point right now.

They are the story of how I came to be, how I came to understand and accept myself, and how I persevered - against all the odds - in realizing that self, and that is why each piece is so much more than the sum of their many stunning colors, rich depths, and powerful expressions.

To the artists and friends that have continued to work with me in creating these pieces and more, you have my eternal gratitude and love for giving these characters shape and form and color and life. They are everything to me, and more. Thank you all so very much!

As one final aside, I wanted to leave each of you with this as well; these pieces (and the other commissions I have done over the past few years), have also been a way of recapturing what was taken from me so long ago; I'm not sure you could quite call it a dream, or even a goal, but I was an artist. From young, I always carried a sketch book or drawing pad with me. Armed with pencil in hand and the spark of creativity, I used to lose myself for hours, completely tuned out of the world, engrossed in each and every line and detail I so painstakingly drew.

I did it for myself, but I also did it to explore more than what I was. It started with architecture, design, decor, and abstracts, before delving into people and creatures and animals. I won't ever claim to be "good" - I was a kid without any formal training and only the world around me as my inspiration, but I always hated qualifying terms like "good" and "bad" with art. I just created art, and I did so because I enjoyed it and it was comforting.

Throughout grades school, the relative value of my art had been recognized by the teachers and peers who shared in those same interests and goals as myself, and I was welcomed into so many spaces that encouraged and helped develop those skills further. For the longest time, I was so incredibly happy to be doing what I loved more than (almost) anything.

And then came high school.

I won't lie, I had a wonderful time in high school. Yes, even contending with difficult situations, certain traumas, a great deal of depression, and the loss of multiple people very close to me, but one thing beyond all of that did change in an irrecoverable way; art.

Coming out of middle school, I was recommended for studio art and the honors art track that could further hone and nurture those skills/passions I shared. In my final year of middle school, I had the immense good fortune of having an arts teacher that actively encouraged her students to explore art in whatever forms it took, and was set aside from the typical art class to develop my own portfolio throughout the school year. I was set to work on several smaller pieces and one large piece for an exhibition in a local arts competition.

I was given free reign and ended up with several pieces featured on display at local events and at the statewide exhibition. I was thrilled beyond all belief that I was experiencing art in its freest forms and being actively encouraged to pursue it.

But as luck (or rather misfortune, or I suppose more misunderstanding than misfortune) would have it, that same recognition and appreciation for art did not resonate with my parents as well.

They were supportive, to many degrees - they certainly loved the skills and talents I'd worked so hard to develop and commit myself to, but they weren't convinced there was any real purpose to my arts beyond the hobbies they saw. So, when the time came to make a decision towards my educational track in high school, they pushed me away from art and "encouraged" me to think more about practical things.

I was denied the arts track as I was pushed towards a long-term language goal (four years of foreign languages), I was placed in the music program (which, in fairness, represented some of the very best times I had in high school), and was then set up for an intensive program in double maths and sciences for the next several years (in addition to sports, other AP/honors classes, and part-time work).

The workload was grueling and positively miserable.

In the end, art had to take a backseat otherwise I'd lose myself and my time towards the things that supposedly mattered more. By my sophomore year of high school, I'd all but given up on art, and pushed out maybe a few last pieces before never returning to the supply store to buy more materials.

Fast forward almost a decade, and here we are.

I am an adult, living (mostly) my own life, and rediscovering the things that have made me, well, me.

The irony is that my job is art, in some loose sense of the word.

I operate a photography studio and shoot commercial photography for automotive clients. I work with a local dealership and one of the foremost importers of enthusiast vehicles in my region. I have deep connections to other prominent names in industry, including motorsports and NASCAR, and engineering and design. I shoot for all of them, they value my inputs, and many of my long-term goals are aimed at improving automotive design and ergonomics in design for more human-centric interaction in an increasingly disconnected driving world.

Between the work I have done, the goals that I've encountered, and the people I've surrounded myself with in my personal and professional lives, it's given me the time and the space to focus on the things that matter to me.

Art has been a way of recapturing the love my younger self shared for creativity and free will/expression. After coming out years ago, it's also been a way to engage in the spaces and ideas that have long faced me without answer. Art has allowed me to be truer to who I am, who I was, and who I'd ultimately like to be. These commissions are a partial reflection of all of that, and everything it's taken to achieve that, and they're also the goals I've set as I rediscover my love for arts with the newfound freedoms to explore it.

So, it way too many words, these pieces are everything to me. I don't quite know how else to put this other than thank you. Thank you to everyone that shares a common appreciation for art, that has enjoyed seeing these pieces as much as I have, and that feels in some way (no matter how large or small) a connection or relation to the words I've said here.

And to the artists that have made these pieces and others for me; you may never quite know what they mean to me. These are all the ideas I could fit on a page while working, so I am a bit pressed for time, but your time and your creativity and your energy spent realizing what I could not - that means so much to me. It means more than I could every reasonably tell you or pay you or otherwise verbalize in some actionable way. So, seriously, thank you all so very much. From the bottom of my heart, I love and appreciate all you each done for me.

And I will leave it there for now. Thank you all for sticking around - I know this has been a very long read. I really do hope you love my OCs as much as I can. And hey, if you have a sec, if you've got a couple ideas, go make some OCs of your own. If it's within your realm of attainable, commish some of your favorite artists, or doodle out some of your doods - I promise it'll be some of the most fun you can have!