#which is generally not very good for artists

[kelocitta]

this might be a bit of a weird question, but i promise it's genuine and in good faith!

since your artwork is used for the official remix options for rain world, how do you feel about other people imitating your art style?

when DP first released i thought it was fun to see people uploading mods using lineless artwork as the thumbnail, but i was curious to know how you felt about it

(i'm making a mock thumbnail for a character, and didn't want to proceed if this was something that bothered you!)

This is actually something I thought about a bit, and while I've always been open to people taking inspiration from me- contending with the idea of someone actually trying to imitate me directly did give me a pause. But like you said- with my work and style used for official stuff, many people will see my art without seeing/knowing me, and many people will likely want to try and copy it. Not out of any malicious or drive to like, steal my style, or whatever- but simply because they are trying to match an element of something they like. I think its fine. I absolutely encourage people who like my style to take elements from it, but I also encourage them to find their own footing and build out their own style. As for direct attempts to match it, well, its official! People want to try and match the official work, especially with things like mod uploads which is where it gets used. Its understandable it happens and as long as people aren't actually attempting to pass themselves off as me in any way shape or form I think I'm fine with it. That can be covered very naturally by just having your own stylistic flare that's clearly not in line with the mod menu art (something I would file under 'inspired' rather than 'imitating') or by making it clear that something is a study/attempt at imitation/done by yourself/referencing etc.

(I think I would also like to ask that such attempts to look 'official' don't extend to NSFW work, although I imagine that isn't something many are considering doing. No shade to NSFW artists in general, but I don't think you should be trying to look like someone else's work for that medium. I've seen it before though.)

[helloanthy]

your shapes are so fluid and soft and dynamic—it inspires me so much and i hope to someday reach the same level of skill in my own art ; U ; can i ask what your inspirations are? specifically for your shape language, but any general insp that contributed to your style would be super cool to hear about! thank you for sharing your beautiful art with us!! 💘

aaa thank u thank u so much for ur kind message ! 🥹 im honored you think so highly of my art and that it inspires you. the best compliment anyone could give me is that my art inspired them to make art too. and its really validating whenever im told my art is fluid and dynamic because i try very hard to make it so … drawing for me is kinda like carving marble i lay the initial sketch which is incredibly blocky and i spend an absorbent of the time trying to chip away at the edges make something rigid seem natural … pensive. i hope im understanding what ur asking correctly, but to quote ikuhara in regards to my shape language: "I think it's more beautiful when the body silhouette has clear contrasts (laugh)." i think its because i'v always been greatly inspired by fashion illustration & fashion editorial photography. runway and editorial makeup included in these i feel like also inform how i render eyes (yassified 💀) i started out drawing clothes and mimicking 20th century and 90s fashion illustration when i was little. in the salon i was always excited whenever we got new magazines so i could look at the celebrity fashion and red carpet sections. i also liked looking at the hairstyle lookbooks. late 90s and early 2000s so a lot of big/spiky/gelled/sprayed hair. and iv always loved haute couture especially sculptural clothing in the realm of guo pei, robert wun, heaven gaia, miss sohee, thierry mugler, schiaparelli, and richard quinn but i dont know if any of these influences translate here since the houses i named are heavily textiled and avante garde ... i try not to spend too much time rendering clothes bc at a certain point it becomes laborious which im trying to avoid feeling …… but i love sharing good art and these r my favourite designers 🥴 maybe this explains my silhouettes tho ? shrug mm perhaps more noticeable influences in how i shape fabric & clothing with my art here though would be houses like vivienne westwood, simone rocha and shushu tong besides fashion illustration & photography as i got older i got reallyyy into reading shoujo manga and that informed a lot of my style development too. particularly works of arine tanemura, matsumoto natsumi, ai yazawa, shinohara chie. and individually, mangas like kodocha, beauty pop, say i love you, kamisama kiss, kyo koi o hajimemasu (i dont remember a lot of these works plots only the art really but PLEASE do not read this last one i remember its really. really bad lmao) hononary mention of rosario vampire, which is not a shoujo but the first manga i read and was extremely attached to the art style artists who's interpretation of shapes and movement that i aspire to are kris anka, rené gruau, sara pichelli, j.c. leyendecker, hua sanchuan, and hisashi eguchi lastly iv never thought about my shape language explicitly in technical terms so i thought itd be interesting to try and put it into words. if it helps. so to me its kinda like

but also stylistic inspiration and aspirations aside, half of it is just the way my hand instinctually likes to move tbh. for example i drew out quickly what kind of lines make me feel the best and theyr like this

another contributing factor is probably that i really really dont like how it feels drawing straight lines. i like how they look and i wish i could Do them but hand tremors aside before even i still felt drawing straight lines was stifling and tedious like doing math. i love making a line that feels like a running rabbit i feel like for me at least in my art there is a lot that gets lost between inspiration—interpretation—execution—reception but i hope that i explained all this ok. its hard to put things into words haha. thank u again for the lovely message 🥲💗

[spitblaze]

i am on my hands and knees begging you. stop encouraging artists to nuke their internet presence every time a website updates its ToS or updates its functions. please

[acepandemi]

My Dad was Head of the Kitchens at the local general hospital before his retirement. When the general hospital and the catholic hospital decided to merge, a renowned architect was hired to design the new hospital. When Dad saw the plans for the new kitchen, he pointed out the tiles the architect had picked out for the floor were not suitable. If they got wet (which will happen in a busy kitchen) they'd become super slippery (which you'd think any moron would realise is very not good).

This design genius flat-out refused to pick different tiles when Dad told him to. This was his "Vision"TM and these were the tiles he was going to use. Dad told him people would slip, fall, and break things. Architect's reaction was basically "Not my problem lol".

Well, unluckily for the architect (and for once luckily for everyone else), Dad was not nicknamed "Tito" by his underlings for nothing. There would be safe tiles, come hell or high water. It involved Dad and the architect going on a country-wide search for tiles that satisfied both their demands, but the end result was a safe hospital kitchen, a cranky architect muttering about common folks lacking artistic insight, and Dad cursing all architects over several beers at the local watering hole. And the rest of the hospital board collectively gaining some more gray hairs.

One field that badly needs to be purged of "Great Man-ism" is architecture.

[artharakka]

Beautiful, But Broken

[bunnieswithknives]

Princess Jinjur! She may not be the rightful ruler of Oz but she has a can do attitude and a lifetime of injustices seething beneath her skin!

Jinjur without the portrait

[jeaninelatragedia]

in alluding to a bunch of disparate points made by a large variety of people as a monolith you've shown how little you've actually cared to gauge the points people are making with any seriousness because of your preconcieved biases about the topic. again it's literally a non-issue if a certain segment of people is petit bourgeoise. the class doesn't hold an inherent moral characteristic nor does it command any particularly large or notable sway of economic power in the current system of capital. that isn't why we hold these discussions and make these points. the entire point is to be able to accurately analyze and act upon the contradictions that spawn from the varied interactions between multiple classes in order to unite humanity into a single class, ending class based oppression. this is why we need to talk about the tendencies and standings of all classes, and of all workers within classes. the amount of money a certain subset of a certain class* holds is not particularly relevant to the class analysis or to any sort of large scale economic analysis, frankly. but you're not using the standing of wealth of a broad category of "artists" as a real point of analysis. you're using it as a rhetorical tool to paint the people who are making this widespread non-personal class analysis as individual bullies you are allowed to be righteous and sanctimonious about making fun of. *and, as many of the people who are writing these takes have pointed out: no, no one believes that every single individual artist is part of the One Class Artists Belong To. an artist doesn't have to be an economic actor in the artistic industry, they just have to make art. there are hobbyist artists whose economic activities have nothing to do with the art they make. there are proletarian artists who work for companies, like animators working on studios or graphic designers of all stripes. there are artisanal artists, who work on contract for commissions. there are petite bourgeoise artists, yes, those that sell their own art as a commodity, managing it themselves. there are even bourgeoise artists, unless you want to deny the fact that walt disney and his contemporaries were making art, or were bourgeoise. [1]

i'm very glad we agree on the idealist and antimaterialist standing of many of the anti-"AI" artist movement. and i'm glad we agree that all industrial technological developments need to be managed and regulated, in some way or another. but you're putting the cart leagues after the horse. do you expect regulation of these technologies to be done by the government of the United States? do you think perhaps any legislation with any miligram of serious expectations of both being passed and benefiting anyone but the bourgeoise in the art industry would be passed by the United States Legislature? i'd hope you agree with me when i say that i don't believe that! so any point in regards to the current material state of regulation laws in any dictatorship of the bourgeoise, especially the US, is just not grounds to argue seriously and materially.

your last point is the one that concerns me the most. and i have no way to sugarcoat it: it's idealistic to the point of reading as basically conspiratorial thinking. burden of proof* aside, that point is 1. self contradictory, and 2. wildly reactionary!

*given that it is extremely easy to point out examples where such movements against nascent technological developments failed, i.e. luddites, i don't see why you would be asking for a "source" that explains all of technological history at once in good faith.

assuming without concedeing that the suppression of emerging technologies that put the interests of a particular industry at risk have been secretely and quietly carried out without the general population and historical records being aware of the campaigns of suppression involved, means that both this is not the case for "AI", which is quite widespread already, and that we would be living in a world where the plainly reactionary sentiment against technological progress [here used to mean the way technological developments interface with industrial elements] is, in the abstract, in any possible case, correct. that by your belief of how "AI" should be "fought against", it would be a good thing if this suppression of technological advancement had happened in the past too (which i again don't believe, because that would be an incredibly contradictory thing for me to believe as a historical materialist). and that sort of opposition to progress, of reaction in the face of the development of history, is quite literally where the term comes from.

my point here, broadly speaking, is greater than just coming into your replies and loudly disagreeing with you. it's clear to me that a lot of these arguments, from the overtly personal insulting of people making opposing points, to bad faith questions, to rhetorical sleight of hands to divert the conversation away from materialist analysis, are extremely common in basically all ideological discussions marxists need to take part of. so in this, i'm hoping to make a clear analysis of how that materialism can be reintroduced into a conversation in what i hope is a concise way.

sorry but i haven't seen a single marxist pro-"AI" post on this website that isn't utterly fucking braindead. calling broke artists desperately scrambling for any kind of security in an already historically insecure field "petite bourgeois" just makes you look like an out of touch asshole whose primary political goal is making fun of people you don't like

[carnivallsarchive]

.

See the thing is. I know I'm good at writing. Like I have my weak areas or things I need to improve in, but it's not a skill I otherwise spend a lot of time feeling insecure about because a) if I don't believe in my writing literally who will b) if I want to publish my writing I ought to at least feel a resting level of good about it because editors and agents likely will not be cradling my face like a prize cat and telling me how talented I am while asking for their edits c) I've always had an audience for my writing even at its worst– I started sharing my original works online when I was around 16 & that really helped sell to me the idea of 'there will always be someone out there who likes what you do' d) untalented men never think this hard about the quality of their works and they always end up published anyway and e) I don't have many other thoroughly developed skills so why not have one I feel good about. Having said this. Awkward feeling to realize you're one of the authorial weak links in your postgraduate creative writing degree's social circle

[longagoitwastuesday]

Every day I am haunted by the fact JJK could be amazing but it will be just idk Bleach or something

[arabela25]

The Liverpool Songbook | Eurovision Song Contest 2023

[faksyan]

I had a dream about drawing Paz and having the time of my life. That's it I was just drawing. I should do that I think.

[red-dyed-sarumane]

one thing about me is i have very serious somewhat arbitrary opinions for things of and relating to aru sekai series & u will be hearing them

[absintheancandle]

corvietans terrible horrible no good very bad day (every day)

[satsuki-yumizuka]

Sacchin is your blog description a reference to anything in particular?

yes !! to HEARTLOVEPOWERTEMPLE

indie vn made by sofa/yogurt200 who is a rlly cool awesome artist i follow and made/is making 8eyes... its about girls who become LOVEMAIDENS at a temple where they worship VENUS and the BEATINGHEART and its rlly weird and odd but in a good way that i rlly like

[britneyshakespeare]

you know what it is. i talk about how vain he is and how he only talks about himself and that is the impression a lot of people have of him and it is the impression i favor leaning towards. he has a very coded way of self-disclosure; he often seems like he's trying to impress people but i know him to be not-the-most-assured in a lot of ways. when i first complimented him on his poetry and told him how much i liked a few pieces (and i loved some of what i read before i knew his last name, so when i read his poetry i did not assume the person whose poetry i so loved was, well, that retired male model i met in passing every now and then). when i told him that. he was very moved by it.

and i do talk about how vain he is; i do say he only talks about himself; but every now and then when he does say something about me it is not at all hidden that he does admire me. some of what he says that seems to coded to impress me or to get my validation, i know he is doing this towards me because he thinks im this smart poetry girl. and i am? i am that, he's not wrong. i think it makes me feel hopeless to think that he really does respect me and care what i think of him because i'd rather he didn't. i'd rather him be this charming but shallow pretty boy which i think he has been seen as by a lot of people throughout his life. despite that he is hardworking, despite that he has (or at least tries very hard to have) an intellectual side. perhaps what he says about himself is so often coded to please me even while it is fishing for my attention, and i want to see that as a reflection of his own self-regard but i don't know that it is.

i don't know that it's not, but i don't know that it is either and as neither of us is very frequently vulnerable with the other, it's not fair for me to say which is the case. or even that there's a "which" like it can't be both. i don't know that he admires me; i don't know that he sees me as this girl who is (or at least used to be) very charmed by him. i do know that he always comes to me and asks me about poetry because as far as he's told me, i'm the only one who has ever cared about his. for all i know that could also be bullshit, but then why should i assume it is either? i'm quite unfair to him in my assessments of him. i do have to admit, he has never actually seemed to have a disrespectful or unfair assessment of me.

[tamaharu]

ive inherited a copy of lolita from my parents (i.e. i stole it from the library in our basement and started treating it like its mine) with the 1989 vintage international cover and i think its actually not that bad. better than the 50th anniversary one with the lips anyway imo (which is the cover for the library ebook vers ive checked out).

like i think any cover that incorporates the "only convincing love story of our generation" quote anywhere kind of sucks on principle, and the fact that it features a photo of a girl at all really goes against nabakovs instructions, but compared to other covers that break those two rules, the haziness of the photo creates a really evocative atmosphere i feel matches the book more or less.