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tsukii0002 · 7 months ago

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So, i like to think that Adam was jacked and reaaaally handsome, like...A LITERAL ANGEL FELL FOR HIM quite literally lol, and for the sake of my delulu let's say that most of the humans that the brothers met where taller and stronger that the humans nowdays (since Adam and Lilith met some centuries ago)

So since the brothers only met humans that were more strong than the nowdays humans, so when they see the mc for the first time (let's imagine that mc is pretty short like...around 5ft/1,50) they are like "??" they knew that humans are fragile and weak but they did not know that now humans are THIS weak and fragile, this was a shock to them.

BESIDES i'm pretty sure that i literally have no canon sorce for that the brothers actually changed their heigths i mean they were angels and now are demons, can't demons shapeshift?? because it's more usefull to them be that heigth, so when they see someone naturally short—Mc—they are a bit shocket specially when they still think that the humans still tall

I guess this apply to all the alredy born demons (i forgot like...the entire lore 😭 so forgive me)

How you think they will individualy react? What will they say? I guess that Beel and Belp will be more shocked since they watched the humans with Lilith while they were tall and strong so i imagine that the two youngests will be like "what lore did i miss?😦" Or "why you are like that 🤨"

Ignore my grammar mistakes 🙈

I really like the concept of changing the appearance, and "the more demonic real form of the brothers" . Also this kind of situation would be: what you asked for by catalogue vs what you get 😂😂. I don't know if I can capture your idea well, but here goes. And as always, thanks for the suggestions 🩷

How the demons react to an actual human (much smaller than they remembered).

Lucifer

Oh father why? As if he didn't have enough to keep a normal human alive, now he has to keep this creature alive? Like are they an average human? In his time humans were more… more.

Lucifer would keep his distance and be stressed constantly, he would feel like Mc was a balloon in a needle shop. He would worry about absurd things like they falling into any crack or hole. But what would really make him lose sleep is the thought of someone so small having so much power over his family, you know, pride.

Lucifer: Mc! Where are you?

Mc: *behind him* here?

Lucifer: One of these days you're going to give me a heart attack.

Mc: It's your fucking fault, not mine, you being a giant is not my problem.

Lucifer: You, little shit.

Mammon

Why so small??!! Are you putting him in charge of something so small? Of all the demons? He's looked after guinea pigs before for work and it's never worked out well, shouldn't you think again?

Mammon would be one of the quickest to forget about it, I mean they are small but they're his human. That is until he hugs or pushes them, because he'll think he's killed Mc and start crying. He has lost Mc countless times. Mammon's the type that gets a heart attack when Mc interacts with any demon, too overprotective.

Mammon: I knew people would pay to pet your head.

Mc: I'm glad business went well, now give me the 90% you owe me.

Mammon: What? That's not- don't give me that face!!!

Mc: It's just that, Mammon, this little face doesn't hold itself… now give me my share or I'll tell Lucifer that you've done business with my size.

Levi

Have they always been like that? Not that he's ever been interested in humans but… Are not they too cartoonist? . I mean in his real form he could pick them up as one of his figures… Does they bite? Small bugs tend to bite the most…

Honestly it makes he a little bit excited because Mc looks like the characters of his animes, that is to say they have the perfect size to be a magical girl. He'd also adapt pretty quickly although he'd be far from forgetting and he'd always be careful because oh god they're so small. Their condition makes it easier to strike up a conversation with them.

Mc: Have you handmade all these cosplays?

Levi: Yep…

Mc: They are for me right?

Levi: Yep.

Mc: Okey…. but I'm not going to wear the goldfish one.

Satan

… Well nice to meet you, don't come near me again. He had read about the great kings, the mighty heroes, the fearsome witches… he wasn't expecting a miniature human. It would be impossible to keep them alive, so he wants to get out of the way.

He has read a lot about humans, but he wasn't prepared for that. It never ceases to amaze him how little Mc's conscience is, anything can kill them! Why do them throw themself headlong into danger? He would start to interact with them very slowly, and even then he would be extremely careful, he wouldn't start to act more calmly until the fourth pact with Asmo.

Satan: *watching two KO demons with Mc on top of them* How?

Mc: I'm like a fiddler spider, tiny but lethal.

Satan: … Cool

Asmodeus

Oh my gosh, they're the size of a pocket dog, (Devildom's pocket dogs are six feet tall) . They don't look like any of the epic heroes or one with Solomon's power. So many things could happen to them, so many things could hurt them, he could do so many things to them… Is this a new fetish?

The one that best adapts his strength without giving up physical contact. At first he thought that Mc must belong to a small group of short humans. When he found out they weren't, he rethought a lot of things. Tempting humans nowadays would be complicated, and even more so if he showed his true form. But for some reason he was now more interested in actual humans.

Asmo: What is it about you that makes you so irresistible?

Mc: Ummm, do you really think something like that?

Asmo: Yes, you are so amazing and beautiful and charming… no human has ever made me feel like that before!!!

Mc: Well, you know what they say… *holds his chin from above* The best scents come in small bottles *smiling*

Asmo: *choked scream*

Beel

This can't be a human… Diavolo has been tricked, he could eat Mc in one bite, normal humans could be eaten in 5 or 6 bites… And why aren't they afraid? Don't they know the real size of a demon? Doesn't natural selection work in the human world?

Beel: *with mc sitting on his shoulders*

He would be super careful, as if Mc was made of porcelain. At first he would be reluctant to get too close, what if he broke something by touching it? But then he'd take on the role of guardian, and if anyone got more than five metres away from the little human, it'd end up as Beel's lunch.

Lucifer: Why is Mc on your shoulders?

Beel: They like to be tall.

Mc: actually it's because when he's hungry I run the risk of him crushing me without realising it.

Belphie

I've seen many humans and this can't be a human 2.0 how is something so small going to help him get out of the attic? He guess it's been too long since he've been down to the human world… if humans had been like that Lilith wouldn't have fallen in love with one…

Belphie: You're warm *placing them on his lap in class*

He fidn't expect anything from the human, however he was the one who took to them the quickest seeing what they achieved in such a short time, it seems that for a human to do great things it doesn't matter if they're small. They are also the perfect size to cuddle and sleep next to. And it's the perfect little warmth bag, as he can carry them at any time.

Mc: I think we can go home now Belphie.

Belphie: *getting up carrying Mcall the way* Cool, let's go sleep in the attic.

Mc: Do I have a choice?

Belphie: *fritting his cheek against Mc* No.

College is killing me again so sorry for the wait, I'm in a creative block so it's hard for me to write so if you've made it this far thank you very much 😌

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wannabe-cartoonist-blog · 2 months ago

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Key:

Mine: the colors I've used the most consistently in my own fanart

Anime: pulled straight from screen caps from the show (i also tried to find scenes where the lighting was most "average" (so no night scenes, or scenes with noticibly harsh lighting)

Manga: pulled from these official manga box set covers (bc they all seemed consistent in lighting and shading)

More info below cut (bc i started to ramble, like always)

Probably one of my oddest projects yet, but I've always wanted to compare what colors I choose when drawing the characters vs what the anime uses vs what Fujimaki uses. Color choices and art styles usually go hand in hand, so I wanted to see how weird the characters would look in my style with the two different canon color palettes. Conclusion; pretty fucking weird (to me, at least).

I've always suspected it, but I think this is pretty concrete evidence that I go bold when it comes to coloring (which I think fits my chonky lineart and cartoonist art style). It was funny to see that the anime colors especially are actually rather "dull", because they don't look it at all to me in the actual show. Fujimaki's style was hard to translate, since obviously he uses traditional mediums and also does a lot of blending/shading. I still tried my best to pick the colors that I thought were most prevalent in his images, even though, obviously, they aren't quite so flat in the actual illustrations. I used the special edition covers for the manga color palette, but I'm not 100% sure if Fujimaki himself drew/colored these special edition covers, so someone please correct me if wrong!

Some conclusions I made;

apparently, at some point, I decided to make Kuroko pale as hell??? i think he's always read as pale to me (bc compared to other average characters like Furihata and the GoM themselves, he's does look fairer-skinned imo. But apparently I leaned waaay into that lol. Once I got the actual canon color tones I was like "....oh. I made him sickly...". TBH tho, I think he looks better paler in my style, but that's probably because I got so used to drawing him that way lol. Please do lmk if you think I should begin to switch things up tho when it comes to my style!

kagami, alternatively, I ended up making tanner than canon it seems. but my (perhaps controversial) anime opinion is that Japanese artists tend to "whitewash" a little bit (aka they lean into lighter tones as opposed to darker when it comes to poc skintones). Now kagami, may or may not be mixed raced, but i've always thought a rich, tan skin tone fit him quite well, idk.

I already knew I did this, but its clear from these drawings that I really lean into the colors of their hair. once I get to the GoM, this will be very obvious ("I mean, the colors are in their NAMES. ofc i'm gonna exaggerate them" -> I'm sure that was my exact logic whilst picking my personal palette over the years).

since i'm lazy, i usually just make the characters hair and eye colors the exact same hue, so it was fun to see the different tones they can take in the canon palettes.

So yeah, I plan to go through all the GoM and compared my color preferences vs anime canon and manga canon, so look forward to that! If you read this far, thank you I love you.

If you guys give suggestions, perhaps I'll go back and make a "voted on" color palette, so please do let me know your opinions, in terms of what colors you think "feel right"/look best in my style! :)

#kuroko no basket #kuroko's basketball #kuroko tetsuya #kagami taiga #wannabeartw0w #my art

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the-kitty-trio · 8 months ago

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Kitty Trio Masterpost!

Who are we?

We are a group of friends who decided one afternoon to create a blog about our ocs! We are not the same person, there is three people running this blog

@battywirdo @animaliacomics @samicarabarbaru2137 <- People running blog! Feel free to check them out

Let's introduce ourselves individually! Let's start with...

Heya! I go by Was, Maxie or Eddie, but you can call me Sox’s dad.

Age: 18 (birthday is march 21!)

Pronouns: They/them (nonbinary)

What I like: Tadc, indie animation and cartoons in general, video games (especially indie), drawing, oc making/rambling

Sexuality: Bi

About me: I’m just your average furry and multifandom artist from Sweden with autism and t1d. My current hyperfixation is tadc and two of my tadc ocs, Sox (the one prominent in the blog) and Foofi. When I’m not doing tadc stuff I’m currently developing my upcoming story with my original characters.

Wonderful! Now it's the turn of...

Hey y'all, I'm Batty.

I'm a 19 years old french cartoonist who loves TADC and other cartoons, and I also think monsters and guts are neat. I go by they/them pronouns. I'm the owner of Aslan, the big drag queen of the crew. Very proud of my OC, and I hope you will like him! Anyway, that's all. Horror art is very cool btw.

Great! And now last but not least, there is...

Hi! I'm pery!

I'm old, I go by She/her and I'm Bi!

I like to draw silly things, listen to music and do some acting from time to time. TADC is my hyperfixation and uhh caine is the best character.

Im working on my own au but that's not what im here for.

A bit about myself:

I'm just a simple polish girl (/ref) and I won't admit that im a furry. I'm a big fan of cartoons and kitties so…I combined the two to make nuzzle! She is the smol grumpy kitty. If i make some spelling mistakes i'm sorry i'm just bit stupid LOL

Our Ocs!

- Sox

- Aslan

- Nuzzle

- Foofi

Now, one last thing but still very important

Boundaries + Q/A

ZOO/PEDO/MAP/PROSHIPPERS, DON'T INTERACT

Does this blog contains ships?

Yes it does. There's canonxcanon but also OCxcanon so if you don't like the ships which are going to be depicted or OCxcanon, just don't interact. Don't like it, don't watch it.

Can I make fanarts or fanfics?

Of course! Feel free to show us!

If there's comics, can I make dubs?

Sure! As long as you credit us, it's all good!

Can I ask questions to canon characters?

Feel free to do so. Just, this blog is focused on our TADC OCs so asks focused on them will be prioritized, but canon characters have their importance too!

Can I draw NSFW? Or ask NSFW questions?

Please don't. At the very least, suggestive asks are okay, but nothing more. We're not here for that.

Important: this post will be updated from time to time! So don't forget to check on it sometimes.

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smalltimidbean · 1 year ago

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your art goes insane DAYUM your peppino art its all so detailed

I have seen your art, and you're callin' me detailed??? Hello??? (lighthearted)

Pretty much all the Peppinos I've drawn have been in my more cartoony style, but I probably do add more clothing and fat folds than your average cartoonist jkgkjgfd

But thank you so much!!! That makes me so happy to hear!!! Ruagh!!!

#bean talks too much #nice things #is it 'be nice to Bean day' today??? where are you all coming from???#and nice things from cool artists???#I am going to explode (positive)

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hope-bagels-for-life · 7 months ago

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you gotta love when something like artfight of all fucking things starts putting in place absolute asinine rules such as:

all art that gets submitted must "clearly display effort" ( saw someone say this rule has been there for forever but that doesn't make it any less asinine )

"premade brushes are okay but excessive use and it needs to be filtered as no background".

not to mention the new guidelines they input about suggestive content. theyre not just tweaking the filtering system, no no no, theyre outright banning and heavily filtering fetish gear " such as collars " but lingerie is allowed! as long as it's lightly filtered of course and if it's not "portrayed in a suggestive light" which, lets be honest, how the fuck are you going to know if it was meant to be suggestive or not??? how do you monitor this???? and how are you going to allow literal lingerie, but a collar is crossing the line?

exaggerated proportions also fall under potential fetishes?? i vaguely understand where this is coming from but again. how do you monitor this? how do you decide when it becomes a fetish? what about extreme cartoonists??

not only are these rules currently extremely vague on the website, but this is going to curb a lot of different groups of artists. how do you decide whats not clearly displaying effort? what about younger, beginner artists? will their work be taken down just because someone else decides it's low effort?? not only does this feel really mean spirited but it feels vaguely ableist, too. you can't tell how much efforts been put into something just by looking at it. what you perceive as a simple doodle could take someone else hours.

how are you going to run a website/event thats meant to encourage all kinds of artists to join and have fun and then potentially curb half your audience? how are you planning to monitor this? how do you plan on deciding what's low effort, how are you going to enforce the new rules regarding kinks/fetishes without alienating your userbase and without offending people when you will absolutely cast the wrong judgement?? there were already filters in place to keep people from seeing content they dont want to see. it didn't need to get more specific than what's already in place and more things certainly didn't need to be outright banned.

i get that it's a site with a huge userbase and filtering and monitoring is necessary but none of this was needed. no-one wants to draw and be worried about whether or not their art submission will be taken down because someone decided it was low effort, or because the character is wearing a plain collar, or god forbid their tits might be a bit bigger than average.

crazy too how these changes were made and added into the complete bottom of their announcement about the theme reveal too btw. no mention of these changes in the title of their news post either, btw. they just shoved it in the very bottom of the post when, lets be honest, most people will see when the theme reveal is and back out of the post. they're not going to assume anything else too important or grand is being put down all the way at the bottom with no clear indication that hey, you might have to completely re-filter your already existing characters on the site ( when again, the new rules and guidelines are really fucking vague!! ) a lot of people also do not seem to be aware that these big changes that could potentially get their attacks or art removed have taken.

idk. people have put it more eloquently in the comments of the art fight news post, but this feels extremely scummy.

#art fight 2024 #artfight #art fight #artfight 2024 #many thoughts #very peeved though

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stardust-arcade · 6 months ago

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Everyone seems to be chilling. Blackstar coming in from his shift at Fall fest. The Arcade of course getting a tad more quiet. Mostly cuz everyone knows they will be closing soon except for some theater performances. Resulting in the larger arcade and other areas being fenced off with dividers, or closing their doors. But loudly through the song speakers comes an intercom announcement.

Animatronic employees of the arcade. We ask that you go towards the front entrance.

Black Star who of course had just gotten there. Grumbles as he stops in his movements. Looking around before spotting a human employee. Derek. Who seems just as pissed about life. Other than the standard arcade employee clothing. He has a little pin that says animatronic handler. Which really just means he's a peacekeeper between the animatronics, and certain customers. But unfortunately no one has thought of a better name.

Black Star: What are you calling everybody to the front for?

Derek: New fella. That's all I know.

Black Star: And I'm assuming you're only here because you're forced to?

Derek: Ha! You guessed it. I would rather wait for a radio call then sit out here. But I got to do those outdated shenanigans. I don't even think handlers need to do these types of introductions anymore, It's stupid.

Black Star: I can agree with you there. We're going to reintroduce ourselves later anyways with those morning announcement things.

Derek: I suppose it's because not everybody will be there for the mornings. People still think you animatronics are scary and a fight between you guys is scarier. I have a feeling once we figure out what police are going to do if a scuffle breaks out, I'll be out of a job.

Black Star: Hahaha! I suppose that is true. Not that I think any of you can do anything nowadays.

Derek: Yep. I'm not gonna jump in between you fellas to save your skins. Especially when mine would be gone!

Black Star: Yah. I suppose it's similar to that sort of police presence thing.

Derek: I suppose so. Wish the police could do it for me though.

Black Star: Yah. Well here comes the rest.

The others start to show up at the entrance. Most of them with faces of disgruntlement. Although sun seems to have thrown on a smile. Moon appears rather shy. Eclipse as always is curious. Nova is of course separated from the group. Holding a dastardly smile and proper position the entire time though.

Planet: What did you call us out here for? I-

Derek: A new friend. Look I don't like it either planet, So can you just deal with it for today.

Planet: Meerrggg!

Eclipse: New friend!?

Derek: Yes new friend, if they show up anytime soon. They were already late, They told me they would be here!

Sun: Oh I'm sure it's fine Derek. Let them take their time. New places are always scary.

Derek: You be in my position then.

Sun: No.

Derek: Ha. Ha. Such a nice guy.

Finally the front door is open. Everyone looking towards the entrance with intrigue. Except for Derek and Blackstar.

Misty: Um Helo. I am hoping this is the right arcade. This is stardust Arcade right?

Derek: This is stardust arcade. You are misty right?

Misty: And I assume you are Derek. Dear God I'm so happy we finally found this place.

Derek: How did you even lose this place? It's the only faz location in miles.

Black Star: Except for Fall fest.

Derek: Yeah but that things obviously not an arcade.

Comet: Well actually. Misty here was just searching arcade. And apparently you have quite a bit of competition!

Next to Misty comes in another animatronic. They are nearly the same size as her. Which is a bit shorter than the average human. They're entirety of their pallet seems a bit pale. Being mostly white, pink, purple and blue pale colors. Except for their face which is a dazzling bright blue. They look nothing like the other DCAs. Much more resembling some sort of dinosaur or cartoonistic lizard. Their face being the only thing that sells them as a DCA looking type. They're double sets of rays spinning briefly as they observe everyone around them. Some spinier rays, That seem to be held on a wire sway stiffly behind them.

Misty: Yes, well, um. Let these introductions out of the way before I make this any worse. This is comet. His family sent him away to get a job, and he wants to work at the roller rink here.

Comet: Yep! And it's grand to meet you all!

Derek: Yep. Great to meet you too. This is Sun, Moon, Planet, Eclipse, and Nova. Blackstar also lives here but he's not an employee anymore. You'll also be seeing this red fella with a vest on. He's Blood Moon. He's only here cuz this place is a shitshow, And these guys are at each other's necks.

Sun: Language!

Derek: I'm not on the daycare, And all the customers are in the theater watching Scooby-Doo.

Eclipse: No, They wanted princess bride.

Derek: ... There's no kids in there though right?

Eclipse: They picked the movie.

Derek: Dear God I hope those parents realize what the fuck they're doing.

Sun: Language!!

Derek: Leave me alone Sun, dear God. Whatever. Say hi to each other, so I can go back to eat nachos in the office!

Misty: But shouldn't we stick around to make sure they're all okay?

Derek: That's an old dumb rule, and every animatronic here agrees with me. So can you guys please-

Nova: Hello I am Nova. Nice to meet you comet.

Comet: Oh! Well it's nice to meet you Dr mysterious.

Nova: Don't call me that. Anyways I'll see you later, or never, I don't really care.

Comet: Well, a, goodbye... He doesn't seem nice.

Planet: He isn't. Don't trust him. I'm Planet by the way. I mostly run the arcade. As long as you don't piss me off we'll be fine.

Comet: How do I piss you off?

Planet: Are you really going to ask that question?

Sun: Trust me, buddy. You don't want to piss her off. I'm Sun by the way! Your friendly daycare attendant! I am so happy to meet you!

Comet: Well nice to meet you too Sun! Although could I refer to you as Sundrop or daytime or something. My parents got the same name.

Sun: Oh... Yah! How about you refer to me as sunlight?

Comet: Works for me. I'm assuming your moon.

Moon: Yes. I am Moon. Although if you need to call me something like moonlight that's fine.

Comet: Thank ya. It just feels weird. I'm assuming you also run the daycare?

Moon: Yes. Although it is more so my side employment. I am mainly the one that you will be seeing at parts and service.

Comet: Ah! A techno man I see! Well, I'll be sure to greet you both in all the places I see ya!

Black Star: Yah. Like Derek said I'm Black Star. I used to work in the theater. My brother Eclipse has taken that over fully though.

Eclipse: Yah! I'm Eclipse! Hello new friend!

Comet: Well hello there clips! You seem like quite a fun fellow!

Eclipse: I am fun!

Comet: Well that's nice to know. And black stars your brother right?

Eclipse: Yes! Bestest brother!

Comet: Sure sounds like it! But he don't work here no more?

Eclipse: No. But we still play later!

Black Star: Yah. I work at this amusement park a little ways away. Currently working as a mechanic.

Comet: Ah! I suppose it's a wonderful dream job!

Sun: He actually should probably stay to the theater. Being old AI and all. Surprised they haven't put him in one of the scare attractions.

Black Star: Oh fuck off.

Comet: Ohhh. Some rivalry it seems. I suppose this is the tearing each other apart thing.

Moon: It's just some disagreements that we're trying to, see eye to eye on.

Comet: Ha! Yah! I think it's the silliest thing. Those AI prejudices are stupid. I mean I'm a new and my mom and dad are just old ones. Does that make me better than them? I don't think so. They can sure play a record better than I can.

Sun: Well that's an interesting... History.

Planet: You losing your smile~.

Eclipse: New friends stay with us!? Yes? Yes!

Comet: I'm not picking nobody's side. I'm supposed to be friends with everyone, not some group. I still want to play though! Got a wicked arcade.

Planet: Yes. It is quite a collection.

Moon: Where are you working again?

Comet: I'm working at roller rink! Although I'll be playing my DJ too.

Black Star: DJ?

Planet: Oh they're going to finally put someone in that booth? I always wondered if anyone was going to use those.

Comet: Oh are you telling me the soundboard's been abandoned!? No, no, that can't do! I bet it's all wackified by misuse.

Moon: Well I'm sure we can show you where the DJ station is and the roller rink. It's right across from the theater.

Eclipse: Your closest to me!

Comet: It appears I am buddy! Perhaps I can sneak into a show or two when I got down time.

Eclipse: Yes! I like that idea.

Black Star: Well. I suppose let's give you the tour.

Derek: And there's my cue to leave. I'm enjoying my nachos. If planet starts punching this shit out of him give me a call. I'll use my laser eyes on her.

Misty: Wait, Wait, aren't we supposed to do something more? Stay with them for the tour?

Derek: You know what Misty. How about you chill with me in the office. I got some real training to give you.

Misty: But the others?-

Derek: Eclipse!

Eclipse: Yes?

Derek: Hold planet back if she starts getting pissed.

Eclipse: Ok!

Derek: Their, potential situation solved.

Misty: But what if he gets angry?!

Derek: Black Stars right there. Plus Eclipse doesn't tear anyone apart. He just chases them off the property. They'll be fine. Now come on shy. Let me tell you how robots really want to be treated.

Comet: Bye Misty!... I give kudos to the Derek guy, I like him.

Black Star: Yeah he's great.

Sun: For some of you.

Moon: Sun just because you don't like the fact that Derek swears like a sailor, and doesn't give a shit about the world. Doesn't mean you have a good reason to hate him.

Sun: Moon, I'm giving you a pass.

Planet: Let's just get this tour over.

Comet: Agreed! You all making this sour. Let's have some fun!

Eclipse: Yah!

Planet: ..... Bets on what his programmed age is?

Black Star: Upper teens?

Moon: He's probably just a playful adult.

Sun: I'm guessing 16.

Planet: I'm thinking he's probably the same age as eclipse. Whatever age they are.

Black Star: Well let's just pray that they make each other better instead of destructive.

Sun: That is one thing we can all agree to.

#stardust arcade #arcade project #fnaf daycare au #dca au #fnaf dca au #fnaf daycare attendant #fnaf sb dca #dca oc #fnaf daycare attendant au #daycare attendant fnaf

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thephooka · 1 year ago

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Spent a bus ride yesterday reading a 1997 book by Gary Martin called The Art of Comic Book Inking that someone recced in the Cartoonist Co-Op server. I'm not the target audience for it (it's geared towards traditional inkers working in the print comics industry and is more for b&w comics imo) but it's an...interesting look into how the industry was back then. And by interesting, I mean bleak as fuck!

More below:

So I got curious and tried to find what the page rates for being an inker are like now, and had a look at this list of rates from Comic Book Resource, which are all self-reported by industry professionals.*

You'll notice 'inker' isn't even its own category here. The closest one is 'line artist' which is both pencils and inks, which for the sake of argument let's say is twice the amount of work as inking by itself. (It's not, pencils are harder, don't at me.) I took the average of rates from 2020-2022 for line artists and got $227/page, for both pencils and inks.

The very lowest rate of $100/pg in 1997 for JUST inking would be $190 today. If line artists do twice the work (again, an underestimate) by doing pencils too, that ought to translate to $380/page at the lowest end today. It doesn't somehow! Huh. Have a look through that rate list and you'll see rates even lower than $100/page in today's money (mostly from the usual suspects.)

Here's some more fun math:

Forget the $28k number above--he's including covers in this number, which pay differently. Say you do 22pgs/month at $100/page--that's $26,400 (1997)/$50,282 (today). Subtract a third for taxes** and your take-home amount would be $33,522 in today's money, which works out to a wage of $16/hr.***

At the high end of Martin's numbers, let's say 44 pages a month at $150/page for a total of $79,200, or $52,800 after taxes, and an hourly rate of $25/hr. Adjusted for inflation, that's $150,845 gross/$100,563 net/$48 hourly.

Average these numbers together, and the rates in today's money would be $67,042 net/$32 hourly.

Assuming line artists do twice the work, these numbers ought to be doubled, at $120k/yr or $64/hr.

But by the actual numbers we have, if a line artist works that same amount at the average rate of $227/page, that works out to $59,928 before taxes, $40,132 after, and an hourly wage of $19.

The kicker: the living wage in my metro area (same one Gary Martin lived in when he published this book, incidentally) is $21/hr, assuming no kids. Lol.

This is also assuming you can pencil AND ink at least 22 pages a month every month sustainably without destroying yourself, which is an EXTREMELY generous assumption. Also, no one gets health insurance working in comics, so take that into account with this shoulder-destroying pace.

I'm sure I'm mostly preaching to the choir here, and none of this information is really a surprise to me--oh comics is also a bad industry that doesn't page a living wage? shocker!--but it's interesting**** to actually be able to run the numbers on it to see how much, exactly, rates have stagnated. A lot, as it turns out!

Anyway, here's a little look into how comics pays, in case you're unfamiliar. It pays bad.

*this isn't even including companies like Webtoons and Tapas, who are fairly notorious at this point for underpaying and overworking creators. This is largely print publishing.

**the self-employment tax rate in the US is something like 15.1% and has been since at least 1990 but advice is usually to pay a third in quarterly taxes--easier to overpay and get it back at tax time than underpay and owe.

***based on 40hrs/wk, and I'm showing this number bc I think more people understand hourly wages than rates. I wouldn't include the amount for taxes in this bc if you're working an hourly wage you're probably not self-employed.

****LOUD SCREAMING

#artists and math DON'T mix he's right #I did my best tho #also afaik the bit about royalties is still true #possibly even more true #comics #comic industry #inking #inker #line artist #page rates #industry rates #living wage #late stage capitalism #also if for some reason you're going to whine at me about free markets please eat your own pants instead idc

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waterloggedsoliloquy · 1 year ago

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the difference between comicfury and webtoon is that pretty much everyone on comicfury needs some kind of compassionate intervention in their lives, but at a low background level. webtoon has 99% normies succumbing to internet brainrot and 1% just the most outlandish personalities you’ve ever seen. your average comicfury cartoonist is a shaking dog in a Sarah McLachlan appeal, with enough time and care they can be rehabilitated and placed in a loving home. your average big-time webtoons comic influencer should be sent to a prison colony on the moon

#cecil drawls

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dalt20 · 1 year ago

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Tooning in 6. Greg Bailey part 1 of 7

DL : So who are you and what are you best known for?

GB : I am Greg Bailey and known best as the director of the PBS series, Arthur.

DL : So growing up, how was your childhood?

GB : I had a pretty average north American suburban middle class upbringing and grew up in a family

of 5 kids. I lived most of my childhood years in Windsor Ontario under the Detroit skyline.

DL : When did you discover that you wanted to work in cartoons?

GB : I do remember being about 8 or 9 years old and discussing with a friend about what we wanted

to be when we grew up and I mentioned "cartoonist" since no one new the word animator

back then. My friend was shocked and pointed out that you had to draw like a million

drawings just to make the character blink. But I didn't really know it was that bad but it

made me think that it might be a pretty cool thing to do. I think more practically it wasn't

until late high school that I learned that some schools were teaching it and Sheridan

College in Oakville was pretty close to home and sounded like a possibility.

DL : So what were your favorite cartoons growing up?

GB : Popeye, Rocky and Bullwinkle, Beanie and Cecil, George of the Jungle, and any of those old

shorts they used to run early on Saturday like from Fleischer Bros or Merry Melodies.

DL : So no "canadian cartoons" like Spider Man or Rocket Robin Hood?

GB : I never thought of Spider Man being Canadian. I remember Rocket Robin Hood and would watch

it ,but either I was a bit old for it or just the quality didn't interest me. It was like

Hercules, I would watch it but it seemed like animation had gone down hill a lot in that

Time.

DL : Well, these cartoons were from american producers but made in canada for cost and laws there.

GB : I think another reason not to have followed them much was that they weren't funny. I really

prefer comedy animation and there were some pretty good funny cartoons at the

time. I wasn't much into superhero animation or realistic style characters.

DL : Ah makes sense, not really an action guy myself. So how was Sheridan College?

GB : Sheridan was quite small when I started the course and it was quite a risky course to take at the

time since there weren't really many studios in Canada. My graduating class in third

year had only 14 students. The school increased enrollment a lot even in the 2 years

after I was there. I was very hands on. you had your own desk that no

one else used and we basically just went back and forth from the animation room to the

life drawing studio. All the instructors were from outside of Canada from the US or the

UK and I guess Kaj Pindall was from Denmark. He came in the final year I was there. But

it was a very small compact group of students and teachers in the class I graduated

With.

DL : So you attended in 1976 right?

GB : Yes my first year was 76 I believe. I think I graduated in 79.

DL : So you knew John Kricfaculsci or Lynne naylor? They were in the same class as you.

GB : John was always a real character for sure. At school I remember is that he was a Sunshine Boy

in the Toronto Sun one time and I remember overhearing a big fight he was having with

the instructors when they were reviewing or grading the group project he was doing at

Sheridan. He left after that. I didn't see him much after that except at DIC when he

was fired. He was doing Beanie and Cecil. I was supposed to meet him for dinner but

he got fired that day and I remember him taking his belongings out of the studio

including a big moose head that was on a little dolly that he was pulling. It was just

kind of a nice image that stuck in my head.

DL : That was something. So anything on Lynne?

GB : I don't remember her much except she was with John. They went to LA together and she worked

at Filmation but I was at Hanna Barbera so I didn't see them in that period.

DL : Ah ok. so at sheridan, did you have an assignment where you drew your favorite cartoon

character? Because John said for the assignment where he drew Merlin from Sword

in the Stone and Lynne also drew Merlin.

GB : Yeah probably I did the same, Merlin. I guess we didn't have much to draw from in those days.

DL : Wow you all like Sword in the Stone, huh?

GB : I guess. I don't really remember it much. The course was very focused on Disney Style classical

animation. I don't remember anyone doing anything that was Disney now that I think

about it. Maybe they made it a requirement otherwise I would have done Olive Oil or

something more interesting and comedic character.I meant no one did anything

that wasn't Disney.

DL : Also was Glen Kennedy in the same class?

GB : I know Glen but he was a year later than me.

DL : So when did you leave for the states for the only time?

GB : I went to Hanna Barberra directly after Sheridan so that was 1979 and was there for a year. In

1984 I worked for the LA company DIC but I was working in Tokyo. I did that for

about 4 years. I was returning home from that when I was working at DIC LA and

saw John with his moose head. Last year I was working for Bento Box in LA but

I am working from here remotely. Other than that, I have been in Canada.

DL : So how was Los Angeles when you got there?

GB : I loved it. I still like LA a lot though it is really crowded now compared to when I was there. It was

a very interesting place to start working in animation. It was a very unionized kind

of workplace. It's the only place I ever worked that had a firm lunch hour break and

15 minute coffee breaks at the same time twice every day. It was a huge studio with

about 500 people so it was very interesting and lots of fun for a young person just

venturing out into the world. I found the people friendly and it was easy to strike up

a conversation with strangers. It was also very smokey in September because they

had fires all around Hollywood and the smog was incredible. I was trying to get by

with only having a moped for transportation and everyone there thought that was

crazy because you had to have a car. The shows we worked on were quite bad

when I look back at them now. It was Scoobie Doo and Casper and the Space

Angels and Flinstone remakes. It was a real factory kind of environment but I

figured that was how things were in animation since I was just starting. I had a lot

to learn so I look back on it fondly and was able to learn a lot in that first year.

DL : So how was Hanna Barbera? Did you like it? How was Joe barbera?

GB : Joe I never met. Bill Hanna was more the guy who looked after the animation studio. Joe's daughter Jane Barbera was a producer that kept tabs on the studio. I don't know her title but it would be something like a line producer. I bumped into Bill Hanna in the hallway a few times but mostly I just remember him assembling all the Canadians and other foreigners on visas and said they would not be able to renew our visas next season. I remember he suggested getting married to someone if you wanted to stay in the US. More interestingly though was that Tex Avery worked there as a designer and he was very old but he would also be standing in line with us at the coffee truck at break time. I think I was always too star-struck to say anything more than hi how are you to him.

DL : wow! John said he left the country illegally in a documentary. So he was an alien.

GB : We were all aliens but I was there with a work visa. I think he always was illegal down there. He went down on his own without a job offer or a work visa when I went there. He is more of a risk taker than I am I guess. John was not at Hanna Barbera.

DL : Yeah, he still doesn't have dual citizenship after he left Filmation and Hanna Barbera. And John

isn't deported yet puzzles me.

GB : I don't think he ever worked at Hanna Barbera unless it was after I was there. I do remember on

the day he left DIC with his moose that someone said he was upset because he

couldn't find the visa application papers that he had in his office when he left. I

think by that point he could have even applied under the amnesty that they had

down there in the early 80's. He should have been there long enough to get that

if he had tried.

DL : Oh ok. So how was Casper and the Angels?

GB : I just used that as an example. There were about 10 series that I must have worked on in that one season at HB. One was Casper and the Space Angels, another was The Harlem GlobeTrotters, along with Scooby Doo and Flintstones. All Saturday morning was made up of either Filmation or HB shows. Both companies' shows looked exactly the same. The shows like Casper were completely generic and forgettable and the characters and props and even the stories were exactly the same on each series. So I guess Casper was very generic except it had the character Casper the ghost in it. But everything then was really stiff and they all had the same blinks, the same mouth charts for lip sync . It made it so animators and ink and painters could easily move from one production to the another without learning to draw a new style. You could even hop from studio to studio without any significant drawing learning curve. The characters didn't move or walk forward in perspective and things were very flat. The big actions all happened off screen and they reused as much animation as possible using a xerox machine. All this got destroyed when DIC came along and started making shows with more perspective and effects because they were making the animation in Japan. It destroyed HB and Filmation quickly because their shows were too dull.

DL :

yeah, one person reviewed casper and summed it up perfectly "what is popular? uh charlie's angels. What's a character we haven't used in a long time? uh casper the friendly ghost? What are the kids into now? outer space!"

GB : Everything was a space something or other that year. Sales run by marketing people never makes a memorable show.

DL : like Buck Rogers or the Star Wars hype train? Or Battlestar Galactica?

GB : There was something with the Shmoo from L'il Abner as well. The Harlem GlobeTrotters all had some super hero power. Like one guy would pull objects out of his afro like bulldozers or ray guns. They all had some bizarre and ugly super power.

DL : the Harlem GlobeTotters! One of them had a basketball for a head!

GB : Another one was rubbery or could get really tall or something. I've tried to block out the memory of all that. I only remember drawing someone that turned in a big plate of spaghetti noodles for some reason. I only remember because it's a nightmare to draw all those lines of spaghetti.

DL : It's hard to draw lines in general!

GB : One thing about HB was that I learned how to draw perfectly clean lines through. It is still a struggle through. They were really fussy about perfect lines especially in the facial features and hands. So it was necessary at least for me to learn that still after Sheridan.

DL : So, did you drew anything off model at Hanna Barbera?

GB : Not after I handed in my initial scene to the supervisor. They sat you down pretty quickly and showed how they keep it in model. I am surprised now when people say HB shows were badly drawn and off model. I don't remember anyone getting away with that or maybe I was just not aware of others.

DL : Oh well, I guess some must slipup or it just smear frames or inbetweens.

GB : Maybe they were done at outside studios. Sometimes they sent extra work out to places like Ruby and Spears and they would handle surplus. At one point I picked up some extra freelance work there. I remember fixing a scene that was very fully animated scene of a character flying and rolling in and turning in perspective. It was ok but it just needed to be put on model on all the inbetweens. It was a lot of drawing like 200 full figure drawings. It was something from Filmation but I got it from Ruby and Spears.

DL : How was The New Shmoo?

GB : Same as everything else. Maybe they did it because it kind of looked like Casper. Round and white. It was probably a space something I don't remember it much , although I did a scene that kept some model sheets for a long time that had a waitress but she had some Jetsons type of features in her costume.

DL : Ah ok. Was Scooby Doo and Flintstones more happier and familiar?

GB : Scooby and Flintsones were more the high end show for them . They ran more than a season and they had lots of designs from previous years. Scoobie had been running for a long time when I got there. Remember they had the voice from Casey Cassum(?) doing Shaggy. We used to see him around the coffee truck sometimes and people would point him out. But I think they were more fussy about those 2 shows though and it was really the bulk of the work that I saw. Perhaps they kept those shows more in house and we would only see the other shows when they didn't have enough work for us on Scoobie for the short term. All the other shows I can only remember working really briefly on them like a few weeks at most. After the season at HB a studio Canimage opened in Toronto and we did work on Scooby and the Flintstones. By that point the HB LA studio was not doing animation anymore. It was done in Toronto and Taipei.

DL : Wait, what was canimage? Was that a new Canadian studio Hanna Barbera opened like Wang Film in Taiwan?

GB : An animation company in Toronto that was around for a few years. 3 guys from a few years before me at Sheridan had been working at HB and when we got sent home they opened a studio in Toronto. They did HB for one season and then they did some overload work on Heavy Metal and I think that was all they did before it closed.

DL : Did you work on Heavy Metal? That film’s production was spread across Toronto, Montreal ,London and Los Angeles!

GB : Yes I did. In Montreal at Mike Mills and some freelance from Potterton Studio. The main production was centered in the main studio in Montreal. It was also in Ottawa besides the ones you mentioned. There were 3 studios in Montreal plus Ryan Larkin in his own studio.

DL : Oh ok. What segment did you animate on?

GB : I was at Mike Mills and there was a legal dispute that arose so our parts got redone at Halas and Bachelor really fast right before the delivery. We were animating the opening sequence where the car comes to earth and goes to the farm. And then there were parts that connected the different stories with Grimaldi. We were animating a carousel that was turning and had characters from each of the segments in the film. The carousel was growing and growing each time we saw it. Anyway this was all locked away and they made it really simplified with a green ball instead of the carousel and they made the car falling from the space station a really simplified-looking car. I animated a scene that I kept that was used for a publicity still in the Heavy Metal magazine. It was a guy in a space suit putting his helmet in the trunk of the car.

DL : Very interesting! So I can find anything from 1980-1983. Why is that? From IMDb credits.

GB : You mean I don't have Heavy Metal and Canimage listed in my profile. I should update that.

DL : Yeah or on imdb!

GB : I should go on IMDB and fix it.

DL : Do it! So what did you do in those years after Heavy Metal?

GB : I did commercials at Mike Mills which was really why I wanted to go there. It used to be an interesting job in animation because there was a good variety and the quality of the animation was often good and you got to work on the entire film including shooting it on the Oxberry. You would do everything from design and storyboarding and editing unlike working at a studio like HB where you only ever did one job like animation or in-betweening. For one year I went back to school to study in a technical engineering program because animation really fell apart in the early 80's. I started a film with a grant that I never finished, before I went to Tokyo.

DL : Well, wasn't Nelvana a thing?

GB : They were but not so much in the early 80's. That would have been when they pretty well lost it all on Rock and Rule . At least my timing was never good for going there.

DL : Oh yeah, I almost forgot. At least they were working on Inspector Gadget and Care Bears for DiC and American Greetings. So how did you get to Tokyo?

GB : Since I had worked in an American studio I knew how the lip sync system worked. And a company Aces in Toronto was doing some track breakdown and voice recording for DIC. When DIC in LA couldn't find animators willing to go to Tokyo they asked Aces if they knew anyone and I found out through a friend of a friend. About the only requirement they cared about was if I knew how to do lip sync in the US system of Saturday morning shows. I worked over there in the same little space with the creator of Gadget in fact. Bruno Bianchi.

DL : How was Bruno Bianchi?

GB : A nice person and very funny. He would spend a lot of his time drawing caricatures of people he worked with. He was really talented and had a great track record of creating new shows. He had started long ago with Jean Charlopin when he started DIC in Paris. So Bruno was a real old timer at DIC. DIC was an American company when I started there and it was partnered with DIC Tokyo.

DL : So how was Tokyo? Did you learn to speak japanese?

GB : Very interesting place. It was in the 80's as it was really the center of the universe and it looked like things would never slow down for them. It was definitely the hot spot in the world for animation. They were so far ahead of the west or anywhere else for that matter. The economy did collapse really shortly after I left because of the real estate bubble. I did learn to speak and I would take courses during the off-season or slow time. I forget almost everything now though. I could probably pick it up quickly again if I had a use.

#animation #animation interview #tooning in.#Greg Bailey #Arthur #pbs #DiC #hanna barbera

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cleverpaws · 2 years ago

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NOT. a generation loss blog

dee en eye if you support that man and that skeleton and what they did in that cage..

actually im keeping the title like that its so fucking funny to me

salutation i am michael (he/they) and uh. get intro post'd x100 - bi and generally a-spec type of guy - nonbinary dude 🎸🎸⚡⚡⚡⚡ there's no comma there for a reason - average EX library volunqueer again :( - king of the wildly inconsistent art & writing styles <- Update we figured out why this was. you'll never guess - cartoonist 💯💯 - Mongoose/weasal/etc - i love 2 run around and have wild frolicking visions of Character - adhd. autism. npd. maybe ocd. long ago the four nations ruled in harmony - the original #1 hetch fan (shared title) - plural btw. i will now gaslight the internet into thinking i was open about this the whole time and you all just missed it

I RUN @showfallmanagement AND @lostnfounder THE SHOWFALL ASKBLOGS!!! COME SAY HI!!!

ALSO MORE RECENTLY STARTED @notslmccl do NOT go look at "chase" and do NOT poke him with sticks

⚠️ know ill b blocking u if ur weird to me or my friends or if ur unironically a fan of wilbur soot dreamwastaken or harry potter in this year at this time of day in any country localized entirely within my kitchen. or if u just look at me funny sometimes sorry i have an itchy block button finger

things i am not normal about (in no particular order atp i'm basically multifandom calling myself a genloss fan): - GENLOSS!!!!!!!!!! 4️⃣ - ^ and, by extension, ENCOREVERSE!!!!!!!! 🌈 - BITB!!!!!!!! - JRWI IN GENERAL I JUST PUT BITB FIRST!!!! - SPLATOON!!!!!!!!!! 🦑🦑🦑🦑🐙🐙🌊🌊 - MINECRAFT!!!!! - STEVEN UNIVERSE!!!!!!! 💎🌺 - GRAVITY FALLS!!! SPECIFICALLY FIDDLEFORD I LOVE HIM!!!!! - HOLLOW KNIGHT!!! 🐛🐛🐛 - ANGELS JUST LIKE AS A CONCEPT!!!!!!!!! - BODY HORROR!!!!! - VIDEO ESSAYS!!!!!!!! - sighs in defeat. shuffles towards the exit. Half Life VR but the AI is Self-Aware

things i am actually somewhat normal about (casual interests): - dsmp!!! - the dragon prince 💪 love hate relationship - ghibli movies - cartoons in general! - assorted indie horror games - indie animation usually

tags i use: #hetch generation loss - what it says on the tin #sneeg/frank - also what it says on the tin #asks - now. you're never gonna believe this. but, #saving this - Saved things. look here for recipes, art tips, queer resources, and anything else i felt was worth saving #benloss - ben generation loss tag weee weeeee

one last thing.... pls refrain from calling me ur friend if idk u! ik ur just trying to be funny/nice/whatever but Please don't do the "if you're my mutual, we're friends now!" thing at me 🙁

mutuals r totally free 2 ask for my discord or msg me on here 💯💯

(also if you EVER need me to explain any encoreverse lore to you i will drop everything to do so 😍😍)

(all banners n images r mine except the mcytblr sexyman voted one by @/tmmyhug and the sonic narc abuse one by @/nicepersondisorder)

skittering sounds alright ill get out of your hair . the particles aren't though. yeah sorry man they uh. they really get stuck in there. sorry

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slasheru · 1 year ago

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Heyyyyy Slasher Nation! 🖤 First of all - HOLY CRAP THANK YOU!! Even though the Kickstarter didn't hit the goal, the fact that 98 of y'all (!!) got us a SIGNIFICANT part of the way there (almost $3,000!!) is MINDBLOWING!! <3333 I can't thank you enough 😭

So What Now / Wait you had a Plan B the whole time?!

Yeah, man, you thought I was just gonna leave you guys hanging? ;) We're gonna try this again with a WAY smaller goal on Crowdfundr! (I'll talk more about this below!) Short pitch is: $1,125 goal (which we nailed in 48 hours here), keeps SU running, launches September 7th, Crowfundr is being hella cool and sponsoring it for SPX Spotlight, follow along HERE! [https://crowdfundr.com/slasheruact2]

But ALSO, holy crap, you guys are AMAZING:

I can hardly call this thing a wash, though, because the amount of love, attention, and SOLD COPIES OF SLASHER U: ACT 1 have been ABSOLUTELY FUCKING WILD. I just wanted to shout out to:

More than 600 new Slasher U: Act 1 players downloaded the game since the Kickstarter launched

Slasher U: Act 1: Alpha Edition maintains a whopping 4.9 out of 5 Stars average rating on itch (!!!!!!!!!!!!!!!!!!!!!!!!)

I sold enough copies of Slasher U: Act 1 to cover MORE THAN HALF MY RENT THIS MONTH!! If this Kickstarter stopped right here, you guys would've been able to cover 4 MORE months of rent & production time! Which is HOG WILD.

We got shoutouts from:

Beautiful Glitch, the team behind Monster Prom, Monster Camp, & Monster Roadtrip!! Beautiful Glitch are one of my most inspirational/aspirational heroes of game dev, and the Monster franchise was a HUGE inspiration for SU, so I can't BELIEVE this happened!!!! Thank you guys SO MUCH!!! <333

WWAC (Women Write About Comics), where journalist Alenka Figa wrote SO MUCH NICE STUFF about my storytelling I'm gonna fuckin cry!!

Corinne Halbert of ACID NUN - she and I are actually gonna do an Acid Nun x Slasher U collab where you'll be able to unlock an Acid Nun player skin!! Shhhh!!

The crew at Lewdgamer who wrote an awesome writeup of the KS campaign!

Indiepocalypse - we made it into Issue #42 and Alex had us on his podcast, which was SO MUCH FUN!! According to Alex, Slasher U had one of the highest audience participation/engagements he's seen on Indiepocalypse Radio, and it was MEGA FUN watching him parse some of your saucy Sawyer questions, LMFAO.

And here's some Slasher U & SUKS stats for you:

More than 2/3rds of you ended up dating either Sawyer or Tate. >:)

In total, 94 of you backed the game here on KS!!! YOU ALL KICK SERIOUS ASS

Almost 1,000 new copies of Slasher U: Act 1 (both Regular and Premium) were downloaded during the campaign!

During the campaign, at least 3 people personally thanked me for Slasher U completely changing their life by discovering something about themselves or making them feel seen and heard, which is going to make me FUCKING CRY and is the ENTIRE REASON WHY I MAKE THIS GAME IN THE FIRST PLACE. I love you all so, so so sosososoososososos much, Student Disembody. :'))))))

So this "Plan B", eh?

Some of you know I'm a cartoonist by trade (I drew for the official FNAF franchise and more!). This year, I ended up talking to some sponsors for this upcoming SPX (Small Press Expo), which is like SDCC for indie comics, including Crowdfundr - one thing led to another, and now I'm partnering up with Crowdfundr and SPX to bring you a WAY SMALLER but also WAY MORE PERSONAL campaign to keep the lights on here at SU, as part of Crowfundr's SPX Spotlight event! For the non-comics folks here, Crowdfundr is basically the indie comics Kickstarter - I've been buddies with this crowd (pun vageuly intended) for a while and I'm psyched to be doing this with people I've been meaning to collab with!!

The new goal will cover the absolute bare minimum of making SU - $1,125, which includes font licenses, the Mac port, and taxes. Then, any EXTRA will go to more production time on Slasher U! Basically, I'm swinging the campaign around so the minimum amount is the goal, and the goal-goal's the reach goal. The GOOD NEWS is we apparently smashed this $1k goal within 48 hours of THIS Kickstarter, so I'm VERY OPTIMISTIC ABOUT ROUND 2 OVER HERE.

(You'll ALSO still be able to snag one of those custom player skins I'm drawing - there's gonna be only 5 slots this time!) Aaaaand you can click to follow when the Crowdfundr launches in a month, here:

P.S: estimating the first Early Access build with *just* Laila's Act 2 content, plus some core extras, in the next month or month and a half >:)))

xoxoxooxoxoxoxo, love you guys SO FUCKIN MUCH, and, as we like to say on campus:

STAY HORNY!! xxoxooxox Professor Plutonium

#slasher u #slasher u act 2

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rsfaa · 7 months ago

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The Enduring Magic of Tom Everhart's Peanuts Masterpieces

In the vast tapestry of contemporary art, few names evoke as much nostalgia, wonder, and sheer delight as Tom Everhart. This remarkable artist has carved out a unique niche for himself, seamlessly blending the beloved world of Charles M. Schulz's iconic Peanuts comic strip with his own distinctive artistic vision, creating a body of work that resonates with audiences across generations.

Everhart's journey to becoming the preeminent interpreter of Schulz's masterful line art is a tale of serendipity, perseverance, and an unwavering passion for artistic expression. Born in Washington, D.C., in 1952, Everhart's path to greatness began at the prestigious Yale University of Art and Architecture, where he honed his skills in painting and life drawing.

A Fortuitous Meeting and the Birth of a Legacy

It was in 1980 that Everhart's life took an unexpected turn when he was introduced to the legendary Charles M. Schulz at the cartoonist's studios in Santa Rosa, California. Just weeks prior to their meeting, Everhart, having no formal training in cartooning, found himself tasked with creating Peanuts renderings for a freelance project.

With his trademark dedication, Everhart approached the task as he would any of his large-scale skeleton and nature-related paintings, blowing up Schulz's comic strips to an immense 25-foot scale. The cartoonist's masterful pen strokes, now larger than life, transformed into painterly brushstrokes that resonated profoundly with Everhart's own artistic language.

It was this uncanny ability to reproduce Schulz's line art with near-perfect precision that left the legendary cartoonist himself in awe during their initial meeting. From that moment on, a deep bond was forged between the two artists, with Schulz serving as a mentor and guide, imparting his invaluable knowledge and wisdom to the eager Everhart.

An Artistic Symbiosis and the Louvre Debut

In the years that followed, Everhart's artistic journey became inextricably intertwined with Schulz's beloved Peanuts universe. While continuing to paint on his previous body of work, Everhart began collaborating with Schulz and United Media on various projects, including magazine covers, artwork for the White House, and the iconic Met Life campaign.

It was during a harrowing battle with stage 4 colon/liver cancer in the summer of 1988 that Everhart's artistic vision underwent a profound transformation. Surrounded by vibrant flowers, art books, and a stack of Peanuts comic strips gifted by Schulz himself, the artist found himself envisioning a new series of paintings that would pay homage to the cartoonist's indelible creations.

In 1990, Everhart's Schulz-inspired works made their debut at the hallowed halls of the Louvre in Paris, before embarking on a remarkable global tour that would take them to prestigious institutions such as the L.A. County Museum of Natural History, the Museum of Fine Arts in Montreal, the Suntory Museum of Art in Tokyo, and numerous other venues across Europe, Asia, and North America.

A Unique Artistic Collaboration and Legacy

Everhart's unwavering dedication to preserving and celebrating Schulz's artistic legacy was formalized in 1991 when United Media drafted a legal agreement granting him the exclusive right to use subject matter from the Peanuts comic strip in his art for the duration of his life.

This groundbreaking collaboration between the two artists gave birth to a remarkable body of work that transcended the boundaries of traditional art forms. Everhart's paintings and lithographs, often featuring beloved Peanuts characters like Snoopy, Charlie Brown, and Pigpen, were not mere reproductions but rather vibrant reinterpretations that captured the essence of Schulz's iconic creations.

In 1997, the book "Snoopy, Not Your Average Dog" was published by Harper Collins, featuring an essay and reproductions of Everhart's Schulz-inspired paintings, further cementing his role as the preeminent interpreter of the Peanuts universe in the fine arts realm.

A Luminous Palette and the Influence of French Polynesia

In the years following Schulz's passing in 2000, Everhart found himself drawn to the luminous hues and tranquil beauty of French Polynesia. The islands' lush landscapes and radiant sunsets profoundly influenced his artistic palette, infusing his works with a vibrant, almost ethereal quality that captured the essence of these idyllic locales.

This infusion of Polynesian influences into his Peanuts-inspired creations resulted in a stunning synthesis of diverse artistic traditions, further enriching the depth and complexity of Everhart's oeuvre.

A Global Phenomenon and Enduring Legacy

Over the course of his remarkable career, Tom Everhart's artworks have been celebrated on a global scale, gracing the walls of prestigious institutions and garnering accolades from critics and collectors alike.

His solo exhibitions, including the 2003 "Under The Influence" show at the Charles M. Schulz Museum and the 2011 "Pop'd from the Panel" exhibition alongside icons like Andy Warhol and Roy Lichtenstein, have cemented his status as a true visionary in the realm of contemporary art.

Beyond the galleries and museums, Everhart's impact has been felt in various forms of media, from the CBS special "The Fabulous Funnies," where his painting "Pigpen's Dirtballs" was filmed in progress, to the 2013 NBC Today show feature that offered a captivating glimpse into his creative process and the collaborative relationship he shared with Schulz.

Today, Everhart stands as the only living artist legally authorized by both Charles Schulz and Iconix to use subject matter from the Peanuts comic strip in his fine art creations – a testament to the enduring power of his artistic vision and the indelible mark he has left on the world of contemporary art.

As one gazes upon a Tom Everhart masterpiece, it becomes clear that his works are more than mere paintings or lithographs; they are portals into a world of wonder, nostalgia, and timeless artistic expression. Through his deft brushstrokes and vibrant palette, Everhart has breathed new life into the beloved characters and scenes that have captivated generations of readers and art enthusiasts alike.

In a world that often prioritizes fleeting trends and superficial aesthetics, Everhart's art stands as a poignant reminder of the enduring power of storytelling, imagination, and the profound impact that a single artist's vision can have on the collective consciousness.

Whether adorning the walls of a prestigious museum or gracing the pages of a cherished book, Tom Everhart's Peanuts masterpieces are a celebration of the human spirit, a testament to the enduring bonds between mentors and pupils, and a poignant reminder that true art has the power to transcend time and space, connecting us to the timeless wellsprings of creativity that lie at the heart of our shared human experience. If you are interested in Tom Everhart art for sale or exhibition in Aspen, shop at the leading artist gallery in Aspen,Royal Street Fine Art, or call 970-920-3371.

#fine art #artists on tumblr #art for sale #artwork #art

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mood2you · 10 months ago

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Isn't there any Pokemon Mystery Dungeon comics where the partner is the human and the protag is just stupid and the partner is making things up because they have anxiety and want to take care of you. And the partner is making up really complex facts like "the reason the PP is different in PMD is it's the absolute value of n(x-2) where x is your special or attack (physical/special split) and stuff. What sucks about PMD comics is there's never good fights. Webcomic cartoonists don't read enough superhero comics so there is no action. But when you play PMD something incredibly stupid happens to you every other hour. But I lost my DS so I have to emu**t* it and when I'm doing that I don't want my RAM to have to multitask so I don't write any notes of funny things so my PMD comic is about everything but

I didn't read any of the good ones like Milos from Home or Shinka The Last Eevee but the current state of Mystery Dungeon Comics is "I am following so many comis with a Riolu that they all blend together"

My problem that I have with my PMD comic is I forget that kids read it. I don't know what I would put it in that's not child-friendly, just black pill stuff I guess. Anyways, yeah. I think PMD comics and Pokemon comics in general, all people love, you can tell because there's some really crude looking comics (my favorite thing about comics that children post, is sometimes the jokes don't make sense) and some good comics and some really slick looking ones (but, most are pretty average. I don't know, now I'm just thinking about that comic of the goofy Lucario and the motherly Infernape, that was stylish, that was a post-grad at SCAD. It was on deviantart.) https://www.deviantart.com/tamarinfrog/art/Riolu-is-Born-Page-1-2-113898437 2009

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irishhills · 1 year ago

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your art matters

St. Elizabeth Seton High School isn’t what one would call a big school. It’s bigger than some of the other Catholic schools around, but it’s not big enough to have more than your traditional electives (painting, drama, choir). It really doesn’t seem big enough for students to audition for the school paper’s cartoonist, but here’s Jane Egan, turning in her sketches to the yearbook committee.

Her big brother, Luke, was editor-in-chief of the yearbook last year. Since then, he’s graduated and moved on, but he warned her that the remaining committee members probably wouldn’t be too fond of her style.

“The darkest they go for is a Charles Schulz,” Luke said as he watched Jane assemble her portfolio. “You know you’re a Charles Addams.”

“So what if I am?” Jane said then. “I think my art is good.”

As she waits to hear the end-of-day announcements over the PA, Jane still thinks her art is good. She turned in some of her best work to the yearbook committee earlier this week. A snarky comic about the benefits of being the unpopular kids at the football game – getting to blend into the crowd while you eat hot dogs in the cool fall weather. A diagram of the average student’s backpack, filled with useless math problems and a sliver of things that actually matter, like literature and history. A portrait of herself, the overworked freshman. Her drawings make use of thick black ink, and her characters have big eyes like a Margaret Keane painting. But Jane knows they’re good. In junior high, she won the “Class Artist” award for a reason.

It does not hurt that her big sister, Amy, took over for Luke as editor-in-chief.

Jane tries to keep her cool as Principal Mathers reads the announcements. Something about auditions for The Crucible, something about a boys’ soccer game against St. Catherine’s later that night, something else about lunch tomorrow. And then it’s time.

“News from the yearbook committee,” Principal Mathers says, and Jane doesn’t even care that she’s standing too close to the microphone. “Your cartoonist for the 1990-1991 school year will be …”

Jane taps her pencil against her French textbook, waiting for her name to be called.

“Richard Palmer!”

The air feels strange in the room now. Jane can’t even think of who this Richard Palmer person is, but he doesn’t sound real. And of course they went with a guy. Guys are the best at everything. At least, that’s how you feel if you’re Amy Egan, who likes every boy she feasts her eyes on. Jane knows she shouldn’t think that way. It just feels different when it’s your sister, the ultimate traitor.

After Madame Rousseau has them all say the Notre Père, Jane raises her hand and asks, with all the remaining breath in her burning lungs, “Puis-je aller aux WC?”

She’s out the door before Madame Rousseau can finish saying yes.

And she’s down the hallway, crying like an idiot, making noise when she knows she should be cool, play it cool, cool it, baby, cool it.

People are noticing. There’s a moral philosophy class going on next door to French class, and Chris comes out of that room with a furrowed brow.

“Jane?” he asks. “That you?”

But Jane blows him off. She doesn’t need Chris’s jokes and reassurance right now. She probably never needs jokes and reassurance again. This is about revenge.

Somehow, she knew Amy would be in the downstairs bathroom.

She’s standing in front of the mirror, reapplying her Strawberry Vanilla lipstick. Clearly, she knew Jane would be there, too. When they lock eyes – Amy, with all the calmness in the world, and Jane, with the wettest tears she’s ever cried – it’s like they know each other better than they ever have.

“Jane,” Amy says, annoyingly placid. “Let me explain.”

“Explain what?” Jane yells, not caring if she’s embarrassing herself or Amy anymore. “You probably told everyone not to vote for me!”

“No, I didn’t. I talked you up. I spent the whole class period talking about how you offered an edgy perspective that our yearbook has never had before.”

“And what?”

“And I think the way you draw your characters … all skinny and ghostly … I think it made the other girls on the committee freak out a little.”

Jane rolls her eyes. Great. Not only did her own sister reject her, but now, she has to admit that Luke was right. Her art is too creepy to be seen. Great.

“Please don’t be so dramatic about it,” Amy says. “You get so dramatic about everything.”

“I wouldn’t have to get dramatic if things went my way once in a while!”

“Jane, I tried. I liked your work the best, and that’s not even because you’re my sister.”

“What did you like about it?”

Amy sighs.

“Do we have to do this here?” she asks.

“A little bit, yeah.”

“I like that you’re really saying something. You have what I think all artists want. A point of view. Richard Palmer … he can draw animals really well, and I think the other girls like that he can draw the mascot. But he doesn’t have a point of view. I don’t even think he wants one.”

Jane rolls her eyes again. She reaches for the paper towel and dabs at her eyes. The towel is tan and rough, like you’d find in a fast food restaurant. She doesn’t care. Not now.

“That’s what I wanted to share with people,” Jane says. “A point of view. I mean … all cartoonists are propagandists, I guess. I just figured I was rallying for the right side.”

Amy smiles. Dammit, Jane does, too. Sometimes, she forgets that Amy is smart.

“Jane, I’m really sorry about this,” she says, and Jane knows she means it. “But you have to believe me about this, OK?”

“I believe you tried to convince everyone else to pick me.”

“No, not that. Not just that. You have to believe me that your art matters.”

Jane nods. It’s probably the nicest thing Amy has ever said to her.

“I should probably get back to class,” she says.

“What for?” Amy asks. “Don’t you already speak French?”

“Sure, but if I’m not there, people will talk.”

“I know what you mean.”

For a second, Jane thinks about hugging Amy, right there in the downstairs school bathroom. But she doesn’t. She and Amy … they’re more than this conversation, more than hugs, more than even family. Maybe there’s a word for it. As Jane walks back upstairs to her French class, the best she can find is sisters.

#drabble #writeblr #ch: jane egan #ch: amy egan #ch: chris egan #year: 1990

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