Fellow artists: I just want to say, if youâre burnt out from drawing, please take a break. Take in some inspo over the course of a few days/weeks/etc. then go back at it.
Itâs so refreshing, and if youâre scared that you may forget how to draw some⊠honestly, you might, it happens.
But on the other hand, you could find yourself drawing better than before.
Did I expect to suddenly be capable of dynamic posing? Or being able to draw a complex figure in a fisheye perspective?? (all without reference btw)
Absolutely not, it freaked me out, tbh.
Yet I was able to. So uh, yeah. Take breaks, take care of yourself, and uh, happy creating
Fellow Writers! Do you know what an âepigraphâ is?? Cuz I sure didnât. Courtesy of Google, hereâs the literary definition: ïżŒ
âIn literature, an epigraph is a phrase, quotation, or poem that is set at the beginning of a document, monograph or section or chapter thereof.â
Why am I bringing this up, you ask?
Idea: Write a cryptic/foreshadowy poem at the beginning of your story. It wonât make sense to a new reader at first, but then as the story goes on, itâll all slowly piece itself together.
Idk, it just sounded fun and thatâs what Iâm doing for my WIP, soo thought Iâd share.
One might say I overdo the details in my webcomicâŠ
Did I have to reference an 11mm camera lens for a robotâs iris? (11mm is within the median range for the typical human iris diameter)??
Absolutely fucking not.
Did I do it anyway?
Uh, yeah. Why tf not??
I mean, their entire design was made after hours of research in subjects like general robotics, animatronics, robotic-powered prostheses, and more. So like, ofc Iâm going to make their eye a fuckin camera lens.
(Note: I do not know lens stuff that well anymore so it could very well be inaccurate, and Iâm very aware of that. I just wanted to say that, I just know someone will try to cook me if Iâm wrong. Itâs whateves.)
When people said âSometimes, the characters write themselvesâ, I didnât know they meant:
Youâre just planning/brainstorming (as usual), then a character says something right off the bat and youâre like âoh, wow, I didnât have to think hard on that one.â
To
The characters are in control now, youâre just the observer. This is, in fact, your monkeys, your circus⊠Sometimes, it can look like this:
âHOLY SHIT?! SHE DIES?? How did you- What do you mean ânot reallyâ?! Explain yourself!!!â
âHA! Thatâa good comeback. I gotta write that one down, I wouldâve never thought ofâoh, right.â
âWhoaWhoaWhoaâWho are we talking about?? *gasp* Oh my GodâThey did that?! Scandalous.
âWait, what?! Thatâs how this works? Huh, I wouldâve never known that. Thanks for letting me know.â
The internet or something, I dunno: Okay, thatâs great and all, but if you want people to read it, you gotta market it.
Past me: âŠBut, isnât marketing like, manipulative? I donât want to do that. I donât want to drive people crazy being like âHEY! LOOK AT MY SHIT!!â That just seems counterproductive. In general, itâs seems so⊠wrong. I think I just⊠wonât?
To my fellow creatives, specifically those who have horror/scary stuff in their work(s) but is also a scaredy cat (I am too, no judgement here), I have a couple bits of advice that Iâve picked up over time that Iâd like to share:
The major one is: If youâre making something that is supposed to be scary, it should scare you. Iâm not sure as to why, but when Iâve made visuals with the intent of being scary that donât scare me, Iâve been told it doesnât hit the way it should, not scary, etc. But when I go into it prepared to make myself scared, Iâve gotten a lot better feedback. Itâs definitely something you should mentally prepare for because yes itâll haunt you the whole process. ïżŒ
The next one is subjective, but Iâd like to put it out there regardless: If youâre an artist, you should aim for ârealismââ I KNOW WHAT YOUâRE THINKING- I do not mean ârealismâ as in âmake work like Michael-fuckinâ-angeloâ I mean this: [[GORE WARNING]]- An example Iâll use is for a monster I made. This monster is tailored to be frightening to the doctor of the group who hates malpractice. The organs where on display in a tight, little, plastic chamber. Theyâre overlapping one another in ways they shouldnât, yet are still somehow visibly functional. One part Iâd like to point out is that it has harsh- looking, faux ribs that dig into the lungs a bit. Every time it breathes, the lungs blow out around them, they could pop at anytime.
^Itâs the little details that are grounded in what one should expect with logic but otherwise wouldâve not normally thought about, but here it is, on display.
When you finally muster up the courage to go back and read your own webcomic from the beginningâbut the art/pacing/etc. is wayy worse than what you remember
Here, feel free to use this nightmare I had for your writing
(But like, donât just straight rip it, plz. But who am I to ask such a task on the internet)
Only The Beginning:
I was with a group thatâd trespassed into a recently closed museum. At this point, we had made our way to the top floor. This floor was pretty open, and was mainly bridges more than anything, as it made way for the taller pieces on display. Because of this, you could see the floors below. The very bottom floor had a pool of water.
I saw that a fellow trespasser had taken an interest into said waters, calmed by the waves the pool mimicked so well. I rested on the railing beside them to join in the spectacle.
After some time, my eyes drifted along with the building waves, reaching the faux shore. With how the bridges crossed and hatched, we werenât able to see it fully, just the edge.
A wave hit the shore, normal, nothing of note.
The next caught something from the shore with: a swirl of crimson.
My brain began to process what I was witnessing.
The next wave brought back nothing but red, it started to engulf the waters.
We stood back, in horror.
This place shouldâve been abandoned, the monster that shut down the place was reported to be killed.
The reports were lies, a cover-up.
And now we were stuck in here withâŠwhatever the monster isâŠ