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relxion-kunp · 2 years

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Archons Reunion.❤️

#genshin impact #art #fanart #genshin impact zhongli #zhongli #ei #baal #venti #genshin impa #genshin impact venti #archon #art i did for convention print #finally upload this to my galerry

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juiche · 10 months

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⚫🔴 b&w version of my Bucky illustration

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gummy-axolotl · 5 months

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It's finished!

Pls reblog 💜

@kovox @actuallynickels

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artkaninchenbau · 10 months

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Honk shoo

#My art #This is the ''I have 3 days until this convention can I still make one more mini illustration to print''#All things considdered it turned out cute #Did make the lineart on the cat too dark so it stood out kinda bad in the actual prints tho #But I could fix that for future prints if I wanted to #In anycase look at this meow meow going honk shoo

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savage-rhi · 1 month

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Magggennnttaaaa!

#before the pandemic i sold a lot of original paintings and such at conventions and shows in my area #well some locals at a gathering today kindly informed me someone has been selling copies of my plague doctor piece #and some of my mini prints and presenting them as their own same with stickers #its not only ai we gotta worry about now even the damn locals are doing this shit #i got a show in may coming around the corner and I'm thinking i might not even sell paintings and stuff anymore if this is going to happen #im a creator that loves collaboration and thinks art should be free to enjoy #if this person approached and asked if they could sell my work i wouldn't give a fuck personally provided they give me credit and or a link #back to my stuff hell if people want to print my work if they cant afford it go for it #but fuck dude you don't just claim you did all that work as if it was yours #this was disheartening news #and several other local artists found out too at this venue that their work had been turned into stickers that vendors bought off amazon #ill hop off the soap box in a minute #still scrambling to get kofi stuff set and donation links prepared #thanks for your patience everyone #im getting out of a depressive funk too with what happened at my work place #and im gonna be speaking with a legal aid rep next week #magenta is my safe word for venting

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fnafawoundleftbleedingau · 9 months

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Aaaand done! My cosplay mask is all sculpted and painted up, with any luck I'll find the time and energy to get a pic in the full cosplay, but if not, hey! Here's the mask!

#insomnia hyena art #not AU related #um... guess I should say what convention I'm going too now?#its dragoncon! and it looks like the lil prints are gonna get to me in time so um. yeee #if ya see this mask on someone. and an itabackpack full of AWLB AU pins at dragon con #it me. my namebadge should say “InsomniaHyena” on it too if i did it right #should have a lil print to give ya as thanks for reading my lil au

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art · 6 months

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Creator Spotlight: @jdebbiel

Deb JJ Lee is a non-binary Korean artist based in Brooklyn, NY. They have appeared in the New Yorker, New York Times, NPR, Google, Radiolab, and more. Their award-winning graphic memoir, IN LIMBO, about mental illness and difficult relationships with trauma, released in March 2023 from First Second.

Below is our interview with Deb!

Have you ever had an art block? If so, how did you overcome it?

That implies I am over my art block, but I’m still in it! I think about Kiki’s Delivery Service a lot and how she had to stop doing a thing, and that you can’t really force it, and you have to let it come back to you. It’s a pretty humbling moment, realizing there is more to life than just drawing. I’ve been trying to consume other content like reading or watching movies—anything that is not drawing-related—and to trust that it will come back to me. I think not being afraid to do the small pieces before committing to the big pieces is helpful. Because big pieces are what I am known for, I dig myself into a deeper hole, thinking that each piece has to be bigger than the last one. So yeah! Relaxing and doing the small things before overcommitting to a big piece is the best way to go about it for me.

Which 3 famous artists (dead or alive) would you invite to your dinner party?

I feel like these are all artists that I have second-degree connections with! Jillian Tamaki, Victo Ngai, and Tillie Walden would be my picks!

What are your file name conventions?

…What file name conventions? I mean, I don’t have specific file name conventions, but I actually have a public Google Drive archive! But I usually put “djjl_whatever-the-title-is_final,” and I would always know it’s the final and legit version.

What is a recent creative project that you are proud of?

I did an illustration for the whiskey brand Johnnie Walker. It’s so wild because I only had four days to finish it, and it usually takes me a week and a half if I rush. And honestly, it’s probably one of my best pieces from this year, which is funny. It was for the Mid-Autumn festival, so I made it as Korean as possible.

How has technology changed the way you approach your work?

I only use my iPad to draw everything now, and if I want to pretend that I have a steady workstation, I’ll use my Cintiq. I still am not as comfortable on the Cintiq as I am on Procreate, but it’s still pretty solid and nice. That’s the good part about technology. The bad part about technology is how AI art has been messing things up for me. I’m currently in a lawsuit about AI art as a class rep. Some of my stuff got turned into AI art late last year, so I have to give a deposition at some point.

What is a convention experience that has stuck with you?

Honestly, they’re all good! I feel like Lightbox Expo has been really nice because it’s truly been a convention for artists. I feel like that’s where most of my audience is, and they’re all around because their purpose is to be better at art. That’s where a lot of original artists do well because they’re getting art they’re inspired by, not so much fanart. I like the Lightbox Expo because it encompasses the pure love of art very well.

Top tips on setting up an Artist Alley booth?

Use a Y axis, not just your X axis! Take advantage of it! Branding is also something to think about. It is definitely something I’m getting better at. Having an assistant is also very important. I’ve also heard that 8.5x11 to 12x18 inches is usually a good size for prints, but I also provide postcard-sized prints because sometimes people don’t want to commit to a larger size.

Who on Tumblr inspires you and why?

You know this is so funny. I’ve been following @alicexz for over a decade on Tumblr and other platforms. I’ve followed her work since high school, and we’ve only recently become peers. I found her, and we met for the first time in real life, and she recognized me. And then I found all my drawings from when I was in my Alice phase, back in high school, and I was like, “Yo, this is when I was trying to be you so badly!” and she was cracking up and was like “Wow, this is so good!” It was such a sweet moment. I wanted to take a picture of her holding my drawing up. It’s really nice because now we’re peers.

Thank you so much for stopping by and sharing, Deb! Be sure to check out their Tumblr blog over at @jdebbiel.

#creator spotlight #artists on tumblr #deb jj lee #jdebbiel

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introverting-rn · 4 months

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would like to think that edgeworth’s cravat/jabot/frilly white thing has the perry the platypus effect. like he can go to steel samurai conventions without anyone going “hey isn’t that the guy who tried to prosecute will powers?” just cause of course it isn’t that guy! that guy was an entirely seperate human being who doesn’t have a neck! THIS is a different one

and then at some point he’s probably accused of another murder or some shit and edgeworth is resigned to hanging - not because he did it or because the defence job was too hard, but because he knows full well that his only alibi is buying merch at a steel samurai convention and there is no world in which he’d confess that to the court. however, phoenix gets his grimy little hands on the security tape footage and, having SEEN edgeworth’s neck for reasons i think we all know, he presents it triumphantly to save edgeworth’s life…

and then the judge penalises him and tells him to stop presenting irrelevant evidence and he goes ???? and he zooms in on edgeworth in the footage and the whole court is still going nah lol stop being an idiot

so phoenix wright, ace attorney and dropout art student, prints out a screenshot (the entire court accompanies him to the printer to make sure he’s not tampering with evidence. they all stand crammed into a room and staring at this ancient printer as it slowly chugs along. the judge sits on top of the printer so he can be taller than them) and draws three white lines on the edgeworth image. this is intended to be the start of the drawing but suddenly the entire court gasps and shrieks and falls off their chairs / printers in shock because THAT’S THE DEFENDANT RIGHT THERE HOLY SHIT

and edgeworth is just fuming over on his bench and turning beet red and hoping to be framed of another murder so he can die right about now

#all this instead of having edgeworth remove the cravat/jabot/recycled curtains and standing next to the image #because phoenix would never compromise a maiden’s honour in front of so many people like that #ace attorney #narumitsu #miles edgeworth #phoenix wright #humour

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rassicas · 22 days

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hi guys! im back. i went tokyo for a few days. got back at 7 this morning after taking an overnight 7 hour bus ride.... that i did not sleep on bc i cant sleep in moving vehicles. this will be something closer to a proper blog post i guess. splatoon related convention? experience below

i've kept my mouth shut about my plans to go because its not as well known on the english side of the fanbase and i didnt wanna make people too jealous sorry LOL , but i went to splaket 22! it's an unofficial, splatoon-only doujinshi market/artists alley. this was my first convention-sort-of event ive been to since i was... in high school. i also dont really get to meet many other hardcore splatoon fans irl. i was nervous about it because i don't know a whole lot of people on the JP side nor do i have a lot of confidence in my japanese speaking/listening, but in the end it was SUPER fun. i wish i couldve talked a bit more to the artists i did encounter to comment on what i liked about their works but. Skill Issue very few non-japanese people at this event of course but one of the only english speakers i saw i called out to bc they were wearing a shirt with this exact image printed on it no video and no photos outside of designated areas were allowed so i got like. zero pics of my own. but there was a lot of cosplayers i saw! oh and here's the Loot Haul. a few doujin, a clear file, stickers, microfiber cloth and a keychain. im surprised at how little i got, i think i shouldve gone a bit crazier with it

the one with Tao Blu and oonie in the top left (by sachikazerick) I came across by chance and bought because it was cute, featured splatband characters, and also because it all in some familiar inkling language (the last point of which i told the artist as i was buying) when i finally got home and saw the back credits...

SMALL FUCKIN WORLD LOL (i tweeted at the artist afterwards to let him know i came by the table and to thank him for using me and my friend's inkling language fonts!) though truly, i think ardnin deserved the credit more rather than me since he made most of those fonts! ah well, still cool to see more and more fan works using deciphered inkling language. top middle book is a story with some salmonid characters that i havent read yet but im looking forward to it, the art is lovely. top right one was the first thing i bought. the artist is rk_splaworks, whose art i love, and we've been mutuals for a few years and have talked a bit here and there! i was so fucking nervous to meet them in person since my japanese sucks LMAO but they were happy to meet me too and we got a selfie together yippy <3 also havent read their doujin Yet since ill have to rub all my brain cells together and huddle over the dictionary, but i want their oc lore

ok that's all i'll say, next splaket is...june 22. very soon....im already thinking ill. go again. yknow. while im still in japan and all that. i guess ill have to study harder on my jp in the meantime teehee ...i doubt it, but in the off chance anyone following me is going to the next splaket in june lemme know!

#much of this is me cross posting my tweets from the past few days and then some #rassicas speaks #ive forgotten to make a tag for my non-ask original posts so i guess thatll be it #anyway ill get to work on translating that famitsu interview teehee

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spngirlpolls · 9 months

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we are on here every single day of our lives talking about supernatural in excruciating microscopic detail. but do you own any merch? excluding owning the show on dvd bc that’s a whole different poll.

personally i did not own a stitch of supernatural merch until recently (i found the supernatural cookbook at goodwill) so i’m just wondering what you guys are up to on that front

#spngirlpolls #spn polls #spn #supernatural #supernatural polls

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spiritsonic · 9 months

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I saw these on the web and I wanted to ask since it’s your art,

are there two versions of your issue #8 cover? Cuz this is my first time seeing the second one

The first (with the red reticule) was colored by I think Matt Herms, and is the official one. The second is a color job I did myself so I could sell prints of this cover at a convention that'd be 100% my work.

#IDW sonic #the prints aren't available right now my fancy printer is broken

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charliedzilla · 1 month

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I did some Vees fanmerch for upcoming conventions! (And ngl for myself 😂) Shirts will be super limited and I will be ordering them this thursday (printed with screenprint localy in Czechia) so if anyone wants to grab one grab!

#hazbin hotel #staticmoth #voxval #valentino #velvette #vox

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gamchawizzy · 2 months

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❗️Mutual Aid Needed🦐

Hello hello, I am Woz, I am a trans guy from the global south, and outside of my day job in corporate, I am an artist. I am the breadwinner of my family, and I also get my younger sibling through school.

For a little more than half a decade I have been suffering with bad mental health and suicidal thoughts, on top of trying to keep my family afloat with what I can earn.

I work two jobs to earn money, on top of tabling at conventions to be able to earn extra on the side. I am the one who pays all the house bills, some groceries, often having to send money to my sibling for school and sometimes tuition. Due to the constant pressure from overworking and the abusive social environment I have been exposed to for the longest time, I am now experiencing bodily pains, shortness of breath, headaches, worsening eyesight, and worsened depression as I clock in 10-15 hours almost daily (including weekends and holidays) trying to make ends meet.

I’m humbly asking for your help so I can get proper healthcare, which has been out of my reach for the longest time due to poverty. I was hoping to be able to afford help a few years ago, as soon as I got a job, but ever since the pandemic, the local price hikes just kept going, and going, until the matter was off the table entirely. The biggest reason why I am trying to get this moving now and as urgently as possible is so I can still receive treatment while I am still mentally and physically able to take charge of my own health.

While I’m still more or less able to function well enough to work, I recently escaped an abusive situation, which was one of the biggest causes of my misery. The fallout from this event brought on a severe impact on my mental health and I was subject to a cult-like shunning by my old community. This has caused me to develop suicidal thoughts again, which eventually led to several self-delete attempts, the latest of which almost succeeded had I not been caught at literally the last second.

At the moment I am stable again and in the hands of trusted loved ones, but I still do not have access to professional help and I don’t know how long this stability will last and the next thing might cause me to spiral again.

We already did some research on getting local help and have a plan in motion, all we need now is the funds to carry it out. The bulk of it will be for the initial consultations and possibly medication, and we’re hoping to have enough to get the ball rolling for a couple months’ worth of treatment as I get myself back on track.

The initial process will be the most expensive as I am suspecting to have an undiagnosed condition that I would like to have checked, as well as possible medication. I do not have a disability ID yet (but I plan on getting one once I get a dx on paper), so we may have to pay full price for initial treatments.

Currently, my primary goal for this would be to achieve psychiatric help, diagnosis, medication, and therapy.

If I’m able to save up for a few months of maintenance and still have extra left over, my secondary goal would be to finally get my knees checked, as I have chronic pain and the occasional kneecap dislocation in them. This has been left unchecked for more than 15 years due to both poverty as well as being outright denied healthcare by the adults around me due to them downplaying the problem. I am nearing my 30s soon. While I’m still able to walk and engage in physical activities without the use of mobility aids, I fear that the complications from this condition if left untreated will only take a turn for the worse as I age.

Direct ways to support me:

Paypal:

Ko-Fi:

I have prints! You can pick up some of my art here:

We do not have a set price goal in mind as it will be a months-long process of beginning treatment and maintaining it, but rest assured all funds received will be set aside for the purpose of my healthcare and well-being only.

I still cannot escape many factors of my life that continue to hurt me, but I am hoping that continuous treatment, therapy, and support will help keep me going so I can keep my family fed without me having to worry about my own health.

Any donation, big or small, helps me so much! Even just a dollar/peso helps, shares and reblogs too! PH Moots, feel free to ask for my GCash in private!

Thank you all for reading! I’m always grateful 😭🙏❤

#mutual aid #mutual assistance #reblogs appreciated!! anything helps 🥺#No deadline on this - we are hoping to start as soon as March/April but happy to keep receiving donos 😭#so sorry about all this but yeah it is a big reason why i haven't been drawing outside of work nowadays. so many Bad things added up

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dduane · 1 year

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With regards to etiquette regarding authors and fan-works: how does this work with authors who participate in fandom subsequently writing authorized spin-offs or...whatever you'd call "I don't own this IP but I have permission to publish a thing"? Obviously "don't send someone fic directly so they can choose whether or not to engage" is a good rule to follow, but if you — as an example — read a bunch of Sherlock fic and then get hired to write a Sherlock novel, is that then legally problematic?

Hmm.

Let's first sharpen up the terminology a bit, so we can all be sure what we're talking about. The owners of a given IP may not necessarily be the ones tasked with the actual business of inviting others into the property to create new material in that universe. So for convenience's sake let's just lump the actual owners and the ones managing the IP on their behalf together as "the Licensors". The person/s allowed by the licensor to execute this new art, or to hire people to do it, is/are the licensee/s. (...It's actually a little more complicated than that, but let's leave it there for the moment.)

Now, about your first question: let me head first for a situation where I've been in the past, so I can tell you what I did.

Let's say someone who's read Star Trek fanfic—not exactly vast amounts, but some, a decade or so previously—goes pro and then gets asked by the licensor, "Hey, wanna write a Star Trek novel?" When that happened to me, I let my editor know that I'd read some Trek fic in my time, but would do my best to avoid any storyline that was anything like any fic material I could remember. And for a long time I had an informal agreement with Pocket Books—noncontractual, but one I adhered to rigidly—that I would avoid reading any Trek fanfic while I was writing Trek professionally, and would only read Trek material provided to me by the publisher themselves. (This habit has persisted for a long while, as—these days in particular—there's no telling when the phone might ring...)

Back in the day, this approach worked well enough to be going on with. For one thing, Trek fanfic was then way thinner on the ground than it is now, and (being printed pretty much exclusively in paper fanzines) was far easier to avoid. It also worked because I had no desire whatsoever to take the chance of borrowing anybody else's material to begin with. Then as now, I'd have felt that would've been seriously wrong—and anyway, I had more than enough ideas of my own. ...And it worked for a third set of reasons, peculiar to Trek.

Early on, the attitude of (first Paramount, then Gulf&Western, then... who came next? Viacom? Anyway—) the corporate owners was essentially, "We own this IP; nobody should be writing fic in it without our permission; if anybody gives us grief about one of our books being like something of theirs they wrote illegally, we'll come after them with the lawyers." This attitude was markedly not Roddenberry's (at least early on...). He absolutely knew about fic, saw it at conventions, and largely seemed not to mind. This weird dichotomy of stances contributed to an atmosphere in which ficcing fans were inclined to walk softly, try to keep from being noticed by the corporate levels, and (if they engaged with Gene on the subject) keep it very low-key.

Now around the same time I was doing my first couple/few Trek works, the profic/fanfic interface started to get spikier. This was at least partly due to the problems that followed Marion Zimmer Bradley's engagement with a fan writer in her Darkover universe. At least partly as a result of this, various pros' attitudes toward people ficcing in their universes noticeably hardened—the emphasis shifting from concerns about personal preference to sharper ones centering on the writer's potential legal exposure. (Though the two kinds of issue did sometimes get tangled together.)

So that bubbled along for a good while in the background, coming more seriously to the boil when the Internet became a thing, and fic started to percolate through it in newsgroups and mailing lists and (finally) onto easily accessible web pages; and most recently, into platforms like AO3.

And this is where the question of ease of access becomes a significant part of the equation, and the picture shifts equally significantly.

I can't help but smile at the phrasing "If you—as an example—read a bunch of Sherlock fic and then get hired to write a Sherlock novel..." Because though there may be some Tumblerini sitting at the bottom of the crater Daedalus or in the depths of Valles Marineris* who don't know about this, well, I'm a Sherlock fan... and this query is pertinent.

Let's say that Messiah comes, the King returns, and the BBC commissions Sherlock S5. And secondary to that, let's say that the production staff call my agent and say, "We hear you've got this hot licensed-property writer who's done work for all these different licensors. How about you ask her if she wants to write a Sherlock novel for us?"

And now we're up against it... because there's more than one kind of tie-in novel.

One is the kind where you novelize a script. Of agreeing to that I'd have no fear, because the boundaries of such work are tightly circumscribed. The writer's job in such a situation is to render the dialogue and visuals as gracefully as possible into prose, and otherwise to avoid unnecessary flights of fancy that might jar against the writers'/producers' creative vision. ...So if that was what they wanted, I'd pretend to think about it for a couple of days, and then have the agent call them back and say "Yeah, sure, let's do it." (And then the shrieks of delight would begin. Sometimes it's useful to live this far out in the country.)

But if they wanted an original novel? A new Sherlock story?...

I would have to say no. Because my AO3 bookmarks are hip-deep in Sherlock fics, and there is no way, NO way, I could say with my hand on my heart that I was sure I wasn't going to wind up, however accidentally, borrowing or restating something I'd seen of someone else's. If I accepted that job, and then (a year, two years, five years later) someone appeared with evidence in their hands and said, "You used a situation / language that's clearly mine", I would be utterly shattered.

And would it be "legally problematic"? You bet it would. Forgive me for not spelling out all the ways it could be Bad. But even if the situation was finally resolved in the friendliest way possible for everybody concerned, the fact of what had gone wrong would hang like a shadow over every other piece of licensed work I might ever want to do. (And there probably wouldn't be a lot of those.)

So realistically speaking, the ethics of the situation would make that a challenge I wouldn't dare take. I would walk away and try my best to keep to myself the annoyance that would follow. It'd be sad, but it'd be necessary: because the lines I expect to be drawn to protect me, I must also make sure will equally protect others. It's only right.

Anyway, thanks for the question(s). Hope I've sufficiently covered the ground; and HTH.

*I almost typed that as "Valles Marinaris". Yeah, the Solar System's biggest known crevasse now suddenly full of spaghetti sauce? I almost did that. Always proof your copy three times...

#fanfic #profic #and their changing interface

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canmom · 1 year

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comics and animation have a lot in common, but one interesting difference is that arranging pictures in space rather than time means there's a tradeoff between the amount of drawings you use to show an action, the amount of space each drawing is given, and the amount of pages you cover which determines the 'pacing' of the comic.

if you slice the page up into a lot of tiny boxes to show many stages of a motion like an animation, then each panel has correspondingly less space for background details, and it may affect the aspect ratio of panels. if you give yourself space for a large splash panel, then the pace will slow.

one solution to this problem is to break the convention that a panel is a single 'frame' of action and show multiple images of a character in the same background. Kentaro Miura did this sometimes, and Tradd Moore (on here - @traddmoore) is an expert who uses it frequently (I'll reblog his spiderman comic in a minute). Kamome Shirahama, a genius at creative paneling, also uses it in a couple of places.

a similar trick will have a single background continuous across multiple panels, showing a static 'camera shot' at different times.

the limitation of these methods is that breaking convention makes the panel a little harder to process - you need to make absolutely sure you cue the reader clearly about where to enter the panel. and it requires action that involves a large movement so the drawings don't overlap. so most authors use it as a 'once in a while' thing.

an opposite approach, used in early parts of Superpose by Seosamh and Anka and Goodbye, Eri by Tatsuki Fujimoto, is to go even harder with the cinematic convention and give each panel the aspect ratio and detailed backgrounds of a film camera, taking all the space you need - Superpose opens with about two panels per page which may be very similar to each other, creating a very deliberate sense of pacing. to pull this off you need to be either extremely fast at drawing like Fujimoto, or accept your comic taking a long time to get anywhere - and you also need to be very good at placing the camera in space. you're basically drawing fully rendered storyboards at that point.

one of the interesting difficulties of comic-making is controlling pacing. if you draw many very similar panels it will convey a sense of high concentration and intensity, or a heavy atmosphere, like a long take in a film. much like in prose, if you spend a lot of pictures on something it draws attention to it. so you want to use the 'slow down' sparingly for effect.

as in animation, you're also limited by your own capacity to draw all those pictures, and moreover the space to put them. this is one reason why comics in magazines tend to be sharply limited in page count, and webcomics tend to be very slow compared to other forms of serial fiction. (perhaps manga can make heavier use of pacing tricks by virtue of cheaper printing and endemic overwork. i don't think that's the full story though.) meanwhile, when Transmetropolitan started to experiment with manga-style pacing, apparently it upset fans who felt the story progression was being diluted. when reading Transmet in one go, though, you don't even notice. what works well in an anthology of hundreds of pages may work poorly in a serial.

i think the pace of the reader is often controlled primarily by the text - at least for me I find I sometimes have a tendency to jump very quickly over panels to get to the next bit of the story and have to consciously slow myself down to make sure I don't fail to appreciate the art. so while a series of text-less panels is effective artistically, you might want some words to act as speed bumps. but too much text per picture and your comic becomes exhausting to read, like Subnormality. and you don't want to over-explain what's conveyed perfectly well by the pictures, as many older comics do.

ideally, you use your text, small panels and large panels to create a sense of rhythm. a big splash panel can act as the full stop in a sentence, or a longer take after a series of rapid cuts. negative space is an especially powerful device in the right hands: when you hit a page of Chainsaw Man or Berserk that is almost entirely white after several pages of dense illustration, a character bursting into the void, there's an immediate 'wow' effect before you even process what's happening in the illustration. (i can't seem to find the chainsaw man example i had in mind, so here's one from berserk.)

and on that note, the other thing that comics have that animation doesn't is the impact of being confronted with the whole gestalt page. in the manga I was helping Fall translate when she died, We Are Magical Boys (Bokura wa Mahou Shounen), Fukushima Teppei frequently puts one panel much larger than the others so it dominates the page, usually a close-up or full length character portrait, allowing the cuteness of their unique art style to treasure centre stage. Sandman, which I'm currently rereading, is full of elaborate page compositions, where a drawing might not even be a panel per se, but a visual element. Witch Hat Atelier is full of elaborate borders and clever compositions. just look at this...

how did she come up with that! the absolute madwoman! the right side is relatively standard Atelier (establishing shots, the main cast eagerly stepping out of their panel) but on the left, we have a set of panels falling down from above onto a large splash panel. even though this image is concurrent, the panels invite us to appreciate it in chunks, and the page as a whole has this great visual of the pages of a book, continuing the image of the previous page. (more of this on upcoming post on Atelier)

a character emerging from their panel to overlap others, breaking up the monotony of the grid and adding a sense of depth to the page as a whole, is a reliably appealing motif. also, drawing one panel borderless, so it implicitly continues behind the other panels. large areas of black and white and choices of colour saturation can convey a mood to the page as a whole.

the danger you run is always the loss of clarity. the reader must be able to tell what panels to read in what order without thinking about it. Sandman will sometimes do a double page spread where you're supposed to read across both pages, and this consistently trips me up. Dresden Codak is by an adhd author and her drive to give every page an elaborate layout is very familiar to me, but especially in Hob, it messes with the flow of the comic overall.

so every comic page, every comic, is a fascinating balance of all these factors. how to create a strong, visually interesting composition, control the pacing appropriate to tone, create a thrilling sense of rhythm... all without sacrificing clarity.

not much more to say about this as yet, it's just something I'm thinking about while trying to lay out a page of Ghost Barrier. my tendency is to generally use larger panels, and try to be creative with layouts, but you have to consider not just each page in isolation but how they relate to other pages. so to make the splash panel land, I need to contrast with a denser page immediately beforehand.

the more I make comics the more of a feel I'll get. cool medium!

#comics

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beespaceprogram · 1 month

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Sticker Cutter Research

I was looking into getting a sticker cutting machine, and I decided to start by looking into cricut which is a well known brand. I had a look at what models they had than their feature etc, but what I was most concerned about was their software. Printer companies like to lock you into a defacto subscription to support hardware you don't really own, and as I was to discover, cricut are operating in a similar way.

The cricut software is online-only*. To cut your own designs you need to use their software to upload your art to their server. There's no way to cut a new design without a logged-in cricut account and an internet connection. At one point in 2021 they flirted with limiting free accounts to 20 uploads/month but backed down after huge community backlash, as far as I can tell.

The incident spawned several community efforts to write open-source firmware for cricut hardware. Some efforts were successful for specific models/serial numbers, but require cracking open the case and hooking in to the debug contacts to flash the chip; not exactly widely accessible. Another project sought to create a python cricut server you can run locally, and then divert the app's calls to the server to your local one.

I restarted my search, this time beginning with looking for extant open-source software for driving cutters, and found this project, which looks a little awkward to use, but functional. They list a bunch of cutter hardwares and whether they're compatible or not. Of those, I recognised the sihouette brand name from other artists talking about them.

I downloaded the silhouette software to try like I did w the cricut software, and immediately it was notable that it didn't try to connect to the internet at all. It's a bit clunky, in that way printer and scanner software tends to be, but I honestly greatly preferred using it to cricut's sluggish electron app⁺. Their software has a few paid tiers above the free one, adding stuff like sgv import/export/and reading cut settings from a barcode on the input material. They're one-off payments, and seem reasonable to me.

This is not so much a review, as sharing some of the research I've done. I haven't yet used either a cricut or a silhouette, and I haven't researched other brands either. But I wanted to talk about this research because to me, cricut's aggressively online nature is a red flag. Software that must connect to a server to run is software that runs only at the whim of the server owner (and only as long as it's profitable to keep the server up). And if that software is the only thing that will make your several hundred dollars worth of plastic and (cheap, according to a teardown I read) servos run, then you have no guarantee you'll be able to run it in the future.

Do you use a desktop cnc cutter? What has your experience been like with the hardware and software? Do you have any experience from home printers with good print quality and user-refillable ink cartridges?

* Cricut's app tried to connect to more than 14 different addresses, including facebook, youtube, google analytics, datadoghq.com, and launchdarkly.com. Launch Darkly are a service provider that help software companies do a whole bunch of things I'm coming to despise, for example, they offer infrastructure for serving different features to different demographics and comparing results to control groups. You know how at various times you've gotten wildly different numbers of ads than your friends on instagram? They were using techniques like this to work out how many ads they could show without affecting their pickup/engagement rates. Scummy stuff.

⁺ Electron apps are web-pages pretending to be applications. They use heaps of ram, tend to have very poor performance, and encourage frustrating UI design that doesn't follow OS conventions. Discord's app is a notable example of an Electron app

#bee talks #sticker cutting #cricut #silhouette #research #garbage software

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