#but i'm not paying for adobe so this is where i'm at
Text
😳
Somebody in the tags of one of my posts called my art “shaped,” and I’m pretty happy to hear that.
#tbh i want my art to be even more shaped#i strive for that 'poppy' vector art style#which is a littledifficult to do when your hands are unsteady#and you're not actually using vectors#i actually really like making vector art#but inkscape is such a PAIN to use#but i'm not paying for adobe so this is where i'm at#you can kinda do vector art in CSP but it lacks a lot of the good tools that help with the vector art flow#kun3h0's aesthetic was supposed to be my excuse to try and get more into that style#but my flow just isn't that good yet#i'm getting there though!#everytime i draw her i feel a little bit better about it#speaking of i haven't streamed in a while#but i've still gotta lot going on right now UmU#but i'd love to get back into it
6 notes
·
View notes
Text
have been looking over a few laptops lately since they're cheaper during these coming back to school months and man i'm so scared of fucking up and getting a bad one because they're still mad expensive
#roa.txt#like yeah i'd try to look for ones where u have to pay x amount every month or at least bargain so i can do that#but damn.. idk how these parents do it i swear.... laptops books notebooks new bags new pencil cases new pens new coloured pens new folders#new everything it's fucking insane#i know i'm poor bc i still have pencil cases from when my sister went to elementary where i keep markers i've had since i was in elementary#holy fuck man being an adult with hobbies is SO expensive#and i don't even pay for any of these things that come from adobe......
0 notes
Note
Hello it's me with another very naive computer question!
One of the really common complaints you see about modern software (from Adobe, Microsoft, etc.) is the move from the single-purchase model to a subscription-based model. While I understand that people are upset about paying more money over time, this also feels like the only viable option for shipping products that work with modern OSes, especially Windows (I don't have any experience with MacOS). Windows pretty regularly updates, and if you want your product to continue to work, you have to continue paying your engineers to maintain compatibility through time.
Obviously I understand that there are lots of FOSS options out there, but for the companies that are built on making money from these sorts of software products, I don't see another way. Am I way off the mark here?
This is a really good question. I don't have a great answer, but the model I have in my head is that "traditional software distribution" is partially an artifact of an era where companies were starting to use computers but internet use was still spotty so providing support for software was just a very different ballgame. A lot of what I'm saying here is not like. Fact as much as it is my understanding of The Software Business from the side of someone who is a little involved in that but mostly not in that.
(This is mostly about "business software", that is to say, accounting packages, creative suites, design packages, modelling tools, etc. This model does not explain like. Spotify. But that's much easier to explain.)
You're not wrong that the subscription model really make sense given modern software development, where patches come out continuously and you get upgraded to the latest version every time something changes, but there has been a significant change in how software is developed and sold that makes it noticeably different. I think that the cause of this is mostly because it's finally practical to do contract-style deals with hundreds of thousands of customers instead of doing one-off sales like we used to do.
In the Traditional model you charge a pretty sizeable upfront cost for a specific version of the software, you buy Windows XP or Jasc Paint Shop 7 or whatever and then you get That Version until we release The Next Version, plus a couple years of security and support. When the next version hits, we stop adding any new features to your version, and when that hits end of life, you maybe get offered a discount to buy licensing for the latest version, or you drop out of support.
Traditional software with robust support typically costs an awful lot, Photoshop CS2 was $600 new in 2005, or $150 to upgrade from CS, because you're paying for support and engineering time in advance. A current subscription for just Photoshop is $20/mo, and that's after twenty years of inflation. Photoshop is also cheap, a seat for something like SolidWorks 2003 could probably have run you $3000-4000 easy. I can't even give you a better guess there because SolidWorks still doesn't sell single commercial licenses online, you have to talk to their salespeople.
The interesting thing to me about Traditional pricing was that I think it was typically offered to medium to small businesses or individuals, because it's an easy way to sell to smaller customers, especially if it's the 90's and you're maybe selling your software through an intermediary reseller who works with local businesses or just a store shelf.
Independent software resellers were a big business back in the day, they served as a go-between for the software company and smaller businesses, they sold prepared packages in a few sizes and handled the personal relationship of phoning you up and saying "Hey there's a patch for your accounting software so that it doesn't crash when someone's surname is Zero, we'll send you a floppy disk in the mail with some instructions on how to install it." Versioned standard releases are a thing you can put in a box and give to resellers along with a spec sheet and sales talking points. This business still exists but it's much smaller than it once was, it's largely gone upmarket.
If you were bigger, say, if you were a publishing house that needed fifty seats of editing software you'd probably call the sales department of Jasc or whoever and get a volume deal along with a support contract.
Nowadays why would you bother going through resellers and making this whole complicated pricing model when you could just sell subscriptions with well-established e-commerce tools. You can make contract support deals with individuals at scale, all online, without hiring thousands of salespeople. You can even provide varying support levels at multiple cost brackets directly, so you don't need to cultivate a direct business relationship with all your customers in order to meet their needs. Your salespeople handle the really big megacorp and government deals and you let everyone else administer themselves.
It also makes development easier. You can also deploy patches over the net, you just do it in software. You can obsolete older versions faster, since you can make sure most people are using the latest version, and significantly cut down on engineering time spent backporting fixes to older versions. I think a lot of this is straightforwardly desirable on most software.
Now, there are still packages sold by the version, and there are even companies selling eternal licenses.
Fruity Loops Studio is still a "Buy once forever" type deal.
MatLab can be purchased as a subscription or as a perpetual one-version license.
Windows is still sold like this, but also direct to customer sales of Windows are minimal, Windows is primarily sold to OEM's who preinstall it on everything.
But it's a dying breed, your bigger customers are going to want current support and while there are industries where people want to hang around on older versions, for a lot of software your customer wants the latest thing with all the features and patches, and they'd rather hold on to their money until later using a subscription rather than spend it all upfront. Businesses love subscriptions, they make accounts books balance well, they're the opposite of debt.
Personal/private users who might just want the features of Photoshop CS2 and that's fine forever don't matter to you. They're not your major customers. This kind of person is not a person who your business cares to service, so you don't really care if you annoy them.
Even in the Open Source business world, subscriptions are how the money is made, just on support rather than for the software itself. You can jump through relatively few hoops to run Ubuntu Enterprise or SUSE Enterprise Linux on your own systems for free, but really there's not much benefit to that unless you pay for the dedicated support subscription.
In many ways I think a lot of things have changed in this way, I have a whole thing about the way medium-scale industrial manufacturing has changed in the past thirty years somewhere around here.
While there are valid reasons you might want to buy a single snapshot of some software and run that forever, the reality is that that's a pretty rare desire, or at least that desire is rarely backed by money. If you want to do that you either need access to the source code so that you can maintain it yourself, or you need to strike a deal with someone who will, or it needs to be software so limited that it (and the system it runs on!) never need updates. Very few useful programs are this simple. As a result subscription models make sense, but until recently you couldn't really sell a subscription to small businesses and individuals. Changes in e-commerce and banking have enabled such contracts to be made, and hey presto, it's subscription world.
48 notes
·
View notes
Text
read pt 1 here
idk what to call this series yet, it's basically just LO but "what could have/should have happened"
if anyone has any suggestions pls lmk!!
for anyone curious, the brush I use is the only one I could find from the collection Rachel uses (it's called Kyle's Builder Brush and it's on Gumroad for free/pay what you want), unfortunately the rest of the brush collection is paywalled behind Adobe Creative Cloud (if anyone knows where I can find it though that would be super appreciated, the only lead I have is someone on reddit who sourced it ages ago through DM's but then decided to catch the moral cooties so I'm waiting to hear back from a sort-of-still-active user who got the brushes from them back then, it's a whole ass process) , and the font is from the Jason Brubaker set which is on Gumroad for $26
anyways enjoy this pt 2 to the last post, I'm gonna try and post these chronologically but sometimes I just wanna draw what I wanna draw so that means stuff might end up being out of order sometimes. If it is, I'll provide proper context and relevant inspiration so y'all don't have to worry about getting lost <3
418 notes
·
View notes
Note
Hi!! I saw your blog and it's beautiful! I'd like to ask if you could share some tips about editing posts, specifically changing the font color and doing that cool effect where it has more than one color on the same font ☺ if you're not comfortable teaching that's okay too! Have a good night
Hello Siren,
Thank you for the compliment. Yes, I can teach you. Just follow a tip from Auntie here: do it because you genuinely like the aesthetic. The time you spend writing the post is sometimes the same as editing it, and in my experience, this won't necessarily translate into more likes or reblogs. So, do it because you think it's beautiful.
As comical as it sounds, I won't be using HTML in this post because using the codes could cause problems. I've seen some tutorials, but I just really learned when I searched on my own.. I also do all my editings on my notebook. So, here's everything I use:
Websites I use for editing:
HTML Code Editor: While you're creating your HTML, you can simultaneously see if it's working
BBcode & HTML Text Colorizer: This is where you'll create the gradient
Browserling: I use this site to make the gradient code compatible for Tumblr
Aesthetic Symbols: this is for that cute symbols
Piliapp: more copy/paste symbols
Fontes e Letras: copy/paste fonts
Canva: This is where I create some of my designs. I also use Photoshop
Deviantart: a lot of material for Photoshop like templates, PSDs and Renders (PNG image with a good resolution), you can see the ones I use the most in my sources
@animatedglittergraphics-n-more: dividers
@saradika: dividers
@engrampixel: cute material
Color Hunt: if you don't have a color pallete in mind, here you can find a lot of options
Adobe Color: if you want to create your own HTML color palette this site can help
DaFont: where I download my fonts, the ones I use the most are: Betterfly, Arcadepix, Starborn, Lemon Milk, Cursive Sans and BubbleGum
EmojiTerra: as I use tumblr on my notebook, this is where I get my emojis
HTML Text Editing
Important:
Go use the HTML Code Editor in this part and your life will be way easier.
Some things I do right here in the tumblr editor, like putting the images and different fonts like Lucille.
All HTML code starts with < > and ends with , that is, when you start a paragraph you will write <p> and when you finish you will write </p> (HTML Code Editor ends your coding automatically)
I'm teaching all this because if you want to make gradients in your entire text and not just in the title, you'll need to know about html
To start your HTML you will need to go to the gear that appears on the right side when you are writing your post, go to the bottom until you find the Text Editor and switch to HTML.
The Codes
<p> start a paragraph </p>
<br> to make a space between text less than a paragraph (good to use in indented text) you don't need to put </br>
<b> make the text bold </b>
<i> leave the text in italics</i>
<strike> leave the text crossed out </strike>
<small> make the text small like this </small>
<h1> make the text large like this </h1>
<h2> make the text large like this </h2>
<ul> Create unordered list (dotted) </ul>
<ol>Create lists with order (numeric) </ol>
*instead of making paragraphs you will create new items in the list using the code <li> </li>
<blockquote class="npf_indented"> make the text indented </blockquote>
<span style="color: #HTML"> Code to color your texts, pay attention that it uses (") instead of (') and doesn't use (;) </span>
Tutorial on creating invisible spaces, just like I use to do the navigation, if I put it here everything bugs. PT-BR
<a href="URL">Link Text</a>: Creates a hyperlink
Making your Gradient
Go to BBCode and HTML already with your HTML text and colors in hand. Write or copy your text in the box, choose the gradient type (I use middle) and select your colors (from one to three different colors)
Now copy the text in the "HTML code for this text: (To use on your website)" box and go to the Browseling, you will replace the (') to (") and the (;) for nothing
Copy and paste your new code direct in your tumblr post editor or in the HTML Code Editor. Success!!
I think that's all. Kisses from the Sea! 🐚
141 notes
·
View notes
Text
AI and the value of labour (but only if it's yours)
Few of you have missed the whole AI/AI-art/ChatGPT-debate by now and even though few have the technical literacy to actually know what it is and its implementations, it hasn't stopped people from having opinions on it, and wow they sure are Opinions. It's mainly about how it's art-theft and will put already struggling artists out of business because now there's a chance that their dandelion found in a deviantart furry artwork they made using GIMP once will now be seen made sort of in the same style on a 250x250 pixel generated picture from a free online generator. And now I'm going to be snarky about it but also highlight a problem seen from the other end of this - the value of labour, and I'm not talking about the artists labour here.
But first let's look back a little bit for some well-needed perspective:
The logic for this is nothing we haven't seen before; you can't copy art and have it made available for just everyone to use like this! In the early 2000's it put musicians out of business and destroyed music forever with the introduction of napster. Pirate bay is why movies no longer are being made. It has destroyed art as we know it when people tauntingly right-clicked on a cryptobro's NFT and clicked "save as" (which I assume is also very problematic for the people who are vehemently against AI art? It's a literal 1-to-1 copy of your work). Media corporations are dying because intellectual properties are no longer protected under the copyright laws after 70 or so years. In the 90's there was even some video star who literally murdered a radio star. With the introduction of vinyl, it even killed live music forever.
So technology has been destroying just about all forms of art as we know it for a while now and each time it's the same doomsday predictions from the newly formed kind of art-christianity where some art has soul (Good, Skilled Laboured artists) and others hasn't (Evil, of course).
Now for the informative part of the post:
In the 1970's, computers as we know them today began forming, and with it, the value of a computer programmers skill and labour. Alongside with this, they saw a growing problem: Corporations owned everything they made, and corporations will also have the whole say about what will be present on a computer and the price of everything present on it.
This was not very appreciated by neither the programmers, and nor the customers (although few saw this growing problem coming). So in a weird twist of fate, programmers became one of the most left-wing labour-rights occupation you could find by forming Free Software Foundation, GNU, and essentially setting the stage for you to be able to use the free GIMP software instead of buying a staggering price for Adobe's Photoshop. It enabled you to download firefox instead of buying a copy of internet explorer. Because yes, before this kind of software activism formed, and the general environment of software development became to make it as freely available as possible - and having an outright despise for corporations like Novell and Microsoft for taking such huge amount of money to their own pockets instead of the developers, literally every piece of software cost money. A LOT of money.
This kind of 100% for free software usage we're used to has also led to us no longer being appreciative of the work and skill that goes behind keeping a software not only developed and updated continuously for decades, but also spending money on keeping it hosted and delivered to you for free. We even joke and scoff about the mere thought of having to pay 0.99 Euro for an app we'd use daily and a developer spent 2 years in the making. Meanwhile, when someone offers to pay someone merely 10 euro or so for a handmade blanket, there's an outrage about the value of labour and skill. And rightfully so! I support that, and so should you, even if it's labour that you weren't the one making.
And it doesn't end there either - we all know corporations has no trouble finding new ways to charge you money. Organisations like Free Software Foundation, various Linux projects and Mozilla have campaigned for a freer usage in general, leading to fair-use laws, campaigning for the right to repair your technology instead of having to buy new one all the time, as well as preventing corporations from banning every other piece of software on a computer that they don't want you to have (from a competitor or free alternative of their software).
I mentioned Adobe specifically, because in the wave of anti-AI-art outcry, artists are campaigning for a ban on making software that uses other peoples artistic similarities (not copies mind you, similarities, meaning making it a copyright infringement to have art that is similar to yours, since that's what AI-art algorithms create), and I'm sure right off the bat many of you can see the huge problem with that, but Adobe sure isn't. They're also gladly in on this, because that would mean that free alternatives of Photoshop like GIMP would also become a copyright infringement. So would a lot of our other free software we use daily and take for granted.
That's all I wanted to say about this I think. The TL;DR version is basically to value labour even if it isn't yours, and to not take it for granted. As a final part to remember about AI is that it is a tool, and like any tool it can be used for good or evil. AI is what made it possible for us to make sense of the large hadron collider data and made enormous leaps in scientific discovery in just a few years, that would otherwise had taken 500 years to sort through by humans, and with a much higher rate of error.
42 notes
·
View notes
Text
A little bit late, but I'm gonna jump in on the recent "RC uses AI art" bandwagon. I understand where you're coming from — I'm an aspiring translator and even before the whole AI craze I had no idea how tf I'm gonna look for a job once I'd graduate, but now the situation's even more dire. That being said, I think we really really REALLY shouldn't jump to conclusions about in this case because
do we actually have any proof that it's AI generated art besides "it looks like that"? Because AI... doesn't really have a "style", it's literally gonna look like the art you feed to it/what it finds on the web. I've already seen at least one instance of artists being told that their art is actually AI generated just because it looks similiar. CGs in all stories are usually more realistic-looking, imo, and showcase the biggest differences between different artists' styles. All of this is speculation is conjecture, but like, so is the whole thing about RC using AI art in the first place. So I'll just move on to more solid argument
just last month, on August 4th, RC announced an open call for hiring artists. I guess this vacancy was targeted at CIS countries since as far as I'm aware they didn't crosspost it to Facebook or Twitter or anywhere besides VK and Telegram channel. On 28th they stopped accepting applications from artists and are, most likely, currently continuing the tryouts. My point is: what kind of company would resort to using free AI and then go and hire real humans you actually have to pay? It just doesn't make sense
Here is my translation of these posts about the whole hiring business and screenshots. I'll send you links via another submission or ask because I'm afraid tumblr might nuke this one
translation, if anyone knows russian and thinks I made a mistake of some sort feel free to correct me, after all there's a lot of artist argot I'm not too sure about:
august 4th:
2D artist vacancy
Friends, we announce that we started hiring artists to Romance Club team. ❤
We're YSI, an independent game development sudio from Moldova, that creates interactive visual novels. We're looking for people who may become a part of our big family.
If you're a talented character and/or game locations 2D artist (or you're just great at drawing), then you're exactly who we're looking for!
✅ What do we want from the applicants?
- creativity and rich imagination;
- to be professionaly versed in 2D graphics softwares (experience with Adobe Photoshop is necessary);
- to be able to draw by hand using a graphic tablet;
- your portfolio is necessary.
❗All of the applicants will be given a test assignment❗
✅ Why you should choose Romance Club:
- friendly young team as well as modern office in the capital of Moldova;
- to work with experienced professionals in informal and inspiring environment;
- opportunity to realize your own creative ideas;
- exciting long-term projects;
- fair wage + bonuses;
- possible career development;
- game dev is cool!
If you're interested, send us your portfolio at jobs @ yourstoryinteractive. com and briefly tell us about your skills
August 28th:
2D artist vacancy, applications closed
Friends, we finished the hiring process for artists❗
Huge thanks to those who sent us their resume. Everyone turned out to be incredibly talented and interesting.
✅ Candidates that received an e-mail from us move on to the next stage of tryouts
Our apologies for not being able to reply to everyone personally. We received a great deal of applications and, unfortunately, couldn't possibly contact everybody.
Thank you for showing interest in Romance Club and working for our company!
With all due respect,
Your Story Interactive
As a side note, it is possible that some of the artists may use AI without their hire-ups and writers and so on even knowing that — unlikely, I don't have any proof of that, but it's a possibility. But I feel that the only thing we're doing here is treading muddy waters of conspiracy theories. I'm repeating myself, but it just seems unlikely that there's actually any AI involved when the company in question just started hiring new artists. You may argue that they had to use AI for the most recent update because of the staff shortage but once again: let's not dive into conspiracy theories. Okay, I took longer than I needed to, but I rest my case
_____________________________________________________________
I agree with you on some points, it could be the artist using it without the company knowing and it is a possibility (although I think would be naive of them). But I believe that hiring artists and using AI is something that can happen simultaneously, in the beginning. One thing may not have to do with the other either. That said, it has caught our attention because the style has changed drastically from one update to the next and is very similar to how AI-generated images look. The public used to complain that the characters didn't have realistic poses and out of nowhere they change some to something ultra-realistic (without being able to see a real evolution until reaching this point), almost like a painting which happens to be very similar to how the AI works with images. It's something to be suspicious of, we shouldn't straight accuse them, but being suspicious and sharing our distrust is valid, given that many companies have recently been doing this. And if an employee is using AI and they know about it, It has to be approved by someone at the company, and it carries the company name. I don't think they're that naive (an artist's style changes suddenly and no one wonders why).
Since when they see that using AI is cheaper (or costs almost nothing) and it's fast, they have to make a decision, ethical or not.
Let's see what will happen, but I hope for a good outcome! I love RC stories and would be shame if they go for this path.
And of course, this is absolutely my opinion on this, you can agree or not and that's ok for me.
29 notes
·
View notes
Note
How do you make your infographics if I can ask, and how long does it normally take you to design, do the research, find what quotes you like, etc. I’m very interested in making my own, especially about the drag queen issue but I struggle with adhd and staying on task and get unmotivated easily.
What I use to make Infographics/Posts
You don’t need anything fancy to make infographics! I’m familiar with Adobe InDesign and the Adobe design suite, but those tools are expensive and are hard to learn.
I use Canva to make my material. I don’t pay for their premium account, so my account is completely free! It gives you templates and design elements to work with. I really like Canva because it helps me quickly design and post material.
How long does it take?
Making posts with just a quote usually takes me 5 minutes per post, so they're pretty fast to make.
My infographic posts take the longest to make. My Intersex and Sex Binary posts took me over 30 hours to research, plan, compile, write, design, and edit. Some smaller infographics like Transmasculine Individuals and Binding took ~4 hours.
A lot of the time is spent on the research stage. The good news is I've compiled a lot of my research into this ~300-page master document! It's full of studies and facts, grouped by topic as a resource for other women. It's so big I've really only scraped the surface in terms of what I've been able to adapt so far.
Feel free to take a look for yourself if you want to make your own posts/material, or if you're just curious! If you're interested in making posts about any of the topics listed, this might help shorten your research. I've also named/linked all my sources, so you can click the hyperlinked sources or Google the name of the study and read the whole thing if it interests you.
Work Process & Motivation
I also struggle with motivation and finishing projects. The key (for me) is to organizing my digital workspace.
If I see a statistic or study that interests me, I stick it into my masterdoc. If I see a Tumblr post with an interesting idea, quote, or fact, I save the post as a draft
When I have time, I go through my drafts and pick a few posts I feel like adapting.
On Canva, you can search for keywords like "Instagram Post", "Instagram Story" or "Quote" and Canva will give you suggested templates.
I have a Canva document saved of a bunch of templates I want to use for quotes, for example (you may recognize some of the backgrounds/fonts from my posts):
When I pick a quote I like, I copy and paste the template square into a blank page on my document where I keep all my quotes and I just edit the text and mess around with the design elements until I'm satisfied.
I can then easily export my posts!
My process for infographics is similar. I search "Infographic" and save infographic templates I like, then just add in the information when I have the time and motivation.
I get demotivated sometimes, so it helps to do a lot of posts back-to-back when I'm motivated and have time. I then add the posts to my Tumblr queue, so my blog is posting daily, even on days or weeks when I don't have the time, energy, or motivation to make material.
I know online activism can get really tiring and it can be easy to burn out. Stickering, flyering, reading feminist/woman-centered books to educate yourself, signing petitions and writing letters, meeting with like-minded women, and volunteering for women's shelters/causes are great ways to help women in real life that don't feel as impersonal as a Tumblr blog. If there's a topic you're passionate about, make that infographic or post, but also think about what you can do in real life to advocate for or advance the cause!
I find mailing women radical feminist stickers (which you can order for free here!) is a great way to remind myself that I'm not alone and there are other women like me. Every envelope I pack makes me feel really connected to other women. I also work for an organization that helps women in the Global South and try to read feminist books in my spare time.
TL;DR - Use Canva, spread the word, and try to help women in real life!
52 notes
·
View notes
Note
hello and sorry if i am barking up the wrong tree--do know of any good readings on media piracy, like critical theory, what forms do or do not affect certain kinds of creators, freedom of information/art etc? I'm struggling to find stuff online with the enshittification of search engines, and you seemed like you might know!
Hi there. The question you’re asking is very complex and there’s really no true one answer for it.
Media piracy as a whole is too new of a topic to really have much empirical studies or data to suggest if piracy hurts sales one way or another. We mostly have anecdotal evidence.
However, there is one study from the EU that suggest video game piracy in particular doesn’t harm sales numbers and in fact may help sales in some cases (i.e. trying out a game before you decide to buy, through the means of piracy). Going further, the same study found that piracy does negatively impact film and book sales, while music sales differences were negligible.
You can read about the study in this article, which also contains a pdf link to the study itself.
Generally speaking, I would suggest not pirating anything that’s worth buying. An indie game you pirated and ended up liking deserves to be bought.
Books always should be bought to support the author, and at local book store where the money actually helps your community too. Unless they’re overpriced textbooks.
If you use a cracked Spotify app and find a band you like, please look them up on bandcamp and maybe buy some merch too while you’re there. That does wonders more than paying for a Spotify subscription and streaming their music.
Big companies like Nintendo, Disney, Adobe etc. don’t deserve a dime. Always pirate their products.
As for what information/art should be free, I’m of the opinion, all of it should be free. No one should be denied the right to learn or engage with artworks because they are locked out behind a paywall. If you are privileged enough to help out independent game developers, authors, and musicians, then you definitely should! But just because someone doesn’t have that privilege themselves doesn’t mean they should never get to play that game/read that book/hear that music etc.
I know this isn’t exactly the answer you’re looking for, and I apologize for that. But you have to also understand things aren’t so black and white of “piracy good or bad?” Because it really depends on the situation of who is doing it and what is being pirated.
8 notes
·
View notes
Note
how hard was it to set up stuff regarding economical/legal side of things for gamedev? (regirestering a company, register trademark, recieve income from steam, pay taxes, etc) i know that its country specific but i would want to hear your side of things
You're right in that it's incredibly specific to your location! I'll go over what I've had to do thus far for specifically living in Ontario, Canada; A lot of how I've gained the following insight has been from thorough Googling, looking on government resources and asking people.
Setting Up A Business
Here in Ontario we have generous small business laws, anyone making money from their own business is by default considered a "Sole Proprietorship". Normally businesses need to charge tax based on every Good or Service sold, however Sole Proprietorships don't need to do this until they reach $30k yearly profits in Ontario.
Currently I'm making maybe 5k a year from my games so I'm safe, and thus technically don't even need to register a business. The tradeoff however is that I'm legally and financially responsible for my own business, so if something happens financially or legally it's my own personal risk and not the business's.
There's a few business types here with different meanings (Partnership, LLC, Co-op, etc). Technically I should register one at some point but since it's just me and I'm broke it won't do much. To register a business in Canada isn't hard (I think it's basically just a 30 minute phone call where they give you a 'business number' for registeration and tax use and say "congrats you're a business now!). You have to come up with a unique business name which I've consistently floundered back and forth on and have never stuck to anything which is why "Dev's Games" is the best "brand" I have at the moment. Good thing I'm not registered yet!
Registering a Trademark
This also depends on your location, and I have never done this. I'm sure in many cases there is reason to if I really cared about exclusively using titles or names of things, but I honestly don't.
I also genuinely don't thinm not having a trademark as a problem! Trademarks strike me as useful for a company trying to build a big business around a name that is aleeady popular and ripe for idea theft (E.g Photoshop, Google, Adobe) and stopping others from using it. Right now, I'm so small that this doesn't matter, and I'd honestly consider someone drawing inspiration from me an honor as opposed to something I'd want to contain. Maybe if one of my titles got like SUPER viral down the road I'd seriously look into it; apparently it's a lot of paperwork and something you'd have to find a lawyer for.
Getting Payments
This is, you guessed it, just paperwork that depends on your operating location!
Established storefronts like Steam have a process for registering your account with them and when I started out this was the part of the process I was the most anxious for, but it's actually super easy (which is why there's so much shovelware on there). Steam as a baseline takes 30% of all your sales on the platform (an absolutely insane amount for what the platform does). You'll fill out some paperwork and based on your operating location to determine how much money Steam automatically sets aside for taxes (VST).
As a Canadian they take 0% because Canada-America has tax exemption treaties which make receiving payments from American companies like this tax-free.
Outside of that there's not much, you give them your bank account number and they send payments one month after month end (e.g. end of December they'll pay you for November's sales). Everything is in USD so be prepared for things to be a bit wonky in that respect, and note it costs $100 USD to add a game to Steam. Setting up store pages for your games is its own kind of busywork I won't get into here, but publishing to Steam on the whole is much more work than something like Itch.io.
All in all I like Steam's process for registering and they make it pretty easy to get onto the platform since it's in their interest to potentially make fat money off of your work for doing very little :)
Managing Income
I struggle with anxiety around finances so this part is long.
I set up my own bank account explicitly for earning/spending on my games - prior to getting laid off I only used it for that, but recently I've been having to pay rent from it now too sometimes.
Get a platform that allows you to track and categorize your expenses and income over time. I've been using Wave to balance my income and expenses, as I find it's pretty simple for my needs and lets me mark what different payments are to avoid losing secret money to things I forget about. It connects directly to your bank account, so it will be the most accurate form of income tracking.
Eventually you will buy things and forget what you bought, or receive money for something you're not sure why, or lose/receive money months after you should have. Steam and Itchio have ways of viewing your payouts and reports, but it's hard jumping through 2-3 websites trying to track down a magic number - viewing this all in one place is invaluable to your sanity and making sure you don't go broke. Having this will be a godsend to you during tax time.
Always have additional "rainy day" money set aside - when I started I put about $100 aside from each paycheque at my full time job into my business. Keep an eye on your income flow and know how much you can anticipate to spend on your work. Know how your business money relates to your personal finances and be ready to take money out of your business for emergencies, and vice versa for business emergencies. Money put aside to pay contractors is money you cannot and should not touch.
Contractors based in the US will often ask you pay them through a certain site, many of which aren't available outside the US. Don't be afraid to ask if they use something like Paypal instead. Keep extra money aside for them so you can tip. Make sure you're aware of how they expect to be paid, at what interval, and how much, and keep that money aside. And expense tracker is also helpful here.
Keep in mind most businesses operate on USD, and be mindful of how your local currency converts over. CDN is usually ~60-70% of USD, so I often have to pay more for things like subscriptions or labour then they're listed. When a contractor tells you their rates always be sure you know what currency they're talking about - sometimes I've expected to pay USD when I've had to pay AUS.
Also do not quit your dayjob. Make money through a stable employment and fund your games as a fun side hobby. Easier said than done, but there is an almost 0% chance you will be able to afford surviving off of making indie games as a full living and be afford to keep a roof over your head. I've shipped 4 games on Steam now and I only make about $100-$300 USD from sales there depending on the month. Minimum wage in Ontario is ~$25k a year, I am currently making like $5k from sales on Steam alone. Working at McDonalds would pay better.
Taxes
Taxes are very regional, so results will vary.
Usually businesses have to set aside sales taxes on goods sold. Since I'm a Sole Proprietorship in Ontario making less than 30k I don't have to. Taxes for me basically consists of saying "I made this much" to the government (good expense tracking REALLY helps here).
One thing to note is that at least here the government has NO IDEA how video games fit into business. Until recently there was no "Game Development" business type, and much of the tax reporting interface is obsessed with physical goods; it'll ask how much your "inventory" is worth, how many "goods" you have sold (games are technically "goods" even though they're not a physical thing). Basically be prepared for your tax system to be used to dealing with physical retailers and farmers, and not with digital-only software developers.
---
I'm sure there's more I can cover but my hands hurt. A lot of this is researching your local laws and/or talking to devs local to your area. It's not hard to do any of this necessarily, it's just a lot of paperwork (which is nevertheless super helpful to put together). Once you learn how it all works everything is way less scary though! :)
#new record for longest post made on my phone#my thumbs hurt#asks#ask#advice#gamedev#game development#indie games#indie game#game dev#indie dev#indiegames#gamedevelopment#game design
18 notes
·
View notes
Text
𝚆𝙴𝙻𝙻, 𝚃𝙷𝙴 𝚅𝙴𝚁𝙳𝙸𝙲𝚃'𝚂 𝙸𝙽: as a lot of you may know by know [ if you've caught any of my previous posts about it ], i'm moving with my parents back to california from texas -- where i've been for about 30 years -- because overall? it'll be good for me. i'm sick of texas for the most part, i literally can't afford to live on my own [ and honestly? i like being near my parents and would just have more security and better quality of life in CA ], and i just think sometimes a change is good!
i've been waiting to see if my job will let me keep my job [ and continue to pay me dirt, even! ] ... all i was asking is that i can live in california and work remote. well, the owner has decided he will not allow me to do that. is there a good reason? in my opinion: no. he's framing it [ in his conservative white man rich business owner brain ] that I'M the one making the choice to move because i could apparently just as easily stay in texas and get my own place etc etc etc. so it's on me! unfortunately, it's just not that simple, but i guess from a guy who runs a family business and has multiple homes, it's just hard to really grasp that concept.
i'm literally so furious and so heartbroken at the same time. i know it's not the best company, and yeah i guess, we can say this is for the best in the end? but that doesn't make it hurt less. i've been there for almost 11 fucking years. my ENTIRE career out of college. through ups and downs, i was always working my ass off and being a great employee ... shining reviews and reputation with literally everyone. it just hurts that that ultimately means nothing when i'm finally asking for something in return. i take the poverty wages, take the working in the office when i hate it for the most part, i've taken having to hear misogynistic, homophobic, transphobic, every-phobic thing over the years ... then i ask for ONE thing in 11 years [ that's literally not even a big ask ] and it's a ✨no✨.
i feel so lost. like i don't even know how to be without this job, and as much as people tell me YOU'RE SO TALENTED! YOU'RE SO GREAT! YOU'LL FIND SOMETHING SOOOO MUCH BETTER! i wanna believe it, but my brain just ... doesn't. maybe it's imposter syndrome or just how fucking down on myself i feel right now. i still appreciate it because i literally don't know what i would do without my friends and family's support right now like ... even if i can't see it for myself, it means the literal world to me.
plus sides [ i guess ]: i should be able to keep my laptop [ but i'll lose adobe cc so ... i may need some recs or help on how to at least get photoshop cause idk how i'll carry on without it lmao ]; my manager who is a literal saint and one of the best people i know [ she actually pissed the owner off going to the mat for me lmao "he doesn't like to be questioned" ... insert the biggest eye-roll of my life ] ... but she said she would help me with literally everything from linkedin to my resume to a portfolio, and i know that'll be like everything to me while i just .... try to navigate all of this ON TOP OF trying to move.
ALSO: i think i can work until i leave, if that's what i want to do ... i'm still trying to figure all of this out because honestly? even though it's not much? i need the money. but then i'm also like i don't wanna do the owner any favors by having me work while they maybe start putting out feelers to replace me, yknow? BUT THEN AGAIN, i'm hurting my boss more than him [ and that's the twisted, frustrated thing about all of this ... it hurts us way more than it does anything to him but he still gets to make the choice for us ]. SO! i dunno! i may just use all my PTO and see how far that gets me lmao but i feel like at the end of the day, i have to look out for myself and maybe just trying to pull in as many paychecks as i can [ since we also don't have a hard 'we're moving!' date at the moment ] is the best idea ... even if the idea of going into the office and acting normal like literally makes me so ... 😤 but i dunno! my brain is a mess! afjhksdfda
SO YEAH. i just wanted to update you guys because i do consider you friends. whether we talk a little or a lot, i appreciate all of you so much and just wanted to keep folks in the loop with where my life and my head's at right now. not the best but ... just trying to keep it moving. honestly nooooo clue when writing is gonna happen here again??? i do miss / enjoy the distraction of plotting and talking about all this stuff so don't be shy, i just don't know when i'll have the time or capacity to just write here [ maybe once we move and stuff settles a little bit? ] -- but yeah, in the meantime, please come chat with me, let's plot dynamics and all that shit because it still makes me so happy and lets me take my mind on a little vacation lmao love you all, truly! ❤️
#** reblogging on some of my blogs to pass it around but! applies across the board: you can find most of my blogs in my pinned post here! **#been on and off crying since like 4PM yesterday so it's been a ride lemme tell ya!#nothing like feeling like you wasted over a decade of your life at a job that never really cared about you#like MY boss does but stupidly she doesn't get to make all the decisions for HER own team#even though the owner is barely present and doesn't really know anything about us or the day to day so ... very cool of him#to make big decisions that can hurt a lot of people (and don't affect him one bit either way)#he just really doesn't seem to give a shit at all that it makes our lives so much harder for NO reason#it's just that he literally doesn't “like” remote working and doesn't want to set some kind of company-wide precedent#even tho i'm like moving isn't THAT easy lmao people aren't all just gonna mass exodus out my guy#(also we have a C-level employee who lives / works from new york but ... apparently that's SUUUUPER different because she lived there when#she was hired ........ *stares into camera*)#anyway!!! i'm just really frustrated and hurt and fucking terrified#and i appreciate literally anyone who bothered to read all this! lmao#i'll be around on mobile as per usual ❤️❤️❤️#00. // OUT OF AMMO ( OOC POST. )
18 notes
·
View notes
Text
Recently I was watching an old video from a couple years ago and had a moment of shock when the commentator felt the need to placate cryptocurrency by saying that blockchain on its own as a technology has potential. We're still trying to figure out what that potential is, the average user's need for decentralized ledger-holding.
There is a temptation to treat generative AI like this, like oh the hype is forming a bubble but the underlying technology has potential. The average person wants to use ChatGPT. I am becoming increasingly skeptical of this claim.
I've had half a mind to make any of these points individual posts and so I'm just kind of compiling all my points in one place. And, you know, disclaimer, there is a bias here, if you couldn't tell, it's possible that I am attracted to points against generative AI more because I dislike its effects on creative industries.
But a point that constantly, constantly comes up when you point out the shortcomings of the state of AI is that it will get better, it is getting better, as it improves it will become more practically useful for more and more fields, and the farther out we get I'm like. Is it? Every time Open AI comes out with a press release about the AI improving, it seems like it's not an improvement to any existing system but a new system entirely. Now our AI can make images, now our AI can make video, now our AI can interpret audio. But the AI text generator still tells lies, the AI images, while hard coded to not draw 5 hands in one place, still can't make hands, AI video still can't remain consistent. Issues with the current product are continuously paved over by introducing a shiny new product.
And if we talk about the people who actually want to use generative AI, okay. Companies are currently chomping at the bit in order to utilize generative AI in order to replace human workers. This desire is kind of ridiculous. I'm reminded of when Uber talked about wanting to replace its drivers with self-driving cars, this was never going to happen even if we could get cars to drive themselves. Uber's entire business model is predicated on the fact that they don't need to purchase a fleet of cars for every city in the world, the drivers provide the cars. As much as Uber doesn't want to pay its workers, it's not going to fire them for self-driving cars because paying one driver is cheaper than buying a car to replace them.
Generative AI is the same way, it feels cheap and accessible now because all the AI companies are being propped up by investors, but those investors have put in money under the explicit expectation that at some point the company needs to make money on its own. If that ever happens it will, necessarily, become an exclusive product. Making large language models is expensive, running them is expensive, it's so expensive that this boom has made Nvidia the wealthiest company on the planet, every second of GPU manufacturing is booked out for literal years by these companies because you need thousands upon thousands of them to run something at the scale of Open AI. In order for Open AI to become independently profitable, generative AI will have to become an exclusive product. There is no future in which every company is running their own chatbot client. At best there's a future where Open AI holds a functional monopoly and every company licenses out their product, similar to Adobe now. Even that is optimistic, I wish I could give you specific numbers, but needless to say the days of AI being cheap and accessible are numbered. Fees are coming, and if Open AI's financiers aren't able to balance those numbers, then the whole industry collapses.
And all of this is ignoring the issues that Open AI is currently facing, lawsuits from corporations stronger than any pissed off individual may result in LLMs being trained off exponentially smaller datasets than the current "all of the open internet". Public distrust is already being fueled by AI evangelists with no skills and no desire to learn skills. Attempts to implement these tools in a professional environment continuously cause problems because of how inflexible they are, and Chat GPT has already gotten a few companies in trouble by offering customer service that's too good that the companies don't want to back up.
So when people tell me that AI does have a future, that the technology is irrefutably valuable, more and more these days I find myself not fully believing them.
3 notes
·
View notes
Text
does anyone know a free and easy way to put what is currently a PDF page-by-page alongside a blank, typeable document? I am contemplating a translation project something and would really like to have it all in One Document where, like, page 1 is the original and the facing page 2 is where I'm typing the translation thereof
I do not have Adobe; I do have MS Office, and could re-acquire Libre Office's PDF editor, although I remember it being pretty wonky last time I used it. I can't afford to pay for smth to do this with, so a kind of finicky way is fine if necessary
I know I can put one computer window alongside another one but this has just always been a Bad Method for my brain - I don't know why it has so much impact on my abililty to pay attention, but it sure does, so despite being the Freest Easiest option it is definitely Out
but yeah, would appreciate any thoughts!!!
#all hands on deck for natter#there are tbh various things I've thought abt having as translation projects at various points#and maybe if I had a System with which to do them I would actually. like. follow through once in a while.
3 notes
·
View notes
Note
How did you get your first job in animation. Specifically in storyboarding
Industry Q
Ooooooh my first storyboard gig....hm, technically it would have been for the Nick Artist Program since I was a storyboard trainee which I go into detail in this previous ask. But I never told the story how I got my first revisionist job after the Program. Sadly, it's not as eventful as getting into Marvel or the Nick Artist Program. But I'm willing to share haha.
-
So around April/May of 2020, the Nick Artist Program (which I will call NAP for the rest of this post 'cause it's too long to type haha) was gearing up to place the trainees onto productions once our 6 month training period was up. For those who don't know, NAP is a 6 month training program at Nickelodeon where you get trained in your respective track (Storyboard, General Design, CG) by being assigned to a production and a mentor.
Normally, NAP trainees get hired after the 6 months by their assigned production or a completely different production if there is an availability (recruitment usually helps with this transition). However, there are instances that trainees don't get hired and move on to a different studio.
I am one of those instances.
So at the time, I had learned that Rugrats (the production I was assigned to) didn't have an opening for a revisionist anytime soon. So my mentor and I worked together to find another production I could jump on. After asking around, I managed to get a test for the Baby Shark show over at Nick Jr. It was the only production that was looking for revisionists because they were using Adobe Flash and not Storyboard Pro. I knew Flash so I took the test....and I got offered the job.
The only thing was....I just didn't feel excited to work on Baby Shark. By no means I'm trying to downplay Baby Shark. If that's the type of show you wanna work on, go for it. But I just knew it wasn't for me. Sure, I would have a steady paycheck and job security for more than a year (yeah preschool don't play y'all). But my heart wasn't in the project when I was taking the test. So, I sat down with my mentor and told him how I felt. I apologized so many times 'cause I felt like I wasted his time and effort...and I was really torn about not wanting a job that didn't speak to me as an artist. And in that moment, he actually praised me for being honest not just to him but to myself as an artist.
Sometimes...
Sometimes it's hard to say no to a job. You don't know where the paycheck is coming from, you got bills to pay, living becomes more and more expensive by the second. Sometimes you feel like you can't risk saying no because you have to survive. So you take what you can get, hustle while still trying get to where you want to be. But it's also okay to not say yes to the first thing that approaches you. Often times when it happens once it will happen again and it keep going. Of course, I didn't really learn this lesson wholeheartedly until a year later when I was hired to work at Marvel (you can read that story in this previous ask).
But it still felt good to hear that it's okay to pursue projects that will challenge you creatively and make you excited. Sometimes we gotta work that one job just for the paycheck. But as an artist, you deserve to work on projects that bring you joy and growth.
So, after that I finished the Program and left Nickelodeon. Even though it should have been a scary moment, I remember feeling at peace with my decision and just hit the ground running again with applying. I did it before and I can do it again haha. It wasn't until 2-3 weeks after finishing NAP that I received an email from Titmouse about if I'd be interested interviewing for a revisionist position. I agreed and the show turned out to be Star Trek: Lower Decks and I got to speak with Barry Kelly (Supervising Director) and Benjamin Kaltenecker (Line Producer, and yes my Voltron fans it's that Kaltenecker). We ended talking 30 minutes over the scheduled time since we were having so much fun chatting about Star Trek, anime, animation in general! Apparently, they found my website online and thought I would be a good fit so they requested an interview. I wanna say 1-2 days after the interview I got an offer to work on the show and that's how I ended up at Titmouse for almost 2 years haha.
That pretty much sums up how I got my first storyboard (revisionist) gig after NAP and I'm sorry it's not has grand as Marvel haha. But I think that experience taught me a lot about how I should allow myself to be creatively satisfied in my day job. Granted, now that it's been 3 months since I've been laid off from Marvel (as of this post) I do work a bunch of freelance gigs to just pay my bills. But sometimes it be like that. Though going forward, I hope I'll continue to work on productions that excite me and push me to improve.
I hope that answered your question!
33 notes
·
View notes
Note
What equipment and programs do you use to make your art? Your about says you're self taught, what helped you learn? And does anything specific give you inspiration for your current style or what you'd like to achieve in the future? I really like your art❤️
ahh!! hey, thank you so much!! <3 that's so kind of you to say!!
easy questions first: for digital art i use a wacom intuos tablet and paint tool sai, which is the only setup i've ever used. i've been trying to get into clip studio paint but something about it just doesn't stick with me. i think i need more practice.
for comic panels and lettering i use adobe indesign, and export as png to before putting them in sai.
everything else under the cut so this post isn't miles long
i've been drawing ever since i was a kid, but until middle school i mostly just drew animals or little notebook paper comics about animals. i grew up on a farm so there were lots around, and drawing from life is something i think really helped. like, there's a difference between knowing what a cat looks like and being able to pick one up and see how its bones and muscles fit together, being able to watch it change how it moves around depending on what it's doing, whether it's catching a mouse or playing with another cat or curled up asleep, and being able to break down that anatomy and movement into simple shapes. i'm a pretty visually oriented person so knowing how a thing functions or fits together as simple shapes helps me visualize it in my head and imagine how it would look in different poses or from different angles.
around middle school i moved onto drawing people, again from life while sitting in a cafe or at a park. actually being able to get what's in my head down onto paper in a way that satisfies me is something that i think just took practice. only recently (like, late last/this year) have i been consistently satisfied with the way i draw things.
sorry if that sounds weird or clinical--this is the first time i've been asked to explain how i learned to draw and this is the best way i can think to say it.
honestly, finding my own style has been looking at what i like about other artists' styles and trying to figure out how they achieved that. i did a lot of redraws of other peoples' art as a kid. for me, trying to replicate something makes me really think about why i like the way it looks. i try to lean towards a semi-realistic style--i don't like drawing super realistic all the time, i love cartoons and think they have a lot of character--but i also don't want to lose the underlying anatomy or structure because it helps my brain make sense of stuff. so i try to find the middle of the road, where things are simplified but still structured, if that makes sense.
brief tangent... that's why i draw pokémon the way i do. they're not on model, they're how i imagine they would look if they were real animals, based on the sort of animals they're... uh, based on. so like for this piece, because camerupt is a cow/camel hybrid, i looked at a bunch of pictures of cows laying on their sides, what their hooves and skulls looked like from certain angles, etc. and then i could draw what i wanted.
as for improvements, i need to get better at backgrounds and realistic coloring/lighting. color theory is one of those things that i understand... well, in theory, but when it comes to practice and paying attention to it when i color, i need work. and because i've mostly drawn animals and people my whole life--organic stuff--i find buildings and backgrounds difficult, so i tend to avoid them. and i need to not do that.
#thank you for the ask!! this one really made me think#let me know if you'd like me to clarify anything... i tend to get longwinded and distract myself with tangents.#so idk how clear this is? i really look like the charlie conspiracy board meme trying to explain anything to anybody#bc like there's CONTEXT alright#like i deleted a tangent about how much i love hiromu arakawa and fullmetal alchemist and it was a huge inspiration and#like damn dude that amount of granular detail was not asked for lmao#autumn.ask#autumn.personal
15 notes
·
View notes
Note
hi!
i would be curious how you did the masking for these gifs, you know how an object reaches through the confines of the gif
i've done 3D gifs before but never like this and i was wondering if you have the time or would be willing to explain how it's done?
thank you :)
hey :)
and of course I am willing!! probably a no brainer but I use adobe photoshop to make all my gifs - and I have the latest version (bc my clown ass pays for a subscription so I always have access to new updates when they come out!)
I don't know how much explaining you need here (and apologies if I'm explaining something you already knew) but just to be safe I'll do the basics of how I make these and then specifically how I did the ones in the example you linked :)
first I load all my frames into photoshop (obviously lol)
then I let it do its magic by selecting the first frame and clicking 'remove background' >:)
again, I have the latest version of the program and older versions might not have this function, but this is how I do it!
it should then look something like this:
a layer mask has now been applied to the frame - this way you can go in with a brush and make adjustments if needed!
repeat this step for all the frames in your gif! and then proceed as you normally would - you could leave the background blank (although idk why you would haha) or...idk, just spitballing here, make scully be in the louvre maybe:
what I did in the gifset you linked is a bit different; I made another version of the gif, without cutting any of the background, and layered that below:
this probably goes without saying, but make sure to line them up right so you don't accidentally end up with something like this
(what I do is, I set the top gif's opacity to 50% and zoom in real close and then align them)
and then you can add a layer mask to the bottom gif and erase any part that you want! you can add another background or leave it blank, whatever you want :) here are some examples:
(for this last one just imagine the yellow bits are other gifs in a grid sort of layout like your linked example, I assume you know how to do this?)
and that's it! :)
I mentioned this already but it's important to note that this doesn't work on every scene. it helps if the background is out of focus and when there is clear contrast between the person and their surroundings. in this example, it honestly does not work super well; you can see that there are bits of scully's hair that are kind of floating around where they really shouldn't. but usually, by colouring smartly and maybe going in with a brush to erase some bits that look truly out of place, you can make it work.
I hope this was at all helpful omg :') definitely don't hesitate to ask if you have more questions about this! <3
15 notes
·
View notes
Last Seen Blogs
emanuelemusic
Emanuele
kahangeldragon
My Personal Hell I Call My Mind
queen-siobhan
A Little Bit of Everything and Anything
wrongift
wrongift
thingswhichinspiremetocreate
things which inspire me to create