I do think overexposure is a reason people are so bitchy about people enjoying gator as a character. Which like, I get- the fargo tag is mostly him, that's gotta be so annoying if you're a fargo fan (much like its impossible to peruse the stranger things tag if you dont love eddie munson 🙄). It's stupid really, because it's not really an objective annoyance, it's fandom related*. A lot of people don't seem to have the ability to block those 'OMG MY BBY HES SO PRECIOUS' people and instead fume about it until they've decided everyone who enjoys that character is like that. I've been on both sides of that in the last 15 years. Everyone needs to just calm down, smoke some weed if you partake, and remember it's all fiction. (*not to say people don't have legit reasons, ie sexism racism ect, to dislike the character, but that's not the reasons I've been seeing. Plus hes deliberately written like that for a reason, story wise. Its kinda the point. These are the kind of attitudes being challenged by dot's humanity)

NO EXACTLY BECAUSE IT LOWKEY IS OVEREXPOSURE and if I'm honest I also think it does not at all help that there has been an underwhelming amount of attention on fargo season five in general, because like. the ratio of content even on tiktok astounds me that there was next to none and I am hopeful that people will talk more about other characters

hell lowkey it would surprise people that I made the gator edit I did as a slight after thought because I began to like him more in terms of recent episodes where his behavior didn't just feel like he was antagonistic and you got to see more of them and ironically it was like, the less interactions he had with his dad and with other people who definitely clocked his shitty behavior, the more you saw him grow further from the path of " trying to be him " with dot, witt, etc. especially dot ngl

like I have seen this even in other fandoms I like and the most I have hoped to combat it is through doing fanart of dot and characters and trying to even think up edits ( thankfully a whole scenepack for the ENTIRE season was put out by an editor who I contacted who said they would do it and finally I can do dot and ole munch stuff )

but in general, I love gator, I get the hate but it's like, every fandom really will just have a moment of a lot of charas being overlooked and at least in some of the bigger fandoms this happens but lowkey also smaller fandoms like

I love alice wake from the alan wake franchise, I have been priming myself to draw here but there is like lowkey a veryyy small number of people who talk about her even though her documentary videos in alan wake 2 are so fucking emotional and get to me a lot

and hell, like you said it isn't even people hating folks who like him for that reason, it's just lumping every single enjoyer into one and I do not dig that the original folk who made the link just even tried to be like " oh gator is not even a physical abuse victim because his abuse was rarely shown compared to dot" and I will say to that: fargo season five is DOT's story, it's her abuse, and just because we don't see gator's own side of it doesn't mean we should ignore the glimpses and subtle details in his interactions and scenes where it heavily shows how much gator has been morphed by the people he was forced to grow up with and stick by, even as an adult

like he is apart of the discussion just like every other character and he is very much an example of people I even know who are like that, who ironically are my own siblings who I still live with

this should technically go on my other blog where i discuss/rant abt fandom/media (not my main lol) but i think the vibe matches this personal blog more. anyway as i wrote a few weeks ago, i am starting a new job very soon. this week was the last week of “freedom” and i’ve been wanting to draw almost the entire week but i haven’t. it’s a combo of lack of motivation, lack of confidence in my art prompted by seeing how much better other artists online are, and general malaise.

i’m aware i have a combo of positive and negative feelings abt starting this new job, and recently i’ve been focusing more on the negative aspects. my spiral thus leads to me not really wanting to do anything. combine this w my recent thoughts (again) that me drawing is useless, that my art isn’t good at all and won’t really improve until i do meaningful studies that i don’t really feel like doing. i don’t get why i feel like that about art since i don’t have a job in art nor plan to have one, but i think it’s an inevitable/standard side effect of fandom since i p much have only been drawing fanart for the past few years.

i honestly am hoping shifting my daily hours to focusing on work will improve the neuroses i’ve developed around fandom (particularly shipping but also just in general tbh). i know the obvious solution is to log off or at least stop checking on fandom accounts but since i haven’t had much to do w my time for the past year or so (unemployment tbf) i’ve been hiding in fandom spaces to pass the time. sure in hindsight it’s prob just done nothing past rot my brain but yeah. hopefully w starting work i’ll shift away from fandom and prioritizing it less per se (by this i mean feeling like i SHOULD be drawing fanart, i should be contributing to specific fandoms when i have the free time). i’ve been wanting to pick up another hobby but learning something new feels like it req too much energy and drawing is something that takes “less energy”... ugh but i’ll have to prob pick up a new hobby fr so i can have “normal” things to talk abt w my coworkers (btw the hobbies i’ve been thinking about are crocheting, embroidery, knitting so like they’re still creative things. i mean most hobbies are creative things tho).

my relationship w art/my perception of my art has really deteriorated since... tbh since i joined twitter in late 2019. i mean i’m happy to blame twitter as the main issue but i feel like around that time was when i started questioning what i wanted to do w my art and whether it was worth it to keep investing time in it when i don’t plan to make money from it (lol). i think the 1st reason is valid but the 2nd reason is just... such a capitalist way of thinking. now that i’m thinking on it again, the main reason why i feel like this is bc i do almost no original art... i’ve been working on fanart only since basically 2020 and since i’m not like spending 24/7 drawing or improving my art, my art hasn’t really improved in the past 2 years past me learning how to use my digital art program better. i don’t think fanwork is USELESS, but i feel like it doesn’t match up to original works (original fictional and/or personal stuff).

the main reason i started questioning what i wanted to do w my art was after seeing an artist on IG discuss their desire to continue representing their ethnicity’s culture through their art; me, i was doing no such thing. i was (am still lol) just drawing BL and not really in a meaningful way. the thing is, there ARE parts of my lived experience that i would love to put into art form but still cannot. and i can’t really force it when i’m not ready, but seeing other ppl do it makes me feel like i need to. even though if i try to do it now, i won’t be satisfied w it. but still this concern has stuck w me the past few years and is why i question my continuation in fandom. i wouldn’t consider myself “active” in fandom as i have little to no interest in interacting w other fans online, nor do i post like every day/week -- so it’s not a matter of maintaining clout or friendships. i just question it bc looking at the big picture -- what can a piece of fanart do? it’s not really something i can put in portfolios (i mean you can but at my age it’s kinda lol i feel even if i didn’t go to art school) nor show to irl ppl without needing to unfriend them (i don’t create problematic or questionable works, but it’s just embarrassing irl to admit i’m still in fandom at this age you know). i don’t have the kind of awe-inspiring style that will stick in ppl’s minds and/or make them rethink aspects of the story (also the things i create fanart for... no offense but they’re not really that deep. ppl making them deep are kinda reaching/projecting imo. nothing wrong w that but also be real, keep a clear eye abt the og work). i’m not saying all original work does that, but talking about my lived experience(s) feels more meaningful than drawing fictional characters or shipping. but as i said: i still feel unable to adequately represent my personal experiences. i’ve tried before but i’m not satisfied w what i’ve written or drawn. and so i stick w fandom where i barely exercise much less flex my creative muscles, but at least i’m still drawing.

anyway i quit IG back in 2021 and honestly hope to do the same w twitter. sadly i can’t log off bc i have accounts blocked that i don’t want to see as i am not really mentally moved on yet; but i really do need to reduce the amount of time spent on that site. tumblr is alright for now, but it’s definitely still a time waster and i still do see art that makes me feel bad by comparing myself to them.

but for now i hope i can just take a break from fandom and being online all the time. i just want to like my art again

I would like to know when you started drawing and where your passion for fanart started 😊

Oh FUCK dude i did not see this i’m so fucking sorry this is so late 😭 damn you, tumblr, for not fucking notifying me!! Anyway buckle up this is gonna be much longer than you asked for <3

Honestly ive kinda been drawing all my life! I hope that doesnt sound dumb cuz obviously almost everyone drew pictures when they were kids, but i know that it’s been a consistent hobby for me since i was little. By the time i was in 3rd grade I was hoarding notebooks to draw in. Cuz that’s something fun about me: i had a real huge habit of drawing in things that werent sketchbooks. Through middle school and beyond I did buy/receive sketchbooks, but I started out with various kinds of notebooks. One I had from like 2nd grade was like a hardcover, stationary-type notebook that I drew cats in lol, and I have 2 velvet lisa frank notebooks from 3rd grade. In high school and college I had a really bad habit of drawing in the margins on my notes and on handouts the teacher/professor would give. Those classes where the prof just prints out all the notes beforehand and gives them to you to follow along? Oh man, I spent so many classes barely listening while I drew on them! I also used to draw on my physics homework and tests and sometimes I even got extra credit for them (thank you jeff :D). I actually have a folder of various drawings I’ve kept from that 8yr time period and a lot of them are on classwork 😂

Obviously, I’ve been doing a lot of digital art lately, which I’m sure is what u were more curious about rather than the shit about drawing on my homework. I got a surface pro as a graduation gift in 2016 bc prior to that i had a wacom tablet and a janky ass laptop, so the gift was kinda a 2-in-1: i can do schoolwork AND art easily! i like digital art a lot and honestly im still learning new things abt it every time i draw. I use Leonardo currently (i’ll skip that story) but I started out doing digital art on sketchfu WITHOUT the wacom tablet in maaaaybe 2012??? 2011??? does anyone on this site remember sketchfu? Honestly couldnt even tell u how i found that site hahah the internet was just full of wonders back in the day. RIP sketchfu. Once i got the tablet tho some time later i used sketchfu still (i think) but also gimp and krita i believe.

Oh i suppose I should mention that i took art all four years of highschool and also minored in it in college! So it’s something i did academically as well as for fun. I keep thinking about going to art school for realsies but idk. I’m already $$$ in debt from my first degree i dont feel like adding to that 😅😓

Ok now for the second part of your question: I’ve also pretty much always done fan art! Ive never really been one for OC’s, EXCEPT for the self-insert superhero double life “comics” i wrote about a poodle named Sassy when i was in third grade. And then the knock off “comics” i wrote at a later time which honestly it was weird that i did a knock off of my own thing rather than just adding them to the original or making it a spin off with at least one of the og characters. Cuz it wasnt a spin off!! But anyway there wasnt really much to any of these characters; i just needed vessels to get my weird ideas out.

So anyway yeah most of what ive ever drawn has been fan art or self portraits, because its just easier for me to take characters that already exist and bend them to my will (artistically). Well excluding art assignments in school i guess because i would usually have to draw something specific and therefore not something self indulgent. But yeah ive drawn for lots of fandoms like the earliest i remember is warrior cats. Then theres things like pokemon and warriors and random other books i read thru middle school (i used to read a LOT but now im practically illiterate); spn, sherlock, and marvel through high school; and then marvel and bttf thru the end of hs and beyond. Idk i also have always loved looking at other peoples fan art and so im like “shit i wanna do that too!”. Tho i will say marvel was my biggest fandom and the one i had the longest interest in, so that was probably where the passion REALLY came from cuz I was drawing marvel stuff for such a long time (tho not posting shdjsk u have to trust me), but ive been doing fan art forever :)

(Of course, a lot of the fan art i was making prior to recently was drawn in lined notebooks or on homework sheets or what have you, and I wasn’t posting really any of it, but i was still making it and a good chunk of it still exists. Oh i should also mention most of it was with pencils or ballpoint pens like i wasnt doing anything too fancy. There was some digital art in the highschool-college time frame but it also really wasnt…much. Honestly i barely posted any of it here but I know some of it’s on deviantart)

I cant pinpoint the exact time I started getting more “serious” about my art in general, but i know the first pandemic lockdown gave me more free time and i was less stressed about schoolwork so i just kinda had a good outlet. (Tho i will say that prior, I had been in a life drawing club for a short while, and i had also been working on a personal sketchbook project that had me pretty ~inspired~ to do art. Also i watched twin peaks around this time and it inspired a lot of Feelings and i was making funky collages and other art pieced that were sometimes related to that. Some of those are on deviantart)

Honestly I think the Big thing with my digital art was coincidentally getting back into BTTF the summer of the 35th anniversary bc the fandom here was THRIVING and i was like “oh shit wait i want to contribute!” But as i kept drawing i kept wanting to improve and that leads us to right now where im constantly trying new things (whether subtle or obvious) and challenging myself to do full body drawings with different poses, and doing screencap redraws and what have you for various reasons (backgrounds, proportions, pose, etc)

So yeah :) Basically I’ve been doing fan art forever (I didnt even get into all the mediums ive tried but that’s another conversation bc this is already so long and convoluted) and it’s kinda coincidental that ive suddenly really gotten back into it and have improved dramatically in such a short time. Thank you so much @rovermcfly for the ask and again im really sorry you had to wait so long for a response! Stupid tumblr

What are your thoughts on Fanfics of Fanfics?

I guess it sort of depends? Or at least context matters, I guess.

TL;DR Version: It depends on context. ALWAYS credit the author (in more than a few places, tbh) and ask permission before you write fic of a fanfic, to prevent any confusion or accidental plagiarism. It’s easy to tell the difference between a fic and canon/source material; it’s not as easy to tell the difference between a fic and a fanfic of a fic. Caution is required and credit MUST be given. But if the original author is on board, go for it and have fun! :D

Rambles below the cut.

Here are my ramblings on the subject:

It depends on context, I guess!

Going to have to default to speaking from experience. YEARS AGO IN ANOTHER FANDOM, someone asked if they could just rewrite an entire story I’d written using their OC instead of mine (which probably wouldn’t work anyway because my stuff is pretty character-driven, so a different OC would make different choices unless they have the exact same personality... a fate one hopes an OC would be developed enough to avoid, which means the story would change)??? They literally wanted to follow the exact same plot to the letter (a plot that was NOT AT ALL from the source material and was very much my own creation) and just change the OC’s appearance and name, maybe rewrite descriptions so it wasn’t outright plagiarism, and publish it.

Aside from the fact that I just don’t think doing something like that would work... my story wasn’t finished at the time, so it’s like... you can’t lay down good foreshadowing when you don’t know the ending, so you’re better off writing your own story rather than making a MadLibs version of mine, if that makes sense. Plus, I had worked REALLY HARD on that fic, and it felt like they were just kind of swooping in and piggybacking on the original work I’d done, which... didn’t feel great at the time. Like they had a cheat code I’d had to play the game without. It was definitely a compliment, of course! But it didn’t feel great at the time, regardless.

And of course, all of this is hella ironic considering my thing... was a fic... which also piggybacked off of a preexisting work... so I can’t exactly take issue with the core concept of writing fic itself. 😂 Obviously this whole subject is an ironic subject for me to comment on.

BUT, I do think I’m touching on the biggest “potential pain point” of fics-of-fics.  The big foible about “fanfics of fanfics” is that you need to be SUPER careful of crediting the inspiration you’re drawing from, AND you NEED to contact the original writer personally to ask about it, even if what you’re writing is super duper clearly labelled beyond any possibility of confusion.

Using the mega-popular Harry Potter as an example, it’s pretty fucking easy to tell the difference between the Harry Potter source material and a fanfic of it. There are 7 books, in book/movie form, and everyone knows their names and plots, so if you’re making an homage to the series, it’s easy to tell that that’s the case. The sheer fact that your fic exists on an internet archive dedicated to fic already differentiates it from the source work to a large degree.

In contrast, if you start writing fics about a fic not everyone has read, and you aren’t clear about your inspiration, people might not recognize the homage (especially since they exist on the same site, in the same medium; it’s not like specific fics can get a fic category all their own). If you haven’t been careful of giving credit, the original writer gets lost in the shuffle. And that just sucks.

In Summation: When you’re writing a fic about a fic, or making fanart of a fancomic (or similar)... if you’re not careful to label it and ask to borrow stuff, you stand the chance of someone not realizing it’s a fic-of-a-fic and just thinking that you made this thing, full stop, no source material besides original canon to credit. This whole concept of giving credit is why so many older authors put a “THIS IS A FANFIC” disclaimer at the top of every chapter; we know it’s a no-no to ever borrow something without giving credit to the original creator (but we feared getting sued more than accidentally plagiarizing, etc). When writing fics of fics, the line between “canon” (the source fic) and the new fic becomes incredibly blurred since the fic you’re ficcing isn’t established canon, and the fic+fic-of-fic exist in the same medium, and not all readers aren’t familiar with it. Like writing a research paper, it’s WAY BETTER to just admit what your influences are in a super explicit way, rather than get accused of lifting content or plagiarizing later.

BUUUUUT ON THE OTHER SIDE OF THIS FIC-OF-FIC COIN, I’ve also had really GOOD experiences with fics-of-fics. Someone once wrote a one-shot that added to the universe of my fic, which was totally cool. They wanted to flesh out an off-camera scene that I had no intention of writing, so I gave them some hints as to what I thought happened off-camera, and they wrote it (with their own interpretation and everything). It was great, and stuff like that is awesome. Basically the fic equivalent of fanart; I dig it. They were very clear about what the fic was and why it existed, and I never felt like they were usurping what I’d made for their own ends. Rather, they were adding to my sandbox, rather than making their own sandbox out of my sand.

I guess my core philosophy of fic-writing is that we are adding material to an existing universe, whether it be through an AU or or canon divergence, and their fic was right in line with that. The one that wanted to lift my plot and insert their OC was less so.

That... was probably as clear as mud, so Imma go to bed now LOL. Thank you, I love you and goodnight!  😂

EDIT: I don’t think you need to be as quibbly about labeling fanart of a fic as fanart of a fic because of, again, the difference in medium. Like, you making a comic of my fic is very different from someone rewriting my fic with your own OC. The difference in mediums sets them apart at once. Just don’t want anyone to start thinking they need to put ten million warning labels on a sketch of NQK; draw her all you like!!

Oh not again the Paywall!

… Oh boy. This comic will be deader than expected.

When Dobson announced a few years ago he was working on a new comic involving a mountain cabin and supernatural elements, I was at the very least intrigued enough to see where this was going. I never expected it to be a groundbreaking comic or the worst thing anyone has ever done, but considering his track record so far when it came to creating original, long planned out comics, made me at least curious. Would it be better, worse or more woke than Alex ze Pirate. One thing I did however hope for was that Dobson would be for once smart enough to not hide his stuff behind a paywall, which has so far always killed his comics that are neither Ladybug or SYAC related. But hey, unlike Dobson, I can admit when I am wrong with an assumption.

 To be clear here, I am aware that Dobson “hides” the comic behind a 5000 dollar paywall only so that some person who donates to him the necessary dollar a month to see the panels uploaded by Dobson thrice a week can no longer do so and leak them to kiwifarms.

 However, even the dollar per month thing to me is a very, very dumb idea.

 I get it. People want to make money of something they create. I don’t hold it against webcomic artists to sell merchandise/tradepaperbacks of their stuff or create additional content to their regular updated comic pages, that people can pay for to see. But here is a major difference between Andrew Dobson and almost every other webcomic artist out there and which has been a key factor in why Dobson’s career as a comic creator has never taken off to.

 Webcomic artists stay relevant, by making their major comics public.

 I know Dobson’s work for a couple of years and the overall quality (or rather lack thereof) in his work aside, one thing I was dumbfounded the most off was how he basically sabotaged his own “career” in the medium. I have read a couple of sprite and webcomics over the years and even if the webcomic in question was utter bullshit for some reason cough sinfest cough one thing I saw was that in one way or another the comic and its artist would find an audience, BECAUSE the comic was easily to access on the net. You did not need to pay for the privilege of seeing  something someone created out of a whim. You could see the thing develop and go on because the person creating it became aware of people liking it and in doing so getting an extra boost to continue on.

 And by doing so, as time went on those people would eventually manage to make money of their work and even improve at least some aspect of it, may it be the storywriting or just the artwork.

 But Dobson made sure that when he wanted to start off his career, his stuff would not be seen.

 See, before SYAC became the thing he focuses on the most, there were at least two major comic series Dobson created and wanted to make money off. Percy Phillips, a detective comic about a Holmes knock off and Formera, a story about a boy stuck in a prehistoric fantasy world, no one is really sure about where it was heading for (not even the author).

Dobson made sure there was fanart of his characters and at least reading samples of around 10 pages on average everywhere he went to online the most (deviantart and smackjeevee). But aside of that, he did nothing with his creations online. Some random, unregularly uploaded fanart on aside, he would never upload more pages of Formera e.g. on deviantart, nor information about the comics direction, assuring that average interest of people in his stuff and the story was dimished fast. And when people are not interested in your story, they are not interested in you as an artist much. And when people are not interested in you as an artist (and your behavior online starts to additionally alienate them from you even more) it is no wonder your career never gets off. Now some may wonder, if Dobson drew reading samples, did that mean he wanted to draw more? Yes of course he wanted. And he actually did. But you needed to buy the tradepaperback to see those pages.

Basically what he did back then was, that he falsely approached the “webcomic” audience in a manner more suffice for people who want to buy physical copies of comics in bookstores or comic shops. Release a few reading samples, hope they get people interested in you and then make money by them buying this stuff. However, this entire approach was faulty. First off, the general quality of Dobson’s writing and artwork even back then made it not really look in any way worth to buy the comic, when there were way better products to be found either professionally published or online. To give you an example, these are some of the opening pages of Formera, published around 2005-08.

By comparison, that is a page of infamous internet webartist Bleedmann and his Powerpuff Girl comic , released around 2006.

I am sorry to say that, but why should I pay good money for Formera, something that looks like it was drawn by an average 16 year old anime fangirl at the time, when I could have something “better” drawn and designed by others? Even if those others are freaking lolicons.

I mean sure, the backgrounds look okay here and there, but composition wise the thing looks just not good. And that is from someone who went to art school and had the gaul to talk shit about mangas?

Secondly, the reading samples where just the first pages of his comics in general. Meaning nothing really happened in them and with the lack of information about the comics provided, nothing was really there to get others’ attention. Add to all of that the fact Dobson wanted between 10 and 20 dollar for 170 pages on average or less (Look up Legends, the precursor to Alex ze Pirate. Only 78 pages! Formera at least had around 152 per volume at prices between 9,99 and 15$) when you could buy a manga with more than 250 pages for less at the time…

And people said nope and rather looked up what the heck this Sonichu was people talked about.

As a result, Dobson never really sold stuff as proven with deviantart entries like this…

and he cancelled his comics after 1 or 2 volumes, not even wrapping up his stories he was supposedly so proud of and wanted to tell. All because Dobson essentially cared more about “making quick money” instead of telling a decent story he wanted people to read.

By abandoning these projects (and the characters in it) unceremoniously, Dobson had in my opinion also contributed a lot towards his online infamy. After all, what are you supposed to believe about a creator, who abandons his own creation completely instead of at least trying to salvage it (he could have still made Formera publicly readable by making it a webcomic) and has the audacity to call the overall popularity of others (particularly anime and mangas) the reason for its failing success. Plus it seems that their failure was the main reason why he would rather create 4-panel or one page comics instead of stories with more complexity afterwards, which resulted in the way Alex ze Pirate was presented (and is a topic for a later entry) and eventually SYAC.

 Bottomline, creating a “paywall” for his original work resulted in people on average not becoming aware of Dobson as the creator of some okayish comics, because they never saw them and instead would be exposed to other, “inferior” if not outright meanspirited and toxic artwork and opinions. And creating a paywall for Cabin’s Rest, even if as minimalistic as 1$ will just result in history repeating itself. He can claim that he creates a great comic as much as he wants, if we can’t see it for ourselves and judge, we can only say “what comic”? He won’t gain widespread popularity this way, because so far only 13-16 people (the total amount of Patreons he has to my knowledge) even were able to see the comic.

And now not even they can, because Dobson wants to spite his critics/trolls and take away the chance for them to see it, by making it unwatchable for anyone. I know he claims it is only for as long till he finds a way to get rid of the leaker, but that also begs the question: How do you want to do that? How do you want to assure only those who will not leak it, see this comic? You have already so little traffic on the site, you should actually be happy even for trolls paying you, cause at least it pays for a Happy Meal once a month. Dobson, if you really want Cabin’s Rest aka muslim vampire comic to succeed, you should just make it public. I know doing so will mean you are also exposed to all your critics and yes they will find something to mock and criticize, but at least you are out and have a higher chance to find also people willingly ready to support you, cause they want to see it.

Feb 15th - International fanworks day

So today I found out via this post that today is international fanworks day. As such, I thought I’d reminisce about how fandom & fanworks have changed my life, little by little. While I’ve been a fan of many things, to me, a level of love/obsession (and most likely, a ship) must be present in order for me to engage more in a fandom, read fic, make fanart, try to write, etc. Still, I’ll only mention the 4 most significant here, with drawings to match.

The oldest - Rurouni Kenshin (Samurai X)

My first fandom, Rurouni Kenshin, made me interested in trying to draw (by copying what I saw), especially as it was an anime/manga, I had (and still have) the comics and so the source material was right there. Here is my favorite character from that series, and possibly one of the oldest scans I have from any fanart. Fandom was hard to navigate because I was limited by the glitchy websites that were the norm back then and I was barely starting to learn really basic english at age 12 (my first language is spanish).

The one that kept me sane - InuYasha

As I fell more and more in love with a different show, InuYasha, I still felt most comfortable copying what I saw (above is one of my favorites from that time, copied from a page of the manga), and sometimes, with a ton of detail. It was a hard time in my life because personal things, family problems, depression, school problems... focusing on something I loved deeply at 13 -and weirdly for a fantasy story, identified with- was really helpful. I felt limited because the difference in results when I copied an image vs when I made it up was staggering, but I still tried.

I joined a forum, made friends online (some of which I’m still very close to today -some of them I’d definitely credit with helping me not... take drastic measures back then), ventured to write fic in spanish and, something I’ll always thank my obsessive brain for, I forced myself to learn english so I could keep up with the new releases (it was either english or japanese, easy choice which one was easier). 

It was literally trying to figure out via context what the english subtitles meant, sometimes pausing every 5-10 seconds in a 20 minute episode because sometimes I didn’t understand a single word and had to look it up on the dictionary (google translate was kinda trash back then). My english wasn’t great but I tried. I couldn’t read fic in english yet, though.

This era lasted for a long while, I don’t know how many years. While I never stopped being more comfortable copying stuff, I did venture into doing my own little drawings and comics from my own head, based mostly on things I liked, stuff that happened in real life and my love for chibis has never stopped.

The “taking a leap of faith” fandom - The Mentalist

There were quite a few years where I went fandom-less (at least to a significant degree), I don’t know why. I found The Mentalist relatively early on, but since it clearly involves real people and actors, I couldn’t quite copy anything since realistic portraits have never been a huge interest or my strong suit. I started using pictures as references instead. I joined a forum once again, they had a lot of activities and I got to interact with people I admired, especially fic writers (by this point, I could read if in english, which was great because the ratio between spanish fics and english fics is... like 1:100. Also the source material in this case is in english, so...).

I didn’t know if my very anime-y style would be well received in the fandom, especially as I was probably one of the youngest people there and one of the only ones that came from the anime world. I tried regardless, I felt accepted, and eventually ventured into making my mostly pencil-only drawings snazzier with some digital editing. 

I dipped my toe in writing fic, in spanish and (gasp) in english, even if I was slightly terrified even with a beta reader. I also became very active in my deviantart profile (an art sharing website) since I hada lot of material to show and the fandom was also active there and probably joined Tumblr around this time.

I stayed in that fandom for years, through universities, made a lot of fandom friends over the years (from my late teens to my early twenties), mostly from the forum and ffnet, and because of tl;dr reasons, I had the opportunity to travel eventually and I had the good fortune of meeting a bunch of them in person. A couple of them we’ve met irl more than once even if we’re from different countries, and we talk online very often ♥ 

Also I started experimenting with watercolor, just a little bit, encouraged also by university. I did a ton of fanart comics, mostly humor. All the constant interactions with my fellow fangirls helped me improve my english a great deal, especially when it came to slang, and ever since then, most of my online life is in english now. 

There was this blog that did episode recaps of the show, I was somewhat popular in this fandom by then because I did a lot of fanart, and the person in charge of the blog commissioned me to make a drawing or comic per episode. I had deadlines and this was the first time I considered making drawings to supplement income, the opportunity meant a lot to me because I had free reign to let my fanart ideas run wild. I mostly used colored pencils. I think it was the most creative period of my life, I had so many ideas I never did, some because I didn’t feel good enough, lack of time/energy, etc. Still, some of them I’m still pretty fond of.

The current one - Blindspot

Again, it was a few years between fandom/a show I deeply connected with/a ship I fell in love with. But I stumbled into Blindspot (and Jeller) around July 2019, and you all know I love it here ♥ I wish I had found it earlier on, but eh, I’ll take what I can get!

I now run my own tiny business where I make stationery and apparel goods with my own original illustrations (and making commissions sometimes), mostly working in watercolor, and while it’s not yet at the point where I can fully support myself with just my income, it’s been a very long ride to get here. Of course it took a lot more than just fandom love, but I can’t say it wasn’t a big part of it.

Blindspot will end in 2020 but I still hope I can keep it and the friendships I’ve already made from it close to my heart, and that the fandom lives on. I certainly have lots of ideas pending, and as opposed to my previous fandom, I don’t want to leave any just as a scribbled down idea on a notebook.

Always wanted to do one of these, and now I have. :D 8 years of improvement, wow! I’m also really bad at picking things so I don’t know if I picked the ones that best represent my progress, but eh. I did some edits, but the original base for this can still be found here. Extended thoughts about each year below, it’s a lot! Here’s to bigger and better things in 2019 (please ;_;)

2010: I started drawing digitally in 2006, though regrettably I didn’t save any of the art I did back then. 2010 was when I joined DeviantART, and thus when I started uploading art online. I had frequented DA well before that though (from about 2007 I think), and influence from the artists I followed are pretty evident. A few notable ones were ShaloneSK, Fourth-Star (now SeaSaltShrimp), and thazumi, all primarily dragon artists. Though none of my traditional art is showcased here, this was still a time when I did it often, usually via doodles in class when I was bored. The digital art you see here was made with my first tablet, a Wacom Graphire 3, and Photoshop Elements 3 that came with it. I had little knowledge of file quality, layering, colouring, and other mainstays in using Photoshop properly. Humble beginnings are these! My art education at this point was limited at best, but art was always something I did in my spare time. And like all of the art years leading up to 2010, I drew almost entirely dragons. Aside from practicing foxes for a story I had at the time, I wasn’t interested in drawing much else. I didn’t draw people at all until college, but we’ll get to that. 2011: Christmas 2010 / New Year’s 2011 marked the time I got Photoshop CS5, a version of PS I still use today. For a while I was obsessed with the idea of PS’s Pen Tool, as I saw it could give me much cleaner line art than what I could achieve on my own. I was finally able to test that when getting CS5, and while it worked well for the time, I soon learned the tenets of line weight and tapering, something I would have to practice myself. Up to this point all of my lines were either shaky or fabricated via the Pen Tool, and it shows. This was also a year of trying to mimic Fourth-Star’s dynamic perspective...without any knowledge of how it actually worked. Not a lot of improvement happened here outside of that. 2012: This was the year I bought my Bamboo Create tablet, something I still use with my laptop nowadays. I remember trying it out at my friend’s house before I bought my own, and really loving how I was able to do the line tapering without the pen tool. It still took a lot more practice, but looking back now it was easy to see I was on the way to making line art one of my art’s strongest qualities; something that stays true today. I find it ironic that line art used to be one of the weakest aspects of my digital art, but I suppose that speaks to how far I’ve come. I did more fanart this year, oddly enough. I’d always done it before but I guess I felt shy about sharing it. Notable fandoms were Danny Phantom and Sonic. I didn’t grow up with either, but ended up liking them both a lot, and would doodle them as much as my dragons. 2013: I graduated high school and started my first year of art college, specifically Art Fundamentals at Sheridan College. At this point, everyone I knew pointed to that school (and only that school) for anything related to what I wanted to do; if it wasn’t fine art, go to Sheridan. So I went into college with a bit of tunnel vision at first, but I knew from the start that I would be gunning for animation. Not to animate specifically, but to do character design / concept art for animation. I would learn later on what having this tunnel vision would mean for me, but we’ll get to that later too. This is about the point where more expansion of design and subject matter occurs, albeit slowly. The art featured here doesn’t include my schoolwork, but the much needed increase of anatomy, structure drawing and other college level art courses started me on a path to better things. I still had a long way to go though, and Fundies could only do so much. Unlike most people I actually got decent practice from it given my limited art background, but I still can’t say it was at peak efficiency. This was the first year I actually started drawing people, and it certainly didn’t come without its growing pains.

2014: Surprising no one, I didn’t get into Sheridan after my first year, though that didn’t stop me from being disappointed at the time. I took what was effectively the second year of Fundies, called Visual and Creative Arts (VCA). This was the year that sparked my interest in graphic / logo design, an interesting turn of events all things considered, and that would stick with me a lot more than I expected. This year also featured a few smatterings of character designs, or more specifically design sheets with multiple views, costumes, etc. Character design was a required segment of the animation portfolio, so this is likely what spurred my practice in it, aside from my pre-existing interest. That does not mean I knew how to rotate a character though, yikes! At this point I’d gotten pretty good at clean line art in Photoshop with my current tablet, as well as the merits of high quality imagery. There was a lot of purple in this year and 2015, though that’s nothing really new for me.

2015: This was easily the busiest (and most path altering) year. Second semester of VCA happened during this time, but also what would be new beginnings for me. If I didn’t get into Sheridan animation, I had a choice to make for a plan B: Either stay at Sheridan for VCA Year 3 and try again for animation, or try to get into animation at another school. My buddy Amelia then dropped Seneca’s name in one of my elective classes, and I had no idea how much of a fateful conversation that would be. She mentioned it was considered a second to or even better than Sheridan, and that at least provided a clearer answer for me. A lot of trepidation followed: I didn’t get into Sheridan animation for the third time, and thus applied to Seneca (and a few other places). I was pretty scared of being a first year again at a new school with new people, and while my art definitely reflected the time I spent at Sheridan, I had no confidence in it being good enough for a portfolio given my track record. But low and behold, I got in! I was on my way to a three year rollercoaster of all-nighters, amazing ride-or-die classmates, and relentless, rigorous training. The art from this year does reflect this, both in quantity and quality of uploads, though in more of a “transition period” kind of way. This was the year I really started to draw human characters, most notably with the creation of my first comic project: Starglass Zodiac. This was the first time I had a story idea with a primarily human cast, much less a comic idea, though the designs for them didn’t start appearing in my uploads until the following year. As you might expect I didn’t have a lot of confidence in drawing people. Ironically, my first year of animation taught me all the skills I initially needed for the portfolios!

2016: When I mentioned a path altering year for 2015, I was referring specifically to the path in my art education. 2016 was a path altering year for everything else, and a polarizing one at that. 2016 was a year that was kind to no one, and while the details of what happened to me are not really relevant to this post, there’s no denying what effect it had behind the scenes. This was the year that I fully realized I’d developed symptoms of depression, and with my increasing anxiety to match, this didn’t (and still doesn’t) go so well. I don’t think that’s really reflected in my art, however. Regardless of my mental state, the outside view of my art still features the colourful characters that they always had. By this point I was in my finishing first year / starting second year, and this was easily the best time for me. My time to shine, if you will, at least when it came to character design class. We had an overarching story project that was perfect for SGZ, so I used that time to develop the characters. The double-edged sword of troubled times is my escapism is cranked to 11, so this was probably the year that spurred the most story ideas out of me. This year (and part of the next) started both Id Pariah and Feather Knights. I got my iPad Pro for Christmas this year too, and that proved to be a game changer in the amount of art I could make. I was already used to the Cintiqs at my school, and I was lucky to finally have a screen tablet of my own. 2017: The end of my second year and the beginning of my third and final year of animation. Classes split, streams chosen and a world of missed opportunities began. I didn’t do a lot of art at the beginning of the year, aside from the beginning of my Feather Knights stuff. On top of that, my college had a 5-week long teacher’s strike that literally no one wanted to be a part of, effectively derailing all hope for a good semester. Attempting to do a short film project with this happening was a recipe for disaster. During this strike was the start of my first month long challenge though: Huevember. It was an uncertain time, and most of us were not compelled to get much school work done. Completing Huevember did feel like an accomplishment though, as I was actually able to keep up with it even when school started again. I’d say this art year focused a lot on colour for this reason. What art I was able to complete outside of my schoolwork saw a lot of expansion in that area. In all honesty 2016-2018 tends to blend together for me, for better or worse. 2018: My graduating year. The strike did its damage to my final semester too, but ultimately I survived. Despite completing 5 years of college, my path became the most unclear. Third year taught me a lot of things about myself and how I approach art, but most were not positive revelations. The expectations set out for me are ones that I cannot achieve. However, I have more time than ever to do art, making this year the most art I’ve made to date. I also participated in Inktober, which reminded me how far I’ve come as an artist, despite not doing traditional art for what felt like a century. My illustrative work for Inktober ended up being some of my best art this year, and the prompts made me get creative in more ways than one. The dark cloud hanging over my head has not disappeared since 2016 however, and the toll that has taken shows more everyday. As far as my art was concerned I did more of what I loved, mostly in the form of character sheets and designs. It’s all I can do, for now. 2019, I have one thing to say: Don’t you DARE.

10Q x a billion

Tagged by: @owlsofstarlight

Put under the cut for the sake of not being long.

1. What’s one genre you really love the idea of, but are disappointed when you go to read/watch it?

Romance, because so many harem shows and so on just make it way too dramatic and painful to get through. Aside from Cardcaptor Sakura and stories like @langwrites‘ Catch Your Breath, which did amazing Slow Burn, I rarely go into Romance genre stuff.

2. Feelings about fire in general? (where my fellow pyros?)

Neutral. As long as it can help keep the house warm and cook food, I’m good.

3. Which of your OCs is the kinkiest?

In terms of hints/innuendos? Hikari, since she does tease Judai on occasion when they’re alone. Of course, this happens when Tomoko is not around. Hisako does troll Tomoko a little bit herself, but not in that category since sex-related stuff is very iffy for Tomo in general.

4. What is the one thing you most want a fan to say someday?

“Could I draw fanart for you?” or “I was hoping if I could write a fanfic of your fanfic?”

I’d be squealing all day if that happened.

5. Which OC do you think readers will like the most?

From personal opinion? Tomoko, Hisako, and Hikari, since those three ladies stand out so much in CP and in S&S. From what I’ve seen of FFN reviews though, Hikari’s the Ensemble Darkhorse, and that’s awesome.

6. Were your OCs born naturally, with pharmaceutical assistance, or via c section?

Aside from Hisako, because Nobody status for Tomoko, all my OCs were born naturally. I honestly think Judai was the only one that came from c-section, because his mother (and in turn, Tomoko’s paternal grandmother) suffered from some health problems. I can’t expand on it aside from that because I haven’t exactly thought about Judai’s parents. For as long as Judai himself knew, he was an orphan.

7. What is the single emotion that is the absolute hardest for you to write? (loneliness, loss, hopelessness, joy, etc)

Seething anger to the point of extreme action. I can get close with my empathy and sympathy to many different emotions, but anger in that level (where a character might even kill or something) is something I can’t imagine. Nor the simple mess that is Orochimaru’s craftiness, because all he is in my head is a pedophile snake that deserves to die.

8. If your OC were a cookie, what sort of cookie would they be?

Tomoko would be a sweet red velvet cookie. Hikari would be macademia nuts, Judai a chocolate chip protein cookie (because ninja status), and Hisako would be peanuts and M&Ms.

Tomoya, on the other hand, I see being birthday cake, because she’s still figuring out who she is past her assigned male gender.

The Hitoshi family would all be oatmeal cookies that got badly burnt in the oven. :d

9. How important do you think it is to describe a character’s appearance?

Pretty important, but not so much to where you dedicate entire pages to them. The reader should get an idea of how they look, but also leave some room for interpretation/fanart opportunities. Hence why when I do describe appearances in writing, they’re simple and sweet so that art has a leeway to come in.

10. And, spitballing off that, which OC do you think is the prettiest?

Right now? Hikari, since she can rock almost any outfit. Also helped by how she makes her own clothes. Tomoko is still growing, but she’ll get there.

11. Your absolute most evil OC is startled by a toaster popping. What happens next?

Mamoru (the original Drunk Guy) would kinda smash it with an alcohol bottle. Only for Natsumi to go on and yell at him because that was still a perfectly okay toaster. Satoru would be rolling his eyes and heading out the window to avoid another argument on his parents’ parts.

12. One of your OCs is in a Disney animated movie. What’s the “big” song of that movie? (Pocahontas’ was “Colors of the wind,” Aladdin was “A Whole New World,” Hercules was “Zero to Hero” etc.)

If it was Tomoko, the song would be Let’s Just Live from RWBY Volume 4. Simple as that.

For Hisako, it’ll be Neon, also from RWBY, this time being Volume 3.

For Hikari, it would probably be Taylor Davis’s violin cover of My Heart Will Go On from Titanic.

Judai naturally gets Teardrop by BOWL.

Tomoya would probably get something like Mirror Mirror, Part 2 from RWBY Volume 3.

13. Do you think having to write while stuck out in the wilderness by yourself (in a heated cabin, food and water but no wifi, tv, or phone service) would help or hurt?

I think it would help for a while, since I get peace and quiet, not to mention my laptop already having offline editing accessible. But after a few weeks, I would just get worried about how to get back to my family, since I’m still living with them and I love them very much.

Leo and Josh would probably be the first ones to blow a gasket out of worry about me, aside from my Mom and Dad.

14. You have written or thought about writing dirty fanfiction. What is it?

…Really? You’re asking this? From the sex-repulsed, demiromantic?

Well, I thought of fanfics where an adult Tomoko and Kakashi went and did it, but got too much second-hand embarrassment to even think of writing. I’m not even going to bring Kei into this, because Lang kinda had to witness my reaction to the revelation of Kei and Kakashi’s relationship going sexual by OSF firsthand last year, and it’s sorta painful to look back on because getting triggered sucks.

15. Someone offers you thirty million dollars to ghostwrite a book about how Hell is real and all dogs go there, good or bad. Do you do it?

Nope. My uncle has a sweet Corgi dog by the name of Yuko, and I do not want to think about a story where all dogs go to Hell. Yuko deserves better, and I can get the money elsewhere. If anything, I’d just point at that person with a blank face, say, “You’re just a scam,” and walk off.

16. You will automatically get a million dollar contract for anything you write, but it has to be at least five thousand words long AND you can only use as many letters of the alphabet as complete pullups you can do. How does that work out?

I’d have to exercise more, because I do more push-ups and rollerblading than pull-ups. So no. I’d prefer writing for fun, not for the money.

17. Your dog turns into a person and writes a book about your lives together, and it gets turned into a movie. During the premiere of the movie, your dog turns to you and tells you that Hell is a place of our own making. What kind of popcorn do you order?

I would order a medium popcorn with extra butter. And I don’t think I should worry about the dog part since I actually don’t have a dog. The only dog I interact with is the aforementioned Yuko, and she’s too sweet to say something like that.

18. What’s a genre of fiction you don’t think you’d ever get the hang of writing?

Smut, because sex-repulsed demiromantic here. And any despair-inflicting stuff since I know fluff runs in my veins so much better, hence why I’m still surprised about the Danganronpa crossover that’s been going in my head. Hell, the things my head has come up with for S&S Tomoko past the Memory Arc have been less than cheery, and I have to thank Lang and by extension, Os and Abalisk for getting me out of that mindset many times, because the things she has coming up hurt.

19. How similar is your story world to the Earth we live on?

Aside from the ninja and feudal Japan-like aspects, pretty similar. The only thing Tomoko misses is freedom of speech and democracy, because despite America’s flaws, it did allow Vy’s parents to immigrate and find better lives to meet each other.

20. What inspired any of your WIPs?

Catch Your Breath. I’ve said it enough already, and owe Lang many things.

21. What song best explains the squad in your WIP?

Let’s Just Live from RWBY. Because it’s the main theme for CP in my opinion, and going onto S&S, the message of moving forward is something I think everyone in the squad tries to aspire towards.

22. Do you use Pinterest for your characters/stories?

I have a Pinterest account, but I don’t use it. It’s kinda clunky, and Tumblr and FFN has been shown to be better in my opinion.

23. Do you have an Asshole character?

The entire Hitoshi Family. Even if Satoru hasn’t shown up in S&S (because all the flack surrounding him in his initial arc in CP was bad enough), the family’s bad.

24. What superhero is similar to or is idolized by your OCs?

I feel like Tomoko would idolize Starfire and Wonder Woman, since both had to deal with coming to new worlds and adjusting to life with new people. Not sure on the others though. Judai might sympathize with Batman, but aside from that, I’m blanking.

25. Do your protagonist and antagonist get along?

Nope. Tomoko would probably want to yell her head off at Madara for being so stupid in her opinion, and grab her Wayfinder to slash Black Zetsu with. Hisako agrees with the Zetsu sentiment, but would probably want to kill Madara more than yell at him.

Danzo on the other hand, is someone Tomoko and Hisako haven’t exactly encountered. Judai, though, would want that bastard as far away from his family as possible, since Danzo has offered Judai a place in ROOT back before he met Hikari. It was not pretty, to put it lightly.

26. How many of your current WIPs do you plan to publish, if you are publishing?

I’ve published most if not all of my WIPs on FFN. I don’t know about cross-posting on AO3, since it’s a pain in the butt, but yeah. The Danganronpa thing should come out when I get more chapters of S&S done, and when I finish the anime.

27. Is there a song that inspires you to write, or inspired any of your WIPs?

Let’s Just Live comes up yet again in this long post, but I also have to credit many of Kyle Landry’s piano covers of Kingdom Hearts, because his work on the already great soundtrack gave me the idea to make Tomoko into a pianist in the first place.

28. What trends do your OCs use/wear/etc.?

Anime-inspired kimono stuff. And casual, comfy wear that’s simple and pleasing.

29. Do you listen to music or ambiance while you write? Or just silence? If it’s music, what genre?

When I need to write somber moments, I use silence while sitting in a corner of my room. For everything else, I bring up piano music to keep up the theme of CP having piano themes.

30. Are any of your characters sassy?

All of them can be sassy in some ways, but the people that really dominate the “sassy” category have to be Hikari, Tomoya, and Hisako. Those three can really rip into someone if they want to.

31. How did you come up with the idea for your current WIP?

For CP? The simple question of, “What if Kakashi had a best friend from the near beginning?”

For S&S, though? “How would things be better or worse for Kei if she met Tomoko and they worked together?”

32. How long have you been working on your current WIP?

CP: a little over a year.

S&S: nearing a year, since its first anniversary is coming up in 2 months.

33. Are you planning to publish your current WIP?

Uh, they’re already up on FFN if that’s what you mean. Because honestly, I don’t see myself writing past fanfiction.

34. If your MCs were youtubers, what kind would they be? (ex. vlogger, artuber. booktuber, comedy, etc.)

Tomoko would be like Kyle Landry in putting up various piano covers of the songs she finds.

Hisako would be half comedy, half vlogger/booktuber as she comments on the many things she sees in Tomoko’s head and through Tomoko’s eyes. The booktuber part comes from Hisako’s home being Tomoko’s mental library, so she might be reviewing the books/memories that come her way while in front of the camera.

Hikari would probably be another musician, teaming up with Judai on occasion to be like the real life Videri String Quartet, only as a duo because they both handle stringed instruments.

Tomoya would probably put up piano covers like Tomoko, but also film advice videos for those who are trying to transition like she is.

35. What season do you associate with each of your characters, and why?

Hikari is spring, since she brings along the most cheeriness in the house when Tomoko can’t.

Tomoko is autumn, since she picks up the pieces after summer passes.

Tomoya is winter, since she’s still unsure about herself and trying to find her way in the world.

Hisako and Judai both share summer, since they can be pretty hot-headed when it comes to people they care about.

36. Is there one scene that you are particularly excited to write, or had a lot of fun writing?

In terms of scenes I’m excited to write:

CP has me waiting for Kakashi’s ANBU arc to come by, since Tomoko and Kakashi are already in a relationship at this point, and I’ll be able to flesh out both civilian and ninja sides since the two are going to be kinda separated as a result of ANBU forcing Kakashi to get his own apartment in the ninja barracks for security purposes.

For S&S, I’m looking forward to the Commencement and Memory Arcs, since October Tenth and Sorayama were two events that really impacted Kei’s life originally in CYB. Tomoko being there will lead to significantly different emotional aftermaths, so exploring that has me shaking in my shoes (in the good way).

In terms of scenes that I had fun writing…

CP had Kakashi buying his signature outfit for Kannabi in Chapter 42, because Tomoko (the innocent dork) is finally starting to recognize for real that she loves her best friend and honestly doesn’t want him to die while in the field. Also for Hikari being that fashion badass that I wanted her to be.

S&S had Tomoko’s bulging duffle bag of things in Chapter 16, since that was something I had in mind since the beginning of the brainstorming stages for the story, because Kei’s shown that she can be reckless already. Our civilian pianist, on the other hand, takes things to a completely different level, and I’m kinda sad no one commented more on that scene in the reviews anyways.

37. What would the ship name be for your favorite romantic pairing in your WIP?

For CP? KakaTomo, taking the first 2 syllables from Kakashi and Tomoko’s names to get this.

For S&S? It’s a crack and sunk ship at this point, but KeiTomo kinda grew on me since writing S&S.  More so since Tomoko has been shown in S&S to be very dedicated to Kei in a way that’s different from her CP counterpart’s love for Kakashi. It would’ve been pretty interesting to explore, but talks with Lang confirmed it wouldn’t exactly work (as KeiRin shippers from CYB can probably attest to), but thoughts of it are cute to think on.

38. Are you a planner, or a pantser, or in the middle?

In the middle. I plan, but also leave enough holes for the characters to fill in with their actions.

39. What’s your favorite detail that you put into your worldbuilding?

All the family relations between the characters and how a simple network of loved ones can easily make so many changes in the Narutoverse. I’m still happy about how everyone on FFN was so receptive to the CP version of Kannabi, because that was planned from the very beginning of the story. To know that all the build-up, family and fluff moments and all, showed the natural progression of how a canon-doomed mission turned into one that was mostly heartwarming and partly bittersweet.

40. How long are your chapters, usually?

From 5k to 10k words on average. The most I’ve done, I think, is 14k words.

41. If you could meet one of your characters, who would it be?

Tomoko, since I’d be able to assure her that everything will be okay and that she doesn’t have to worry too much.

42. If you could meet any fictional character (not yours), who would it be?

Kei, since Kei’s a dork, and I think I’d be able to get her to relax a bit more by introducing all of RWBY to her and updating her on what’s happened since her past self’s death.

43. Which character is the most fun to write?

Hisako, because she’s a nicer version of Monokuma. She can say so many things that Tomoko just doesn’t say, and without any consequences.

44. Which character is the most painful to write?

To be honest, Judai, since I’m still lurking on his Interlude that expands his backstory leading up to Tomoko’s birth, and trying to make all the Yugioh GX elements transition into Naruto-terms hasn’t been easy.

45. What are some of your favorite tropes?

You Are Better Than You Think You Are, You Are Not Alone, Glomp, and True Companions.

46. What genre is your favorite to read? What genre do you usually write?

Hurt/Comfort as well as a good Mystery mixed with Fantasy are my favorites to read. For genres I write, it’s obviously Friendship, Hurt/Comfort, and Fluff.

47. Earbuds or headphones?

If given an absolute choice, earbuds because portability, but both are fine.

48. What made you want to write what it is you’re currently writing?/ What was that first spark of an idea?

As I’ve said many times before, Catch Your Breath from Lang. The next spark was actually Inoue Shiori by Hermionechan90, since her take on civilians and their relationship with ninja got me thinking.

49. What are your project’s main themes or undertones? (Yes, I do really like this question)

“Keep Moving Forward for Yourself and the People that Care for You.”

“Don’t give into your own doubts — use them as a motivation to improve yourself.”

Also, quoting Madoka from the last episode of the TV series:

“If someone tells me it’s wrong to hope, I will tell them that they’re wrong every time.”

50. Which of your characters do you relate to the most, or has the most of ‘you’ worked into them? And what aspect of you is this? (If you’re comfortable with sharing).

Tomoko obviously has the most of “me” worked into her, because of her status as an SI-OC. The biggest aspect though? Her heart, emotions, and desire to help others. That’s something I still share with her greatly, despite maturing, so seeing her grow as been a wonderful thing to witness.

51. What are the main points of inspiration/original concepts or aesthetics behind your main characters?

There’s a reason why I keep turning back to Let’s Just Live, because it shows just how much aesthetic these characters take from the song and in turn RWBY. You shouldn’t give up just yet, even when life is unfair. You have to keep moving forward, because the ones who have passed on and loved you would’ve wanted you to. If you can’t live for yourself, live for the people that are still alive and that still love you. That’s why I believe Chapter 13 of CP and Chapter 9 of S&S are still so powerful, because it’s something that Sakumo and everyone else needed to hear, and why it still stays despite all this conflict.

52. What’s your favorite quote from your project so far?

From Tomoko herself:

“Don’t take the coward’s way out. Face your pain, your mistakes, head on, and recognize what happened. You can’t change the past, but you can change the present. The future. Don’t start to cherish something when it’s long gone. Recognize what you have now, and treasure it with your life. Remember all the positive moments you’ve had, all the people you’ve loved, and just live. Don’t fear loss or pain. Take it in, endure it, and use it to help others. Because in the end, life is a gift, but short, and with the world the way it is, wouldn’t it be better to impart love and care to our loved ones before the inevitable?”

53. What’s your favorite book and why?

Don’t know if I have one aside from manga and fanfiction.

54. Do the books you like/ genre you read influence your writing style at all?

Yep. Cardcaptor Sakura was all about fluff and positive relationships, for one thing. I can’t list more off the top of my head right now, but that’s a big one.

55. Do you have a weird writer thing? Like a habit or obsession or something that’s just generally unusual when it comes to scribbling words?

Sometimes, when I’m really stressed, I just put on my headphones and pull up hairbrushing ASMR videos, because the sound of hairbrushing is surprisingly relaxing and nice when I need to get into the right working-mood.

56. Are you a hand-writer or a screen-typer?

Screen-typer.

57. What’s your favourite character from a text you’ve been forced to study and why?

Surprisingly, even though I haven’t finished the book yet, Werther from Goethe’s The Sorrows of Werther stands out, because he’s the first male protagonist I’ve seen in historical texts that is so emotional and open, and considering how my HUM professor likens his development to that of the Romanticism Movement that I already unconsciously took from, all the right bells were hit.

Tagging: No one. Whoever wants to do this, go ahead! Just pick 10 from the questions up above. :)

This is part one of two summarizing replies to a conversation I had following an ask by @arletestanyol on Instagram. This response is about storyboarding portfolios. I’ll post part two about TESTING for storyboard positions soon.

I wouldn’t write anything in script format, that’s not really showing anyone hiring for storyboards that you can do what is required of the job of ‘storyboard artist’. If you’ve seen me posting writing material, or seen me writing in script format, that’s either just for fun, or something I’m working on for my writing portfolio. I’m transitioning from storyboard artist to writer, and hoping to get staffed on a show for a totally unrelated, live action position- Staff Writer. Big world building/character design/pitch projects are fine, but I personally don’t recommend them. For one thing, if what you’re looking to do is storyboards/writing, there’s a lot of surrounding art required, (character designs, environments, unseen backstory, text documents with outlines and character descriptions, visual development, etc….). Basically it’s a ton of work for one short storyboard sequence, which is the only thing in there really worth looking at for storyboards. And, they’re big to sort through. There’s a good chance the person looking to hire board artists will give up scrolling through pages of character designs to get to board samples. Try to keep in mind that recruiters are looking for people to fill positions as fervently as you are looking to get a job. Meaning line-producers, showrunners, and studio recruiters are on a moving train that is a TV show or movie. They don’t think in terms of “let’s give this kid their big break.” They’re more like “We need a board artist who can start and be trained perfectly by next Monday, or we lose a day in the schedule.” So, in that panic, they don’t care about your well thought out art, they want to see specific skills on display that show you can do the job immediately. Make things they can look at QUICK, many times they barely read in boards or comics, they just scroll through and know in an instant how it feels. Storyboard artist can mean many types of work, ranging from projects where board artists write all the dialogue and most of the plot from a Writer’s outline- to projects where board artists follow detailed scripts to a letter, interpreting the images visually like a cinematographer, but not contributing to writing at all. I’ll get into the different types of jobs and the broad categories of ‘board driven’ vs ‘script driven’ shows later. First, I want to mention some of the better types of storyboard portfolio samples in my opinion, and why they are better: Webcomics, any type: -They can be a big serialized story you work on over years, like Jesse Moynihan’s Forming. (Jesse= Board Artist/Writer, Adventure Time, Creator, Manly) -They can be a weekly gag strip style comic Like Kelly Turnbull’s Manly Guys Doing Manly Things (Kelly= Board Artist/Writer Ben Ten, Board Artist Good Vibes, Ugly Americans) -They can be a mini series like my buddy Alex Cline’s Stinker’s Garden  (Alex= Board Artist/Writer Regular Show, Pickle & Peanut) -They can be just random ideas you have like Toonhole Chris (Toonhole Chris=Artist/Director/Writer at Cartoon Network. 

-They can be real life stories like Avner Geller’s Things That I Hearn (Avner= Visual Development Artist  Mr. Peabody and Sherman, The Penguins of Madagascar, Trolls, and Larrikins,) Webcomics are great because 1.Little things are really easy to digest quickly, 2. They show both your drawing/staging/joke writing ABILITY, and the unique FLAVOR you would bring to the team. There’s no one ‘cartoon network artist’ sence of humor or specific take on storytelling, the point is to do your own thing, and show your own voice. The other good one- Board Samples: -These are more prevalent in feature story, but see my buddy Todd’s feature portfolio anyway. TV focused people can do a similar, but slightly less detailed set of boards for their own personal projects. But this is where it gets into complicated territory, because different categories of project are looking at slightly different things when hiring. On A board driven show like Adventure Time, you are often writing the dialouge, and a good deal of plot based on a Writer’s or Showrunner’s outline. People staffing on those shows are going to want to see writing centered stuff like webcomics over a bunch of boards mostly focused on staging and acting. On a Script Driven Show like Bojack, they are going to care way more about staging, acting, and economic shot choices. Script driven shows tend to be half hour episodes (Family Guy, SImpsons, Bojack, Rick and Morty, Gravity Falls), instead of board driven’s 11 minute episodes (AT, Regular Show, Ben Ten, Star vs. The Forces of Evil). So, the longer episodes tend to call for more economic use of existing backgrounds and character models. Some of what they want to see if that you aren’t just cutting to a new angle every shot, that the acting is clear and thorough. On an Animated Feature, the boundaries are a lot more loose. You get strict movies where you are basically providing ideas at the occasional story meetings, then executing the script to the letter. You get really loose, open projects where the script is in  a constant state of development, and you are pitching ideas, shole scenes, huge, structural plot changes, and even songs. On most moves it’s in the middle- where you are changing and playing with dialogue, and keeping the intention of scenes as written in the script, but changing up the structure of your sequence to make it work. On all animated features, the recruiters scrutinize acting, staging, and cutting VERY closely. You are almost always drawing boards for a 3-d movie, so the camera restrictions are gone, because almost any angle is easily producible. Even 2-D features don’t place as much emphasis on re-using backgrounds as 2-D TV, because the budgets are big enough to cover a bunch of different backgrounds, so you can get a ton of angles on a scene. In any case, when you have freedom of camera, you need to use it wisely. Feature boards require the highest level of cinematic language, but not as high of writing ability as board driven TV shows. You don’t have to know which type of thing you most want to work for, you should be open to all of them starting out. And, you will probably end up working multiple types of jobs as a board artist. For any of the above jobs, a badass comic or board sample will always impress, so just do your thing tonally in your personal work. You definitely should be doing original story ideas, but that can include fanart of existing characters. If you’re doing board sample featuring the Little Mermaid, do something that comments on the movie, or is a joke or something, don’t, like board serious, cannon attempts at LIttle Mermaid fan fiction, and don’t just re-board a scene that’s already in the movie. Personally, I prefer to do board samples and comics of my own ideas and experiences, because I think it shows off your flavor better. But if you make any kind of comic or board sample amazing enough, recruiters will completely ignore the fact that you’re a different tone than the show, and assume you’re talented enough to adapt. One last thing on your portfolio: it’s not the hard part, I wouldn’t get too nervous about that. Pretty much all TV boarding is decided by tests. The only thing the portfolio is for is a key that unlocks the gate to the tests. It only needs to be good enough for the recruiters and line-producers to send you test. Testing is almost a completely different skill set, so I’ll talk about that in the next post. But the portfolio is pretty easy & difficult at the same time: Make awesome personal work and submit it to studios, if they get back to you with tests, try and pass them. If nobody is getting back to you or sending you tests, you probably need to work on your portfolio, make more awesome work, repete. Social Media: You can send studios your social media pages like instagram, tumblr, a facebook art page, twitter, etc, if it’s only your art on there (or if it is MOSTLY your art. You can have tweets about other stuff on your page, but if you send them to the ‘media’ section of your Twitter, the recruiter better not have to scroll past a dozen Green Arrow reaction gifs before they get to your first piece of art.) If your social media is a little more disorganized, that’s fine, just don’t submit it to recruiters. You’ll have to make a separate website for your art. I still recommend at least a simple website on top of the social media page though. It just keeps every type of thing in one place, so someone looking at people’s comics can find all your comics in one folder, someone looking for board samples can find that, for sketchbook pages can find that, and so on. I send both a portfolio website and my social media page, since they have slightly different things on them most of the time. As crappy as it might sound, if they see on your social media that you have a big audience, that can only help you. When you get to the next round and a Showrunner is looking at your test, they probably won’t care that much whether you have 10,000 Twitter followers or not. But, the recruiter deciding who to pass through to various productions in the studio definitely will consider that. If you DON’T have 10,000 Twitter followers, submitting your social media still won’t hurt you if the art’s good and your page is mostly art. Tons of people nowadays are scoped out by studios through their social media pages, whether they have followers or not, but obviously, the more popular online artist are more visible. Part 2, on TESTING, to come. Follow me on Instagram or Twitter  here.

SO I GOT THIS QUESTION ON MY SEA WITCH VIDEO, AND SINCE I’VE BEEN RECEIVING QUESTIONS LIKE THIS A LOT, I THOUGHT IT WOULD BE IMPORTANT TO SHARE MY ANSWERS HERE AS WELL. Question: " it's a shame how I want to be a an artist and I cant even draw this good and I don't even know or have all the tools... I just don't feel like I'm ever going to be an artist. Any tips?? how come I don't have all the tools?? I only have like 10... how many years have you be been drawing in paint tool sai??? I'm only 15, and did you take classes or are self-taught???? srry for a the questions ... I'm just trying to find hope and motivation 😔“ 

*** Well, first of all, that mentality  of "I'll never be a good artist" mindset has to go away. Being good at art is rarely about someone's natural skill and much more about years and years of practice. I didn't even dream I would be able to paint such a portrait when I was 15 myself (I am 27 now, so you can already see where I am going with this). So please, don't think it is "shameful" you can't draw like that yet when I didn't draw like that when I was your age, lol. Some teens can paint and draw insanely good - examples: Kiwi Byrd, Tamberella, Sara Teppes, they aren't teens anymore but they are currently like 19 or 20 and they've been posting art for years now. They are exceptions or they simply perceive/absorb art skills  differently, but you can see they are ALWAYS drawing and posting something, from a sketch to a full painting, they are always producing art, which of course, speeds their improvement a lot. I will ALWAYS show and link this to people, because more than anything I want to de-romanticize and un-mistify this idea that art is 1- easy (it is not, no matter what it may seem or how some people might be quicker to learn it, it is still hard to learn new tecniques and styles and to study art) and 2- that art is absolutely impossible to improve: THIS IS MY IMPROVEMENT MEME CHART THAT COVERS FROM 2003 to 2016.  As you can see, at your age I literally drew some anime-style characters and fanarts, most based out of something else (like the Amy Lee manga portrait, it was referenced on one of Amy's most famous promo pictures). I only started with digital art when I was sixteen and only got a tablet pen (a Wacom Bamboo Fun small) three years later when I was 19. Tools are helpful, but when you are a beginner, they don't really matter to be quite honest. I mastered watercolors  by constantly practicing with the cheapest, worst quality watercolors and nankin ink you can ever imagine from the age of 14. They were literally school / tools for children quality. That Amy Lee I mentioned earlier on my chart was all done with ballpoint pen. And to this day, ballpoint pens are one of my absolute favorite materials do draw with because they are cheap, simple and we can achieve awesome effects and textures with them. They were all done recently with only common ballpoint pens: 

If your foundations aren't good in drawing, your art won't look good no matter how many tools you have and no matter how expensive they are, the art will still look bad. If you can make wonders with cheap-ass materials, you will be fine in any situation. If you have 10 tools (I guess they are commons stuff like pens, pencils, colored pencils?) you already have a very good start. I've been drawing on Paint Tool SAI since 2009, which means this year will be 8 years of using the software. 

This was literally my first attempt on Paint Tool SAI, in 2009:

This was one of my latest paintings with the same software, made last month:

On the other hand, I still use a Bamboo Pen small tablet, which is a good one but far from what you would call "the best" tablet; again, remember what I said up there - try to work with what you have in your hands. Sometimes upgrades will have to be necessary for you to improve, for example, you can't improve at playing the violin if your violin is a cheap/beginner violin because in that skill, the quality of the instrument counts a lot for the quality of sound you will get. Art supplies work more or less the same way, but unlike the violin, it is not a deal breaker if you have cheaper stuff or if the quality is inferior.  I've taken a few classes / attended a few fast courses because these are super expensive here in Brazil where I live. But I was once an apprentice of this dude who had a painting studio near where I live. It last only a few months, I had to stop attending due to many reasons, oil paintings not really being one of the easiest materials to deal with being one of them, BUT I still learned a great deal on traditional painting which I use to this very day on my digital art. Another tip would be exactly that - try watching traditional oil painting videos, they have great techniques and tips that can easily be applied on digital (my favorite is Andrew Tischler's channel, his videos are dynamic and his technique is insanely good). Observing old paintings that you might like also help a lot (my favorite painter is by far William Bouguereau, I've been observing his art since 2009, and I try to apply what I see in his works on mine). 

However, I would say I am mostly self taught - and by that I mean I read and watched a ridiculous amount of tutorials online, from deviantart and on youtube, and whenever I see a tutorial I stop to at least take a look. Don't judge tutorials by the quality of the art being presented in it, I've learned A LOT about SAI by reading tutorials and watching speedpaints on YT of what would be considered "bad anime art" or just "weaboo anime art". Since learning art can be tough and you can get really unmotivated and bored, draw whatever you want: fanarts, OC's, animals, landscapes, it doesnt matter as long as you like it. You can see on my improvement chart that 90% of stuff in there is fanart. It has its cons (for example, people can take the longest time to recognize your original art or not pay attention to it at all, like it still happens to me) but it definitely has its pros as well.  Also, I am very good at drawing faces and characters (hence this only took me 3h to paint, i've been painting faces since ever and they are one of my favorite things to paint), but I am extremely bad at drawing and painting backgrounds. They can come out looking nice, but I still can't paint just anything (for example, I can paint a forest decently, but I can't paint a city scape with buildings and such). My backgrounds are often very limited, simple and / or just suggested (like in my recent "Goblin" video, the forest behind him is only suggested, but it is enough to convey the message). I should practice more on BG's, but I don't lol. So don't be like me on that, haha. Long story short: - art is hard and takes a long time to learn and to improve, it is completely normal to take time to improve; - don't be fooled by the illusion of expensive art supplies = good art. Work with what you have at hands, try different tools and  supplies and see what suits you the best; - read read read read read tutorials and watch as many YT speedpaints and tutorials you can. Even if they are long, even if they seem they won't add you anything new or good. - draw a lot, and draw what you enjoy. I hope this was somehow helpful!

Hey, I want to start posting my own art but i don't know if i should do it on tumblr or instagram...which one should i choose? i noticed that you use both, but all your art has your blog URL... any thoughts?

Okay so here’s my best attempt to answer this, it got a bit long sorry! ^ ^;

I think different people have vastly different experiences posting art on various social media platforms depending on what you post, how you want to present it, how many followers you have, and how you regularly interact/WANT to interact with those followers.

I technically have an instagram which I tried to get myself to restart using after my last convention since so many cosplayers use it, and i tried putting a very small amount of art on there but tbh it’s already fallen back to its original use, which is to sometime post photos to tumblr through it ^ ^; I realized Instagram’s not a great platform for me personally to post art because 1) I personally do not have a lot of followers on it, 2) of those followers, many are rl people who found me through fb which i try to keep separated from my fandom blogs, 3) Instagram heavily controls image dimensions so it’s not great if you frequently post tall or long posts and the majority of my art is portrait, 4) Instagram is good for individual aesthetic images, not so great for long story-telling multi-page comics, which is a lot of what I do, 5) I’m not entirely sure how people find your blog on instagram since no reblogging and tags and stuff seem strange and most of the attention seems to come from people who already follow you, and I’m too tired to learn another social media platform now, and 6) Instagram is full of a TON of art theft and I’ve had too many personal bad experiences to have a good impression of the platform as a whole.

So uh, yep, in other words for me Instagram is mostly for cosplay, selfies, pet pics, and merch pics ^ ^;

I also post on Twitter, but that has its fair share of issues too. It, like instagram, is pretty bad for posting portrait images and works better with square/landscape aligned images. It absolutely SUCKS for long comics and multi-page things because the previews are awful. The text limitation is also pretty miserable for someone like me who loves talking a LOT on my posts. It also has a really weird HUGE hit or miss gap between art posts, and I feel like the amount of followers or comments you get per successful art post is far fewer than Tumblr, though others may have different experiences. It IS good for connecting to a less English and tbh far less America-centric community though ^ ^;

I personally prefer to use Tumblr as my main art posting platform for several reasons, some simply because I’ve been more successful here and that’s motivation to continue, and some also just because of what I post. This was the first fandom social media I was really active on, and I’ve been active for YEARS and have sloooooooooooooowly but steadily gained more success, bit by tiny bit through various fandoms (so yeah, tons of art posts with only single digit notes? been there, done that WHOO).

Because Tumblr’s been my main social media, I’ve gotten used to formatting my art specifically for it. Almost all of my art uses Tumblr’s ideal image posting proportions (2 width: 3 height, for those wondering, anything taller blurs), and I’ve learned to take advantage of Tumblr’s vertical scrolling to make posts that stand out when you speed scroll. I’m also the kind of artist who again, rarely posts a “look a pretty picture anyone can appreciate” type art, and more “here’s a really obscure hyper specific AU comic that you’ll have to follow all the links and read the text to appreciate,” type work. This latter means that being able to write long comments (and being able to put it beneath a cut), add links to other posts, and properly tag is really important.

I’ve also found that when I personally post this hyper specific content, on Tumblr and only Tumblr of my social media platforms do I get significant feedback. This is almost entirely because my own unique followers are truly amazing and I’m so incredibly grateful to them, but also partially because there’s so many methods of feedback for people at various comfort levels. There’s the askbox, which I can respond to publicly and where people can send anon if that’s easier. There’s IMs, which I can rarely respond to but it’s an option. There’s replies and comments in reblogs of posts. And there’s tags for people who want to ramble but don’t necessarily look for responses from me. The combination of all of these results in quite a decent amount of feedback that I can enjoy ^ ^; And again, this isn’t for every post; I find that art with less specific context, even if it gets exponentially more notes just don’t have the same type of feedback as my more specific content. And experiences will vary heavily between users, but this is just the community that I feel has grown around my own art here (Thank you all, dear followers, you’re all amazing ;A;).

Tumblr’s url is the one stamped on all of my work because it’s the one I’ve created my brand on, it’s the one that contains all of my content as I meant for it to be seen (comments, tags, links to other related posts and all) so it’s the one that most of my reposts on my other social media link to anyway, and also to be blunt, it has many more times the number of followers than all of my other social medias combined >.

Of course, Tumblr has plenty of cons too. As noted above, but horizontal images are CRAP to post on Tumblr bc they take the least amount of space when you’re vertically scrolling so even it’s a ridiculously huge and detailed long post, it’ll barely blip on most dashes. There’s a limit of 10 images, which can be annoying for me sometimes as a comic artist who has to work around that. Tumblr also does this ridiculously stupid thing where it resizes the image that appears on the dash so it’s really crappy quality and it’s a pain for people to open up the actual resolution image. Tumblr also has, ah, a very specific and rather hostile culture around many things, and depending on what you post you could get a lot of unsavory comments that will be a LOT more rare on other platforms. I’ve found that users on other platforms tend to understand the “You control what you consume,” concept a lot better ^ ^;;;; And given the above various forms of interacting with your followers that I’ve listed above, this also means that people have a variety of tools to make you feel like crap too! And then there’s all that stuff about safety mode going on recently, among other problems. Not a perfect platform, not by a LONG shot.

So which social media platform will be right for you? Again, it really, REALLY depends. If rl people follow you on one or the other and you want or DON’T want them to see it, that’s a factor. If you’re used to talking to your followers on one account and maybe they’d be interested in seeing something else from you, that’s an option. If you want to divide personal from fandom or combine them, that’s a factor. If you prefer more “artistic” or aesthetic art, perhaps instagram and twitter would work far better for you than me. If you have a certain art orientation you prefer, that’s a factor (again: Instagram = square, Twitter = square/landscape, Tumblr = portrait/square). If you want to write a lot of comments or post multi-page work, perhaps Tumblr is better. And of course, it certainly doesn’t hurt to try posting on multiple simultaneously and seeing what works for you, which could be everything! 

But most importantly, please don’t get too discouraged if your work does not immediately get the response you were hoping it’d get. Gaining a following takes time and there are so many factors involved beyond your skill level alone, including the popularity of the fandom if it’s fanart, timeliness, frequency of your posts, and the biggest one is sheer dumb luck. Most if not all followers won’t ever comment. Most of your followers won’t even bother to hit like. It WILL feel exhausting and unrewarding and thankless if you go into it for the notes alone. So please, it’ll be hard but it can be a wonderful and rewarding thing to share things you’ve put your love and passion into, so enjoy drawing, draw what you love, and share because you want to share that feeling ^ ^

Sorry this got SUPER long, but I hope it was somewhat helpful! ^ ^;

All of the questions for the shipping thing 😈

AAAAAAAAA Im gonna d i e I hope ur happy abt this long post u dork

Talk about the first ship you ever had.Dang dude,,,,,,, makin me think,,,,,, I suppose it was Jay and Nya from Ninjago?? I thought they were cute but wasnt like SUPER into it, the other one that I was into was me shipping an “OC” with Lloyd L m a oTalk about three of the most important ships throughout your life.Three most important? Uhhhh idk abt important exactly, like idk what the whole requirements for one being more important than another would be. Though, the main one that always makes me happy, no matter the circumstance, is McHanzo. Idk what it is about it but it always makes me smile and helped cheer me up plenty of times throughout the year hahaWhat’s your current OTP?McHanzo or Sonadow tbhWhat’s your current NOTP?shi//ma//da//cestDo you have any poly ships?Yes with some of my OCs!!How do you feel about love triangles?They CAN be done right but most of the time im just over here like, ‘UGGGGGGGGGGGHHHHHHH No one c a r e s’How do you feel about RPF?Idk what that stands for 3Have you ever shipped yourself with a character?Not myself, but my OCs. Tho I suppose my first ever OC was very similar in looks so I suppose partiallyDo you have many ships that never got together at all?Lmao yeah man, most people seem to forget that McHanzo started out as a crack ship hahaDo you ship any characters that have never met?See the previous statementTalk about your favorite first kiss.Wonderbat in the Starcrossed episode. It was gr8 man. Kissing to blend in with the crowd.Have you ever been disappointed when your ship finally got together?The Nya-Jay-Cole love triangle was forced and stupid. LETTHEMBEHAPPY–Has a ship ever broken your heart?HAVE YOU EVER READ UNDER THE WISTERIA TREE? IVE NEVER BEEN SO EMOTIONAL OVER A FIC. I SOBBED FOR A GOOD HOUR AFTERWARDS MANHow do you feel about will they/won’t they?I think it depends on the material, like Wonderbat in JL was a good one cause we still got content for it here and there but it was never ‘official’ but it wasnt relentlessly teased at teither, it wasnt a main focus nor dragged down the show. It was acceptable cuz they were also, yknow superheroes and Bruce isnt the type of character to just suddenly settle down

But otherwise I think it can get really annoying and unnecessary if done wrongHave you ever “shipped at first sight”?Yeah lolTalk about a ship you initially disliked.Im p sure I used to be p decently opposed to Sonadow at first, because at the time I was super into Sonamy (which I’ll talk abt laterrr) though I learned more of the reasoning behind it and was like ‘oh! This is p decent’ and since Ive re-entered the Snoc fandom, Ive sorta reanalyzed my ships and looked into what real chemistry co9uld be there and frankly I just think that Sonadow has a lot of working potential, it reminds me of how I felt about McHanzo at first; They have a lot of working potential and thats what I love building off of. They have the potential to work really well together because the balance each other’s personalities and senses out (Shads bringing a sense of realism and Sonic bringing a lightheartedness) and neither has to worry about the other getting into trouble/hurt/being used against them because they’re both extremely capable of handling themselves. The difference between them and a ship like Mchanzo though is that they’ve already previously worked together and interacted on multiple occasions.

Im sorry I just have a LOT to say abt the ships I love ha h a–Also Ive noticed I have a tendacy to like ships where the partners balance each other?? God im predictableTalk about a pairing you’ve stopped shipping romantically.Sonamy has sort’ve dropped off the radar for me (except in Boom and maybe in X) at least in a more serious regard. Idk how to quite get how I feel into words r i pTalk about a moment which made you question an entire ship.I was actually watching a DHT (I think thats his name idk im tired lol) Top ten abt his personal opinions on ships? Cuz I like hearing other people’s opinions and point of views!! And I mean idk his points with Sonamy were really true and while I still think Sonamy is really cute and has gotten a bit less violent in recent years, the negatives at this point are sortve outweighing the positives atm imo? So it was just kinda like ‘huh. Thats tru’Have you ever shipped something despite yourself?No..? Idk if Im exactly understanding the question but if its asking if I still shipped smth even if it was against my morals? Then a definite no, if its nasty, its nasty imoTalk about a ship you feel alone in shipping.Wonderbat fandom where r u??Is there a ship you just don’t get, but have nothing against?The only ones I can really think of are Shadilver and Sonouge?? :00 Im just curious as to like the origin or reasoning behind the ships! I love hearing people’s reasons beyond “They look nice together” yknow? HahaWhich of your ships have the best chemistry?WONDERBATWONDERBATWONDERBATWONDERBAT–Which of your ships deserve better writing?Sonamy,,,, Jaya,,, //criesDo you mostly ship canon pairings?It depends! But a lot of times I end up soHave you ever shipped a pairing before you even started watching the show/movie simply because of gifs and graphics or similar?I probably have LMAOHave you noticed a pattern in your shipping? Is there a romantic dynamic you’re more drawn to?yEAHI like the dark broody one and the lighthearted cheery one where theyre opposite but not so much that they never get along. I like ones where its like sun and moon, where they balance each other out and both bring something to the table. Where its mutual.Is there a ship you’ve shipped for most of your life?Idk man, I didnt really have ships before I was 10 so like–Does shipping come easily to you?Somewhat, I need some good and moral reasons to ship two ppl before I turn into shipping puddy–Do you need to ship something to really enjoy a movie/book/tv show/comic?No, but if there’s a rlly good ship that I enjoy in the content then it definitely boosts how much enjoyment I get out of it hahaName a couple of fandoms in which you have no ships.I can only rlly say that for rlly obscure fandoms, like Ranger’s Apprentice. There’s also the FNAF book-verseTalk about one of your favorite headcanons for a ship you love.For Sonic and Shads I read this one thing ages ago abt Sonic teaching Shadow all the meanings each flower type and color portrays so them giving each other meaningful bouquets n shit is RLLY CUTE AND I LOVE THAT KIND OF STUFF OKAY,,,,,,Share five must-read fics.UNDER THE WISTERIA TREE IS EQUAL TO FIVE MUST READS! gO READ IT! (BUT BE PREPARED FOR TEARS AND LOTS OF THEM)Name your favorite fanartist(s).uHHHH @ludwigplayingthetrombone (Their expression are so soft,,,, n sweet,,, its so fluffy n good,,,) Share your favorite fanmix for your OTP.I dont have a favorite so just go look up some Everytime we touch PMVRecommend 1-5 shipper blogs.¯\_(ツ)_/¯Do you create fanmixes/gif sets/fanart/fic/fanvids and so on for you ships?I draw,,,, every once in a blue moon,,,,Do you have a favorite trope and/or AU for your OTP?Mutual pining and dorky fluffDo you like and use ship names?Yes!!!Is there a fictional relationship you’d really want for yourself?Nah boi Im ace lolIf you could change one thing about your OTP, what would that be?More interactions,,,, pl z ,,,,(diduknow that the “Pretty handy with that bow!” vl came out on my birthday last year?? Best gift man, thanks Blizzard, love ya)

Oh, and because apparently nobody wanted to know anything from that artist ask post, here’s all the answers anyway:

   Do you prefer traditional drawing, or digital? I actually feel a lot more comfortable with sketching and lines in traditional, but I've been spoiled by digital tools for coloring and refining. I'd say digital for now since I don't have a good means to do traditional lines and then transfer them to PC for coloring; no room for a scanner and too lazy to clean up a photo.    How long have you been drawing? Technically since pre-school, but I started drawing seriously with intent to improve in 6th grade, which was 1997-1998, so about 20 years. :>    How many classes have you taken? I took technically four years in high school, but the teacher didn't so much teach drawing techniques as she did nurture students' existing abilities and provide challenges, usually in the form of prompts and different mediums. I also took one summer in college that was an introductory course that didn't really teach me anything I didn't already know, I just had to take it as compulsory 'diversification' (since I was majoring in biology). It probably helped a lot, though, in the sense that it forced a lot of still life drawing, something that's of great value to all artists that I tend to shun because it's 'boring' and such, which is a very bad mentality to have, haha.    Do you have a DeviantArt, personal website, or art blog? I have a DevArt (Daimera) but it's defunct and I will never update it again. It's a good way to see how I've grown, though, since it goes back pretty far and I haven't deleted much, only hidden a bunch of my original character art due to annoying children and art thieves. My dedicated art blog now is artslush here on Tumblr.    What’s your favorite thing to draw? Whatever I'm having fun with at the time! Usually monsters, but not always!    What’s your least favorite thing to draw? Realistic people. Realistic anything. Seriously, just take a photo.    How often do you use references? Much less than I probably should.    Do you draw professionally, or just for fun? Just for fun. Not sure if I'd enjoy drawing professionally; if it becomes my job I fear I may grow to resent one of my only forms of enjoyment.    How much time do you spend drawing on an average day? Not nearly long enough.    Are you confident about your art? I'm sort of see-sawing. I'm happy with my art from my own perspectives and relative to where I'd like to be, but I know I'm nowhere near good compared to actual professionals. I just try not to let it bother me.    How many art-related blogs do you follow? Considering I came to Tumblr because of art blogs (or blogs of people who do art on occasion even if it's not their main theme), do you really want me to go and manually count them? ... Really...? Ugh, okay... ... ... ...62. ...What? I like to keep a clean dashboard!    Is it okay for people to ask you about your process? It is but you're not gonna get a particularly great answer! I have some videos up on YouTube, mostly long streams though.    Do you prefer to keep your art personal, or do you like drawing things for other people? Mostly personal now. I used to draw way more for others in the past, but when I started attracting the attention of a younger and more entitled crowd (not gonna say who but if you've been there you know), I've become more and more reclusive out of the desire to just not have to deal with the drama of kids trying to guilt me into doing free art for them. "I love your work! See, I've complimented you! You owe me now! You've done free art for others, so why not meee???! Wow, you're such a horrible person! I'm going to treat you like garbage and tell everyone what an awful person you are for not giving me free stuff or reciprocating my 'kindness' to you!!" Maybe I'm overreacting or projecting, but it's something I just want to avoid, even if it's not likely to happen. I just can't deal with that kind of trash.    Do you ever collaborate with others? I think I've only done a small handful of collabs, and even then, it was more "someone did a black and white pic for me for reason A or B and I decided to color it", or someone seeing lineart I’ve done and going “Hey, that’ s awesome! Can I color it? :D”  I don’t think I’ve ever been in on a project that was a collab from the get-go.    How long does an average piece take you to complete? Depends on the complexity, I'm fairly impatient so I prefer to take as little time as possible, preferably in one sitting split up by short breaks. I'd say 3-6 hours? I get VERY disheartened if I spend a lot of time on something only for it to not get attention proportionate to the effort I'd put in.    Do you draw more today than you did in the past, or do you draw less? Less, unfortunately. I was a lot more confident and dedicated back in the day until art students I'd surrounded myself with destroyed my drive with their self-destructive attitudes. I felt very "Well, they're way better than I will ever be and they think their work is garbage, what hope do I have of ever being anything more than what amounts to worse than garbage?"  I don't feel that way now, but I was never able to pick my momentum back up fully after hitting that wall.    Do you think you’re justified in giving other people art advice? No, but I often find myself being asked for it anyway, haha.    What are you currently trying to improve on? Nothing specifically, though I'm trying to make single character pieces slightly more dynamic than "character standing there in default idle pose." I'm not fully successful, but baby steps.    What is the most difficult thing for you to draw? Backgrounds and sensible lightsourcing.    What is the easiest thing for you to draw? Nonsensical eldritch monsters.    Do you like to challenge yourself? Not really. I'm very much a comfort zone person.    Are you confident that you’re improving steadily? Yep! It's a very slow steadily though, haha.    Do you draw more fanart, or more original art? Lately it's been more fanart; it gets more attention more quickly, and I find it more satisfying to draw something when I know more people like it. It's a double-edged sword, though; if people are clearly liking the content simply for being that content rather than for being my art of that content, I start feeling bitter. See: me any time half-assed Pokemon fanart of mine that I don't even think is all that good gets stupidly popular.    Do you feel jealous when you see other people’s art, or inspired? (Be honest!) I used to, and on occasion I will on certain very specific kinds of designs (usually mechanical and cybernetic), but for the most part it's counter-productive to hold a bar high with the work of others and expect to achieve that. All it does is lead to despair.    Do you like to draw in silence, or with music? MUSIC. I have a lot of playlists, and they're usually game-based.    For digital artists: what program(s) do you use? I used to use OpenCanvas predominantly, but now I use Manga Studio. I'll occasionally touch up in an ancient copy of Photoshop 7. I occasionally dabble in Krita, especially if I want live symmetry. For sprites, I usually use Photoshop for the initial, and ImageReady to animate, but lately I've been trying to switch over to PyxelEdit. If I want to do animating that's not pixels, I use Pencil2D, but you'll almost never get to see my failures there, hahaha.    For digital artists: how many layers does a typical piece require? Back when I was using OpenCanvas, which only had 'transparent' layer styles (Add, Multiply, Subtract), I'd usually have very few, and a lot of those habits held. Often times my layer flow looks like: - Lines - Highlight details - Broad highlight - Shadows - Color - Sketch And sometimes I'll just add one or two additional glowy or shadow detail layers to that. This is usually per-character, so multi-character pics will double what's there for the most part. If there's a background, though, expect like five thousand layers, lol.    What inspires you to not just make art, but to be a better artist? My head is filled with a lot of crap, and I just want other people to kind of share in that. Since I'm not great with words on a descriptive level, drawing the things I see in my mind is the next best thing to magically gaining the ability to transmit my thoughts and mental images to others, lol. The better I am, the better I can get those ideas across.

The things I’ve learned from art school: part 1/?

I’m a second year illustration student, and I’m here to share with you pearls of wisdom from what I’ve experienced and learned in college (so far), from the actual drawing process to attitudes about art/drawing. Most of these things I’ve learned the hard way, and some are from things I’ve seen others struggle with. 

The most work you should be doing in your drawing process is thumbnails/sketching stage.

“There’s no point in finishing a drawing if it’s flawed from the beginning”. That’s what my Composition & Transparent Media professor constantly told us. During our first piece of the semester, he had us stay on the sketching and redrawing stage for a little over a month in order to perfect them. He wanted to make sure the perspective was right, composition was pushed to its fullest, details were added to make every space interesting, the whole shebang. Obviously you’re probably not going to spend a whole month redrawing a piece over and over every time you draw, especially if it’s a time-sensitive project or just a personal piece you’re doing for funsies. However, the sketching stage is where most of the creativity happens. You have to decide on composition, scale, design elements, characters and how they’re positioned in the space, environment, and so much more. And I’d be willing to bet that you won’t get it right the first time.

Give yourself projects when you aren’t in school.

It helps with artist block. The summer between freshman and sophomore year of school I could probably count the number of drawings I did on one hand. To be fair, I was working two jobs 6 days a week so i didn’t exactly have a lot of time, but I found that once I got out of school I had zero drive or ideas. Without assignments from class to draw for, I had nothing to draw, and when I got back to school for sophomore year I had a lot of trouble getting inspired again. It made the beginning of the year really hard for me. Find something, ANYTHING, to draw while you’re out of school, even if you draw fanart for one thing all summer, at least you’re still drawing. 

If a character in your drawing is reminiscent of another character/too generic, think about altering it- especially if it’s a work that focuses on said character.

This really only applies for artists who’s focus/career is character design, but it’s still relevant to others. As painful as it is to hear, it means you might not be pushing your concepts enough. I took a class on Concept Art, and the first assignment was character design. A few of mine were deemed too generic looking, and one was too reminiscent of an existing character. It really hurt to hear, especially since I pride myself on character design and they were for a story I’ve had in development for over 6 years. It really made me feel like shit and made me not want to develop the characters further. But I needed to hear it, and I had to continue developing them for the class, so I ended up overhauling and redesigning the characters until they didn’t seem like the same ones anymore in order to make them more interesting. I hated it, but it’s what I had to do. 

That being said, things like this really make you think about distinguishing your characters and art from others out there. It’s essentially impossible to be 100% original, but that doesn’t mean you cant try your damnedest to make your ideas as close to original as they can get without getting overcomplicated.

When designing characters, mix up the body shape and facial features.

This one is kind of specific, but still important since character design is an important element of illustration. If you don’t vary things up you’re cruisin’ for a bruisin’ from your professors and peers. And frankly, its boring as hell when someone’s characters all look the same. This is something I see a lot, and I can never get attached to an individual character cause they all looked the same! I found that it happens a lot with male characters, they all have defined abs to some degree and perfectly toned arms and honestly, it gets boring when all of someone’s male characters have the same body type. As for face, there is literally no excuse. There are SO MANY KINDS OF FACES MAN. Round, rectangular, circular, heart-shaped, squared. People can have hooked noses, upturned noses, tiny cute noses. Even eyebrows- arched, flat, thick, waxed, faint, or bold. You’re allowed to have preferences for what kind of bodies you like to draw, but don’t be afraid to branch out!

Develop your own style.

As an artist, you need your own style. Imitating other artist’s styles isn’t going to get you far in school or the real world, and chances are, your peers will call you out if your style looks too much like another established artist’s. In order to make a living and gain clients you need a style that you make unique, taking inspirations and aspects from other styles and squishing them together to make one amazing art style baby. Your art style will probably be the deciding factor in whether or not your client hires you! 

Tracing references is OK when appropriate.

As long as it isn’t for a published or commissioned piece, there is absolutely no harm in tracing references. In your down time take some pictures of yourself or find some online and go ahead and trace ‘em. Really pay attention to how the body actually is, how the perspective on legs work, how that hand is foreshortened. Do this enough and you’ll find yourself thinking about all that when you’re drawing normally!

There will always be students better than you, you just gotta accept it.

It’s just a fact of life, unfortunately. When you’re a freshman, you’re in classes with only freshman for your foundation year. You and your peers are all on the relatively same level. What had affected me starting my second year (and I didn’t realize it until much later) was that now that I was in classes with upperclassmen, who had a year or two’s worth of experience on me, I felt as id my art was not up to par. It’s easy to forget your classmates are not just from your grade anymore, especially in electives. All of the electives I took had mostly Juniors and a few Sophomores, and my work always didn’t quite have that polish and finesse to it yet that the upperclassmen’s did have. It’s just a fact of life that you’ll always be up against artists who are more skilled than you , but thats because they have more or different experiences. You have to keep in mind that you can’t compare yourself to them, since it isn’t fair to you that you’re comparing yourself to someone who may have 3+ years on you. 

Learn realism to some extent- figures, animals, everything.

You don’t have to like it, but you can always tell when an artist never learned it because their figures are always off. There is a difference between stylizing and not knowing, and it’s almost always evident. You can see it in the way hands are drawn, noses are rendered, and how they shape and place breasts. Do pages of body studies focusing on hands, feet, leg muscles, back arches, faces, all kinds of stuff. You’ll thank yourself later. 

Your professors and peers will know when you don’t put in your best effort.

They’ll know when you aren’t pushing yourself because you’ll make fundamental mistakes. Slightly imperfect coloring, wiggly linework that wasn’t done quite carefully enough, not bothering to fix those damn feet in the finish. They always know, somehow...even if you’re careful with your laziness.

Buying expensive materials is usually worth it.

It may cost more but your work will benefit from it, and they last so, so much longer. I had to buy 3 brushes when my techniques class was doing watercolor, and in total they costed over $100. I found as I used them that since they were hair brushes and not synthetic, they held so much more pigment and water, and I could get a much finer tip. I was incredibly lucky that my professor provided the paint, which could go up to $20 a tube for some colors with the brand he had. Paper is also something worth splurging on, because let me tell you I have had disastrous effects when using shitty (coughCANSONcough) watercolor paper. The 9x12 paper block I bought for class was $30, and it was the best paper i’ve ever worked on. Absolutely worth the money and I will be buying that brand for projects from now on. And the best thing about all these is that they’ll last forever! 

You NEED to find ways to get excited about a project you hate, because you’re gonna have to do a lot of them.

If you don’t find ways to get excited about projects you’re not too thrilled to do, you’ll never succeed. I learned this in my freshman year very fast, because man oh man were there some projects I couldn’t have cared less about. If you can, gear the project towards one of your interests without compromising the purpose or assigned subject. 

I hope this advice can help some folks! Art school is a lot of tough love, and a lot of stepping 300 yards out of your comfort zone (sometimes by force). But they key is to not be afraid of trying new things! You’ll find things you absolutely hate doing, and will never want to do ever again if you can help it, and you’ll find things that you’ll love to do. It’s all about keeping an open mind!

Keep drawing, keep learning, keep creating.