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steve0discusses · 3 years

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S5 Ep10: Kaiba Embarrasses Himself on International Television Again

We start off this duel by teasing us into believing that this is a part of a theme park:

The Kaiba theme park is a weird mix of actual horrorscapes and animal crossing cutesy stuff...you can really tell what parts were Mokuba and what parts were Seto in this park.

But Leon takes it well, just kinda standing there as he’s done this entire arc--being a general forgettable nice boy who just...doesn’t do anything. Like he gets up, he plays cards, he sits down. Having him on top of a rock with melodramatic Little Mermaid waves crashing at his feet is laughably the opposite of Leon’s whole vibe.

Leon just seems like the type that listens to coffee shop ambient Youtube videos when he wants to amp himself up. This kid appears to attend a private school...somewhere...I think, and just went to a dueling competition in his school outfit because he literally doesn’t have a style of his own hanging in his closet.

Like Yugi wears his school outfit, but he does that ironically, to off-set the amount of makeup and hair spray he has in his hair. Leon wears the school outfit maybe because he admires Yugi so much, but is like “time for my rogue bow I wear in my hair. That’ll scare my competition.” He completely missed the point of the 00′s alt school outfit scene.

I do way too much art to not see the imagery. I feel like this is half my job, and playing “where’s the hidden Freudian meaning?” is half the fun of going to any art museum.

(read more under the cut)

Anyway, Seto got tired of no one paying any attention to him, so he stepped out of his 14-monitor mancave, he very quickly pulled his Dragon outfit out of the (dirty) laundry, flicked a couple sea crabs out of his pockets, spritzed it with Febreeze and called it “good enough.”

Like, is it just me, or has dragon jacket greyed out a tad from last season? Like it’s starting to get a little...worn? Like what funk is coming off of Seto Kaiba right now?

Also notice that he brought his giant stash of cards to the duel. He’s going to put on this show as if he’s not going to pull out the giant stash of cards. But like...he’s going to pull out the giant stash of cards. Like Hell boring ass Leon is going to play his deck of Candyland characters again.

Leon is declared a winner on Technicality and it’s like.

Damn Seto, for reals?

So congrats, Leon, you did literally nothing, again, and yet you mystifyingly persist on this show. Clearly you aren‘t going to grow a second head out of that ponytail like professor Quirrel in the last act of this arc.

That’s when Yugi’s hazy memory recalls something from the Before Times of “that time period before I was possessed by a needy ghost that eats up 3/4 of my memories and time.”

So Schroeder is Atari. Neat.

Also, this makes Zigfrieds outfits a hell ton more endearing when you realize he’s this Willy Wonka game company owner making toys for children. Kinda makes you wonder why Seto’s such a stick up the ass in comparison when it’s like--dude Kaiba, maybe you could learn a thing or two about whimsy. It could really help out your inconsistent park.

Anyway, Kaiba quickly realized who hacked the park and so, understandably, he asked Zigried to leave, which...backfired?

Y’all card culture is a lot. Everyone in the audience covered their faces in shame because they were so embarrassed by Seto Kaiba and I’m like...not sure why? Because he didn’t do a duel? Against this guy who snuck into his tourney not unlike Rex and Weevil? This asshole?

Recall that the last time Seto played a guy who had a fake name it was Marik freakin Ishtar and he killed a LOT of people (actually, it was Alister, pretending to be Pegasus, but he also killed a lot of people so that still tracks). Card culture can’t seem to learn from their mistakes, although Seto clearly sees the problem with dueling a professional hacker in a digital card game on a hologram that may or may not be able to murder you. At least its not a magic.

And so, tired of being humiliated on television, Seto decides to bust out the dueling gloves (well, not those gloves. You know what I meant) and use the equipment he BROUGHT WITH HIM and clearly never intended not to use in the first place.

(I hope you enjoy this dutch angle that wasn’t quite dutch enough, so it just looks like they’re lounging)

Roland patiently walks over from...somewhere? I don’t know where Roland comes from whenever he pops up, but he waltzed over to hold onto this suitcase as if that’s a formal part of his job.

I say this so often but like...I don’t know what Roland’s job is. He’s like a valet/butler/duel referee/duel cheerleader/CEO/and I will spend the rest of this series trying to understand it. Part of me is like...could Roland be a temp worker at an agency who just gets rehired for a different Kaiba Corp job every couple of weeks?

That weird ass fourthKaiba, I will never understand Roland.

Just one letter away from being a Zigfriend, Kaiba. Just one letter away. I know this because I misspell friend a LOT.

Zigfreind? Zigfriend? Damn it, both of them look the freakin same to me, this sucks! Why can’t I spell friend without autocorrect!?

Just the amount these two fight when Seto clearly barely even remembers who this guy even is.

Leon shows up in the seats, pretending that he’s totally cool about winning on a technicality right after Zigfried went on a rant about how shameful, irredeemable, and mortally embarrassing winning on technicalities are.

He seems to take it pretty well, smiling, sitting next to Rebecca, and then dissolving right into the background because this kid’s whole deal is being way too nice to exist on this show.

Y’all we just had that art meme where people were redrawing that “How to draw manga face” and guys...that’s what our anime used to look like.

I mean look at that uncomfortable chin there, that tapers in for some reason. Those eyes melting off of her face. The lack of any 3d sense. This was an anime ideal for a very, very long time.

Anyway, the “how to draw manga face” is a perfect masterpiece and never needs to change. (But it is fun to make fun of it although I guess the person that drew it was actually a kid, which makes sense from a publishing perspective to have a kid make a book about how to draw stuff for kids.)

We see a little flashback of Schroeder and why he hates Seto Kaiba, and can I just say, I kind of love this little outfit. Kind of a shame that it’s stuffed into a flashback.

Which is when we found out that Zigfried thinks Seto Kaiba did a plagiarism.

Which is hilarious because it was Gozaburo Kaiba who was plagiarizing Seto, so like...who did it first?

OK guys. Lets talk about this.

APPARENTLY, there was some sort of contest to work with Pegasus...kind of like an architecture contest (which is a thing, when a city is doing a big project, they send out a call, and big firms will compete to see who builds it) and I GOTTA know what Pegasus’ theme was.

Like did he say to all the little rich kid geniuses “I would like something that makes my cards ALIVE, can you do that?” Then when Pegasus got a hell ton of holograms and was he like “But ALIVE--it makes it alive, right boy?” And when he was shaking the hands of each stupid kid was he like “So if I hypothetically put my dead wife on a card and slapped it into the machine--could she EXIST. Like...enough? I just need her to legally exist is all, and not like..literally of course...but enough literally to be a sin against God, can you do that?”

I just want to know if Willy Wonka Wonderkid Von Schroeder had any idea he was creating a resurrection chamber for a dark wizard. Like he has no idea that he dodged getting his business bought straight from under him and his soul shoved into a card. And it’s not like Schroeder was going to abduct Yugi’s Grandpa and ensure that Yugi would be there to save him down the road. Like I’m pretty sure Schroeder would have been sacrificed waaay before that whole island contest even went down.

Zigfried got so freakin lucky. I can’t believe he’s mad. But then again...

...the man swims in milk pools so like...maybe his logic center is busted? Maybe he wanted to die in a horrific murder island? I don't know what Zigfried is into, but I do know that because Zigfried doesn’t have millennium rod powers linking him to the millennium eye--so would it have mattered? There’s destiny reasons that Pegasus chose Kaiba.

Course...we never found out where the scales ended up, have we? We think it’s Shadi, but have we seen Shadi bust those out since Season Zero?

Man that would be a good plot twist that will absolutely not happen.

Yo, make horse guy into a dark wizard, show, I dare you!

Anyway, that’s all for now, but if you want to read from the beginning, here’s the link:

https://steve0discusses.tumblr.com/tagged/yugioh/chrono

#ygo #yugioh #yu gi oh #S5 #Ep10 #Seto Kaiba #Yugi muto #Duke Devlin #Tristan Taylor #Tea Gardner #Mokuba Kaiba #zigfried von schroeder #leon

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firecooking · 3 years

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Unpopular boss baby opinions and shot\camera work\model use analysis

So this frame from the boss baby 2 movie trailer bugs me, like, the character designs are actually quite good for adult boss baby and not boss baby kid, but the perspective is SO jarring I can't even process how they managed to skew the 3d models so much

Both are set on a skew towards the camera, but the camera is focused on both in a profile, for the skew it would have needed to be placed to one side. But clearly the shot is to show them as equals in the frame, so why did they pull half of there faces forewords to get the strange turning effect? And the red haired ones glasses are even more skewed for some reason?

Also, the girl boss baby is framed on an angle towards her dad, which is all fine and good [she’s not deformed like her dad and uncle], but for the context of the shot, she should be centered more carefully with her body and chair forewords to provide a focal contrast to the scene, and she can be looking at her dad of course but it’s be a much clearer shot if it was a subtle look rather than providing a directional focus towards him

So I redrew a frame of the boss baby 2 trailer

It’s not perfect [my proportions and colours are a bit off to the original shot/style] but conceptually the idea is in this shot we’re supposed to be seeing an argument in the foreground. Using two strong and clear silhouettes with the colours reflecting each other. Adult Boss baby has a dull pop of colour and cool toned skin, hair, and eyes, where as adult not boss baby kid is warmer and brighter in pallet, but his colours reflect the pop of lighter colours in his brother. You can tell they had everything they needed for the thematic shot in place, but because of some poor colour choices, and some really bad camera and model work it gets muddied [I also love how they tie in the clothing colours to the colours of the kitchen in the family home, that was a nice touch in the first shot.]

In the mid/background we’re supposed to have a focal point on the girl boss baby [which I realized after finishing this redraw in a blur last night] and while I didn’t fix the body facing issue with her I did make her more foreword looking with a glance at her father. That gives us a cue to the focal point and lets us see her in the scene earlier, tho the use of yellow in her outfit also helps us get pulled towards her, using her foreword facing against to strong profile silhouettes would have made the shot 10x clearer.

I don’t even know what’s happening in this shot [i grabbed this still off of a video about corporate art styles] but by changing some angles and a bit of colour [I am colour blind so maybe the original does have the pallet of the skin and hair being contrasting between the two adults, and I can’t tell, but this redraw was just meant to show what changes could be done to fix the issues here.]

End of my Boss baby rant, in all I really think that there should have been more editing in the story boarding and pre-vis phase of this movie, these are very basic camera work issues, and even if they wanted the charters to be stretchy and non conforming to standard 3d confines they could have still put in very clear shots that didn’t need the models to be skewed in such a way.

Also please let characters wear glasses correctly what is happening here

#Boss baby #boss baby 2 #camera work #shot #analysis #redraw #cgi #3d animation #dreamworks #boss baby 2 family bussiness #the fire burns #help me #cinemetography #movie #trailer

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thisstableground · 3 years

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Hello! I wanna start drawing again and I'm really fond of your style, I was wondering, do you have any drawing tips? ❤️

okay sorry this took a couple days to reply to because i wanted to think about it, but i think my main advice is to divide up your artistic time into practice and art. this drawfee video on how to practice effectively explains it really well (this section is at around 13 minutes, i haven’t watched the rest of it yet bc it’s a long vid but i bet there’s other good advice in there too): practice is input, drawing is output. practice is learning new information about things you don't know how to do – you're not making a final piece.

practice is things like:

experimenting with different ways of holding the pen/pencil. holding a pen/pencil for drawing is different than how you'd hold it for writing – you want to hold it higher up, and use looser arm movements. different angles will give different effects (see here). holding a pen for a tablet is different to both a traditional pencil and a writing grip. if you have a tablet that picks up on palm contact, try getting a drawing glove so that you don't have to hold your hand at an unnatural angle. draw different lines and shapes and get used to the different effects you can make.

experimenting with different ways of moving your hand. a general rule to follow here is the bigger the shape, the more of your arm you should use to draw it. a lot of people draw primarily with just their fingers or wrists moving because they feel more control there, which is great for fine detail work but doesn't translate well to bigger sweeping shapes, and thats where you end up with wobbly lines or having to draw several scratchy lines instead of one smooth curve. if you want more confident lines you need to draw from the elbow, or the shoulder. it takes some getting used to but it's definitely worth it for keeping your drawings lively instead of stiff, and your wrist will also feel less strain.

learning to draw basic 3 dimensional shapes. boxes, cylinders, spheres. just draw a whole lot of them from different angles.

learning how to break down a complex form into basic shapes. a good way to do this is tracing – tracing has a bad rap as being stealing, but as long as you're not uploading a traced image and passing it off as your own it's a great way to train your eye to understand how forms work together, particularly for something complex like anatomy. draw over an image and break it down into basic shapes. then try to copy those shapes onto your own paper without tracing. do it over and over until you're better at it. (this method of redrawing is called iterative drawing, it's a great practice technique).

theres broader practice and then narrow. having a mix of both is good: quick sketching a whole figure some days, other days really focusing in on like “this is how a nose work”. go with what feels right in the moment.

and then the output, the actual drawing, is when all this practice pays off - these are your pieces that you work on to show people, or the things that you want to make, this is where you chase your creativity and passion. keeping them separate really helps to stop your art feeling like a chore and keeps you from overworking your full pieces (incorporating too much practice into your creative art); it also stops you stagnating or becoming frustrated with your lack of improvement (not practicing enough).

you don't have to be super strict with yourself about when to do which thing; you'll probably go through phases of doing a lot of practice, and then phases of doing a lot of drawing. if you're really struggling with one thing, that's often a sign that you need to do more of the other to balance things out.

other advice:

learn to be bad at art. this is good during practice with things like timed figure drawing or whatever where you just don't have time to make it good, but it's also good in drawing/creating: just letting yourself make “bad” or silly or quick things for the fun of it or to get an idea out. nothing has to be perfect and the earlier you learn to be bad at art the quicker you'll get good at art, and the more you'll enjoy it too

to expand on that, while tablet drawing is great, i've found that i improve a lot more rapidly when i do at least some of my practice a) on paper but also b) in pen or marker or paint, anything non-erasable. the ability to undo and erase infinitely in digital art is great for full pieces but doing your practices in pen means you're forced to be lot less precious and so you learn quicker how to be more decisive and confident with your lines because whatever you put there, you’re stuck with it.

if you're stuck, try something completely out of your comfort zone. use different materials, restrict yourself to a specific colour palette, ask for prompts, set a timer. sometimes there's just too much choice about what to do and it can be paralysing: giving yourself a totally arbitrary restriction can actually push you to be more creative and to get out of a rut (recommending more drawfee here, their random shapes challenge videos are a really good example of this)

you don't have to find your style. it'll find you. it's good to observe what you like about other people's art and try to consciously think about it, it can be really good to ty and mimic those elements yourself during your practice, but for your actual drawings you don't need to think about your style because as your ability improves it will come out naturally.

this applies mostly to traditional, but try to have your paper tilted slightly rather than flat on the desk – i prop my hardback sketchbooks up on a book. if you have your paper flat then you're more likely to get a little bit of a perspective distortion from top to bottom, especially if you're working from a reference, because you're looking at the paper from a different angle than you're looking at the reference so it can look fine when you're drawing but then when you look at it head-on it's just a little off. it also makes it easier to not hunch up over it and get a backache.

FLIP THAT CANVAS. i don't know why this works but its a time-honoured artist technique for making sure that there's reasonable symmetry especially for drawing people: draw your picture out, then flip it. you'll be able to see a lot clearer where the proportions are off. make changes, flip it again, keep doing that. it's harder with traditional media to do this but if you have some tracing paper you can turn that over, or just take a photo of your work and flip that.

a little frustration can be good if it’s motivating you, but if it's so much that you're tearing up your drawings or wanting to quit, you either need to change up your approach for a while or you need to take a bit of a break. i know people say you have to draw every day and if that works for you then do that, but personally, i don’t: i go through phases of drawing all the time then not at all for a few weeks, and that works better for me than forcing myself to work on it every day and i often come back to it a lot better because i’ve given all the practice time to actually sink in. breaks are an important part of learning, whether its hour or a day or a week of just walking the fuck away from the sketchbook and doing something else.

stretch your arms and wrists often, especially if you're drawing for several hours. here's the routine i use, it’s only ten minutes but it makes a big difference. and if you've overdone it and your hand or wrist or back is hurting, don't push through it. drawing is surprisingly physical and i’ve fucked my hands up real bad several times not listening to a slight ache and having it turn into full on RSI

i hope some of that helps! there are a lot more specifics i could get into about a million different things but the overall gist of this is that you should be aware of all the different options you have and can dabble in, and try to find a balance of learning and creating that allows you to improve without sucking all the joy out of it.

#tinywhim

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littlemisssquiggles · 5 years

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Hey squiggle meister. What're your thoughts on the flood of people on YouTube who are constantly ranting about the series. And how it's dead after Monty died, and how it's so much worst than before. Etc etc

Tobe honest with you Key, I really don't want to answer this question.I mean it's alright that you asked and I'm going to answer you however I'mgetting a strange sense of deja vu here. Wasn't it not too long ago that youasked me to give my opinion on a similar condition that was happening pre-V6?

Thiswas the issue back then and yet here we are again. You may wanna grab yourselfa snack and settle in because this is going to be one long response post. Let’s just say,this squiggle meister had a lot to let off her chest regarding this particulartopic in the FNDM:

Ihave actually had a small listen to some of these critiques on YouTube and toput it bluntly, I couldn't bring myself to finish most of them. I am a RWBY fan whoalways advocates respecting each other’s opinions regardless of whether or notwe share the same sentiments about the series. I am also a RWBY fan whounderstands that the series is not a flawless show and has suffered more than its fairshare of shortcomings throughout its last arc trilogy.

Nevertheless, in spiteof this, I’ve also acknowledged some noteworthy improvements in the quality of the show that honestly deserves more praise.As someone who has been with this series since its humble beginnings, I have beenthere for each transformation the show has undergone and in doing so, I haveseen RWBY evolve.

Whilesome of the show’s changes haven’t entirely been welcomed by its fandom (withits main change being something completely out of the showrunners’ control) I’dbe lying if I said these changes didn’t contribute to the show’s success insome shape or form.

Speakingfor myself, initially RWBY earned my attention because, like most RWBY stans, Iwas a fan of Monty Oum before and when I discovered that he had his own seriesproduced by RoosterTeeth, I was interested. I didn’t care what the story wasabout or what it looked like. All that mattered to be me back then was that itwas something from the creative mind of Monty Oum so I expected somethingepically action-packed.

At the start, I joinedthe RWBY fandom becauseof Monty however as the seriesprogressed, my reasoning for sticking with it and staying loyal to the showtranscended my past loyalty to the franchise as a by-product of anartist/animator I admired so much.

Thisbrings me to my main point. You want my honest thoughts onthe YouTube RWBY Rants, Key? To be frank, I’m tired of it. It is exhausting listeningto the tirades of these proclaimed RWBY YouTube reviewers who do nothing butgripe and express their disdain for everything the show does wrong according totheir standards. I am so fed up of seeing this happen time and time again.

Andwhat’s sad is that I don’t think part of this is even due to the show or theCRWBY’s fault. Do you know you are more likely to find a video shitting on RWBYas opposed to one that genuinely outlines its positive elements or at leastpresents a fair and just constructive argument of the good and bad of the show?Do you know how many RWBY hate videos the YouTube algorithm has recommended to mesince V6 concluded? It’s ridiculous.

ButI also know I can’t do anything to stop it. So long as RWBY exists, there willalways be these so-called ---I guess we can call them the ‘hate parade’ type of fans who wait like vultures to a carcass to pick apartthe show whenever a new season comes out.

Anddo you know what the sadder part about watching these videos is?

Thesevideos try to give the allusion thatthey are coming from a practical standpoint---as if the things they’repointing out in their reviews are genuine problems with theshow and that their personal advice to the showrunners are valid enough torectify these problems they indicated about RWBY.

Herein, lies my personal peeve with these types of reviews. The best kind of criticto me is one who can point out a flaw in something, justify why they believesaid thing is a clear flaw and then use their own understanding to outlinetheir concept for a possible solution to that flaw that they respectfully leaveopen to the creators of said property to take their advice or not.

However,this is not the case with these YouTube RWBY Rants; at least from the few I’veviewed. I’ll admit, there are some genuinely good RWBY Reviewers on YouTube. Ofthe top of my head, Thatkaitodan, MurderofBirds are two and believeit or not, I actually like some of EruptionFang’s reviews from time to time. Imay not always agree 100% with everything he says in his breakdowns but in myopinion, I can’t get too mad at the things he says in his reviews/video essaysbecause he’s able to justify it in a manner that I’m able to see where he’scoming from. Even if that justification comes from a place of unbridled rage.Referring to EF, I know he’s been receiving flak from FNDM members regardinghis recent views on Adam’s conclusion and Bumblebee; however if I’m beingcompletely honest here, I feel some of that bashing is unwarranted.

Inall fairness to EF, at least I’m able stomach his opinions a lot better than thatof other RWBY Youtubers. As I said, EF is able to properly defend his pointswell enough for me to grasp the validity of his statements which is the least Ican say for some of the others I’ve listened to.

Oftenat times, on the adverse side of RWBY YouTube, I find myself listening toYoutubers who spend more time outright bashing everypersonal gripe they have with the show as opposed to presenting a good argumentthan gives hindsight to why these problems are such an issue to them.

Theworst kind are the ones where this Youtubers point out flaws in the show andtry to give solutions to what the showrunners can do to fix these problems. Butmost of the time it’s done so rudely that it comes off more obnoxious thanhelpful. As if these Youtubers are proclaiming to know and understand moreabout the animation production process than the actual people running the showwho have the qualifications and past industry experience

I’llgive you two examples. Not naming names but I recently watched two videos fromtwo RWBY Youtubers---one critiquing the shows character designs while anotherwas a Youtuber’s final video explaining why they were quitting the RWBY FNDMfor good.

Inthe characterdesign critique, the individualexpressed their disappointment in the recent designs for the RWBY girls and thevillains as of the Mistral Arc. They then proceeded to offer their own tips for how the show could have helped to spruce up someof these designs. However rather than attempting to make their own alternatedesigns to the character outfits, this Youtuber just slapped some rather poorlylaid out flat base colours on top of screenshots of the characters in question.Which from a digital art perspective is…admittedly…lazy.

Iunderstand that not everyone in the world is a designer, much less is a characterdesigner or at least knows how to draw. However…if that is the case then whyare you, as the individual who clearly doesn’t appear to have the design skills,commenting on the work of a studio with a full production team of artists whodo have those required skills and experience and can probably rationalize theirreasons for going with the final designs presented in the show. You get whatI’m saying?

Ifone is going to critique the show’s overall character design then the least youcan do is make the effort to back up your claims. Illustrate your own designsfor RWBY character outfits. Create a mock-up 2D/3D screenshot illustration withproper lighting and atmosphere to see how your design ideas holds up againstthose elements of a scene and then compare that to the actual show’s productionwork. This reviewer didn’t even bother to attempt to maketheir own original designs or even redraw the current designs in their ownstyle and test out their suggested colourpalettes to see if it would fit with the overall design aesthetic of thecharacter.

Youmight be asking now: But Squiggles are you saying I need to know how to draw tocomment about RWBY?

To which I say: No.Being an artist is not a requirement that you as a fan need to really have inorder to comment about something you love. HOWEVER, if you are the type of individualwho has the massive chops to try and dictate a production studio with a team ofeducated and/or industry seasoned artists on how they should handle designingtheir characters without you yourself having the design knowledge to supportyour critiques then… you wonder why the CRWBY often get upset with these typesof fans and don’t take their comments seriously?

Contraryto what others might say, I am not a believer that RWBY is dictated by thedesires of its fandom community. That’s a comment I’ve been hearing buzzingabout since V6 ironically in the face of the recent hate crowd to gather fromwhat transpired with the Bumblebee pairing in the recent season.

Iunderstand that there are fans making the argument that the showrunners onlymade this pairing canon because its popular with its shipping community. Thesame can be said about Neo’s return to become Cinder’s protégé.

Admittedlywhile I might find the CRWBY’s decisions to be questionable at times, this still doesn’t prove that they are run by theirFNDM. If something happens in the show, it’s because it’s something theshowrunners and has wanted to do for some time and picked that current volumeto do so. The mere fact that that thing just so happened to correlate withsomething the fans wanted to see is just a matter of coincidence.

Thatbeing said, I will admit that I’ve noticed one or two members of the CRWBY castwho are guilty of encouraging certain ideas without the show itself officially confirming it in its narrative as yet.

In light of that, Iwill admit this. Regardless of whether or not you as a member of the CRWBY teamsupport a particular ship with all your heart, if other fandoms have taught meanything is that as a cast member you should NEVER encourage anything within yourown fan community. It never ends well and I’m seeing this repeated in RWBY. Butthis is not what I’m here to talk about right now. Moving on.

Inrespect to the video from the individual who was leaving the FNDM, I actually didn’tfinish watching their video because the instant they mentioned Monty Oum and their disdain for the CRWBY not living up to hislegacy and all that stuff, I couldn’t.

Ahyes, the classic ‘RWBY Animation hasn’t been the best since Monty passed away and the RWBYAnimation team are terrible because they can’t replicate Monty’s animation’ debate.How many times is this dead horse going to be beaten? According to this RWBY Youtuber, ‘replicatingMonty’s style of animation is easy andit is appalling the RWBY Animation Team can’t replicate Monty’s style afterfour seasons’.

Thiscomment not only annoyed me as a fan but also as someone who has studiedanimation before. Again, how many times will this poor dead horse be dug up tobe bludgeoned? Will these fans everallow Monty’s name to rest peacefully without bringing it up to tarnish theefforts made by the CRWBY to finish the story he started with them?

Iget it. MontyOum was a good animator.He wasn’t the best animator. He wasn’t some genius animation prodigy. He was a creative mind who had his own way of thinking and doing things andfrom that, he established a style about hisanimation that shined through his work. If you were to show me an animatedpiece done by Monty and the same piece animated by another person, I caninstantly tell you which one is Monty’s because Monty had his own style.

That’sthe appeal of Monty’s work, on my opinion. That’s what he became known for by hisfans. However, even though Monty was great at animating fight scenes, his way---hisstyle is NOT the only wayto animate a fight.

Recently,I took the time to go back and count the number of fights that happened overthe volumes. I did this because as of V6, I couldn’t help but feel as if theCRWBY might be shying away including moments where the characters areactually engaged in combat. I omitted the character shorts because onemandatory element of the Character Shorts is a fight scene. I just wanted tohighlight the individual seasons alone.

Someof this numbers might be a little iffy depending on what I counted as a fight,but here’s what I gathered.

THE VALE TRILOGY

RWBY V1C1:2C2:0C3:0C4:0C5:0C6:3C7:0C8:2C9:0C10:1C11:1C12:0C13:0C14:1C15:0C16:2

Totalfights = 12 Fights

RWBY V2:C1:1C2:0C3:0C4:1C5:3C6:0C7:1C8:0C9:4C10:0C11:4C12:4

TotalFights= 18 Fights

RWBY V3:C1:1C2:2C3:1C4:1C5:2C6:1C7:1C8:0C9:1C10:2C11:2C12:2

TotalFights = 16 Fights

THE MISTRALTRILOGY

RWBY V4:C1:1C2:0C3:1C4:0C5:0C6:1C7:1C8:0C9:2C10:0C11:0C12:1

TotalFights = 7 Fights

RWBY V5C1:0C2:1C3:0C4:2C5:0C6:0C7:0C8:0C9:1C10:3C11:5C12:1C13:1C14:0

TotalFights = 14 Fights

RWBY V6:C1:3C2:0C3:0C4:0C5:1C6:0C7:1C8:0C9:0C10:1C11:3C12:1C13:0

TotalFights = 10 Fights

Why I bring this upis throughout V4 and V6’s runtime I’ve seen one or two all-stars inthe new CRWBY animation team. While not all the fight scenes from the MistralArc were the best, there were definitely some good ones that I stood out to me.

OneV4 fight that keeps being overly praised is the Tyrian vs. Qrow dual. Many fanstend to vouch that fight as the best fight of V4. The only reason that fight isso popular is because it was one of the more important fights of thatrespective season.

However,I’m being completely honest, the Qrow vs. Tyrian one on one was good but itwasn’t the only good fight of V4.

PersonallyI took enjoyment in the small sparring match between Yang and Tai Yang.Believe it or not, I felt like that moment, though small, was well animated andI’d actually give props to the animator behind that small scene. There was a nicesense of rhythm to that small fight that I quite liked.

Notmany folks will agree with little ole me regarding that scene but this just goesto show, we all have our own personal preferences with what we consider to be agood fight sequence vs a not so good one.

Often at times, Ifeel really sorry for the series animators cherry picked to handle the combatmoments for the current seasons because I feel like those animators suffer the most pressure and scrutiny in the eyes of the FNDM. I feel like some FNDM members are sofocused on nagging atthe current CRWBY to capture Monty’s old style of animating fights that they aren’t really giving these new animatorswith their own styles a fair chance toshine outside of Monty’s shadow.

Again.I get it. RWBY was Monty’s brainchild. He’s the creator andno matter how far the current CRWBY takes the series, he will always becredited as its creator.

HoweverRWBY has come a long way since Monty’s days. The show haschanged.The overall look and visual style of the series has changed.Even the production pipeline and the software used to animate the series has changed.The CRWBY hasgrown allowing a greater mix of artistslending their talents to breathe life into the series.

Butwhat seems to kind of still be stuck in the past are some members of the FNDMcommunity. The ones who only watch the show because they are waiting to see thecurrent RWBY recapture that essence of Monty thatthey claimed the show lost after he died.

RWBY is dead after Monty passed away? In some ways, this isboth true and false. The truth is that RWBY did die. The old style that the show was being produced on was laid to restafter its creator unfortunately passed. The false is that RWBY didn’t end withMonty because it’s being continued in its current new style by the people whohelped bring it to life in the first place alongside Monty. The same people whoare diligently carrying on Monty’s project in his place. RWBY isn’t dead. It’sstill breathing. Still going. Because a story still needs to be told.

Ratherthan being judged for how well they can interpret a good fight sequence, theseanimators are judged for how well they can replicate Monty’s style. And when theseanimators don’t live up to that expectation, that’s when the shit storm begins.I myself have been found guilty of comparing the past animation to the present.However now I realized that I was wrong in doing that.

Ithink it’s high time some of these fans let go of the past and accept that theaction fight scenes of RWBY are never going to reflect Monty’s style anymore.

Montyis unfortunately not around to guide the current team with this. And they are doingtheir best to find their own style. To some extent, they found it in V6 becausethe fights in this last season were a tremendous improvement from V4 and V5.

Ifeel like there are some genuinely talented animators workingnow on RWBY who know how to create and sell a great fight and if left to theirown devices, they could really dazzle the audience with their own way of doingthings. I feel like since V4, the CRWBY have been experimenting with how they craftout their fights especially in the new Maya pipeline but it wasn’t until V6where I feel they finally found their footing again.

I think most fanscould agree that the fights in V6 were much better compared to theirpredecessors. One of the best one on one fights was the Neo vs Cinder clash. Whoever was the animator responsible for thatscene should honestly be given more opportunities like thatwhere their work can shine through because that fight was well done. Thesame can be said for the Maria vs. Tok oneon one fight despite how short it was. But the thing is, none of those fightsfelt like Monty’s style to me. It didn’t feel like someone was trying to copyMonty but rather it was someone who probably took a little inspiration Monty’soriginal work and the rest was them bringing their own unique spin to it.

Ifthe CRWBY have been trying to replicatethat Monty style in their fights for the past arc then I’m starting to thinkthat that is what’s been holding them back ratherthan aiding them to move forward.

Thisis why I find the whole point about replicating Monty’s style being easy to be ludicrous. Replicating someone else’s style,depending on the medium is not something you can just do on a fly. It’s noteven something you can perfect in a matter of years. It’s something that takes adeep understanding of the art form you’re using (in this case being animation),time, strict discipline and most importantly of all, guidance and critique from theperson who’s style your copying or someone else who is a master of said style and/orhas a great understanding of it themselves.

That’swhy sometimes you might hear behind the scenes tales about animation studiostaking sometime during their production pipeline to train theiranimators on the style or quality of animation they are trying to emulate in acurrent project. DidMonty do that with the CRWBY? Did Montyget the chance to pass his knowledge and technique onto otheranimators? Did Monty even get to see his story grow to what it is now?

Sadly,no. Monty was a creator who didn’t evenlive long enough to see his own idea flourish for the six seasons it’s beenrunning; now moving onto its seventh season. As far as I know, Monty passedaway as early as V2. Most people don’t even get the chance to see their ideascome to life but Monty was among those fortunate few who was given the shot tomake his idea a reality.

RoosterTeethgave Monty that chance after he worked with them on some of their otherprojects like RvB. He had made himself a household name within their companyand among that, he had made friends and had formed an in-house family with thecolleagues he worked with both on RvB and RWBY.

Saywhat you will about RoosterTeeth and the CRWBY. The original CRWBY who workedwith Monty between V1 and V2 were the people who knew Montythe most. They were his friends. His family. This is all the more reason why itdoesn’t give us, as fans looking in from the outside, the right to use Monty’sname to disrespect the people who knew him better.

Imay not always like what the CRWBY Writers do with the story but I respect themboth as writers. I respect Miles and Kerry because they are the showrunners. RWBY’s plotstarted with Monty, Miles and Kerry.

TheRWBY hate parade need to stop acting as if RWBY was made by Monty alone.Monty did not make RWBY by himself. Shit, he didn’t even create the plot byhimself.

Montyis credited as its creator because RWBY was his brain child and he will foreverbe remembered as the man who conceptualized this idea. But Monty did not writethe story of RWBY himself. He wrote this story with Miles and Kerry.

Whatfolks seems to be misunderstanding or downrightneglecting is that Miles and Kerryhave been with RWBY since its start. They are the two people who worked withMonty in developing the story of RWBY

Itis depressing that Monty only got to live long enough to see two seasons of hisbrainchild come to life.

Insteadof honouring Monty’s legacy by showing support to the people who worked with himto make RWBY happen, folks instead use Monty’s name to slander the CRWBY.

Tothe people who are guilty of this, how can you call yourself a fan? Howcan you call yourself decent human beings witha legit conscience by using a dead man’s name to disrespect the people who werehis colleagues and friends just because you were displeased with something theychose for the show? How is mouthing off the CRWBY and claiming that Montywouldn’t have consented to the direction they’re taking RWBY in a definition ofyour loyalty to Monty?

Howwould you know what Monty would have consented to? How would you know whatMonty would have wanted in general?

Didyou know him personally? I doubt any of you did. So why claim that in yourhateful comments?

RWBYis not the Monty Oum show. I've mentioned this before and I will say it again. RWBY is acollaborative effort. Monty may have conceived RWBY on his own buthe birthed this series through cooperation with RoosterTeeth and the talentedpeople who formed the creative team that made this show with him.

Andit’s those same people who are busting their asses volume after volume to keepthe show going. The CRWBY could have easily cancelled RWBYafter V2. It’s not the first time RoosterTeeth has cancelled a series undertheir name. They could have hung up the towel after V2 and called it quits. Butthey didn’t because they wanted tocontinue the show. They wanted to keep moving forward and finish the story theymade together with their friend Monty.

RWBY’sproduction takes time,thought, passion and effort. If the RWBY YouTube Critics community wishto be the type of people who want to tell the showrunners how to properlyhandle their IP, then at least back up your points with the same level of time,thought, passion and effort that is put into the show.

Andbefore anyone jumps at me and is all like, Squiggles, do you know how long it takes to makea YouTube video essay on my own time? To which I answer with, do you know howlong it takes to produce a full season of an animated production on a studiobudget and a strict deadline within a studio that is juggling multiple IPs?

Anyone can point out a flaw insomething or rather what they perceive to be a flaw in something. But it takes morework to point out that flaw, justify why it’s a flaw by your standards and thentake the time to suggest how it could be improved while throwing in your own workto help boast your claims. But no RWBY Youtuber Critics, at least from the onesI’ve seen, wants to do that. They just want to run their mouths and what’sunfortunate is that they will gather an audience of individuals who do the samewhen it comes to the series.

It’salright if you give your opinion but where it crosses a line is when a fantries to tell the showrunners how they should run their show. It’s even worsewhen they try to do it WITHOUT backing up their claims. You want to downplaythe effort and thought that someone else made without producing your own toargue against theirs?

You want totell the CRWBY how they should write the show? Where are your own retellingsof the show? Where are your own plot breakdowns? Your own scripts possibly accompaniedby storyboards and/or animatics to give others a taste of how your ideas wouldplay out?

You want totell the CRWBY that their character designs are terrible and need rework? Where your own conceptsheets containing dozens about dozens of drafts of redesigns that could betaken?

You want totell the CRWBY that their animation is terrible, that animating like Monty iseasy and the animation of CRWBY would look 100x better if they did x, y, z and123?

WellSkippy, why don’t you prove it? Where is your rendered animation that youpersonally modelled, rigged, textured and animated in your own spare time to backup your proclaimed assessments.

Youmight be telling yourselves, Squiggles why do all of that? That sounds like a whole lotof extra work just to prove points for a critique where I’m trying to tell theCRWBY what to do?

Towhich my response will be, EXACTLY.

Ifthe RWBY Hate Parade wish to make a mockery of the extra efforts the CRWBYmembers put into RWBY, then where is their extra effort? If they at least dothat then maybe I can respect them a little more as people who know whatthey’re talking about because they have the skills and knowledge to back uptheir arguments.

But how am I as the outsider listening in on some of theseYouTube rants supposed to take any of these people seriously when all they’redoing is making lengthy diatribes slandering the work of others and trying topass off as someone who knows more about animation and how it’s done thansomeone who does.

Dothese fans believe that makes them seem witty?It doesn’t. It makes them seem very disrespectful.

Idon’t understand the fans that are like this and I’m not sure if I want tounderstand. I don’t even wish to discuss them furthermore because at the end ofthe day, I can’t speak for these fans. I can only speak for myself and I knowwhere I stand as a fan of RWBY. If there is one advice I can give to my fellow FNDMfam is that weneed to stop drawing attention to the hate parade. Too often do Ihear more about the negative side of the RWBY community and their opinions ofthe series than the actual good that show and its FNDM has spawned.

Weas the people who still love RWBY and are willing to accept and stand by it andits showrunners, flaws and all, need to become more vocal aboutshedding light on the positives of RWBY

Eitherthat or just ignorethe haters. Seriously, we need to stop giving these guys anaudience. Similar to how the RWBY Hate Parade spend their time mostly pointingout the negative in the show, we the FNDM often at times draw too much attentionto these folks.

Ina sad way, we’re kind of sending traffic over to them. Giving them moreattention that they don’t deserve.

Thesetypes of fans can talk but we don’t need to listen to them. Because for all theflak they give the series and its showrunners, the RWBY train is still moving;strong and unaffected.

Why?Because I’d like to believe the CRWBY don’t pay attention to the hate paradebut more focus on what they wish to do with the series while looking out to thesmiling fans who help spread good word about their show. And really, isn’t thegood still that’s very much there all that really matters?

Soto conclude finally, this answer took me way too long to write. Sorry to haveyou wait so long Key. This answer took me some time to put together. Apologiesif it’s a very long-winded answer. I really don’t like discussing any negativestuff in the FNDM.

I acknowledge that it exists and it’s pretty much alwaysgoing to be there but that doesn’t mean I should give it any attention. But forwhat it’s worth, I hope I said enough to make my full peace with this topic.Cheerios!

~LittleMissSquiggles(2019)

#squiggles answers: rwby #rwby #oscar pine #ruby rose #weiss schnee #blake belladonna #yang xiao long #monty oum #crwby #roosterteeth #keyenuta

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werewolfgabby · 4 years

Text

Evaluation

This was a really interesting project to work on, as it was a task to make a games concept but with a literature based starting point. I came up with the base concept for the game (Halloween Dating Sim) before we even started this project as it’s something I hadn’t really done before yet, and would give me a chance to explore a new aesthetic. I also really wanted to do a game like this as it would allow me to work on my background drawing skills - since they are a huge part of these types of game.

Since I already had a brief idea of what I wanted to do before I started, I chose to research all the books that had supernatural themes or creatures that weren’t regular humans - so that I could relate it to the monster idea I had. I chose these books to research: Woman in Black, Jekyll & Hyde, Frankenstein, Let The Right One In, and Do Androids Dream of Electric Sheep?

The main book that I chose to influence this project was Jekyll and Hyde, since I loved the mystery and secrecy aspect of the novel, as well as the main character - Jekyll - and his issues with split personality and the supernatural. This Victorian Gothic novel combined with my original idea to make the dating simulator meant that I now had a dual genre game. While the initial game appears to be a modern dating simulator set in a cursed town, it is actually a detective game which allows you to expose the darker side of the town’s residents. In that sense, the novel starting point has actually stayed very prominent in my project - there is a character who is based on Jekyll & Hyde who is the main villain, and the main character you play as (Bailey) almost takes on a similar role to Utterson, trying to solve the mystery.

For this project - Cauldron Hollow - I have created many different characters, some background artwork and a book cover, as well as some fake screenshots of how the game-play could look. When I went into the project I had planned to create more expressions and poses for each character and draw more backgrounds, but due to my limited time frame I am happy with the amount of work i’ve been able to produce.

The Characters

I wanted to design a range of date-able characters for this game so that I would have more examples of character design for my portfolio. My poor time management definitely affected the outcome of this work quite significantly - as it was at least a week into the project when I started making the characters. I gave myself some time to think about the designs but did very few concept sketches before jumping into the final artwork, as I was worried that I wouldn’t have any actual finished work to show if I didn’t do it quickly. I wanted to have a decent amount of characters to show a lot of variety in the designs, which led to me having hardly any time to focus on each one.

I did all the artwork over one weekend, which was a very poor idea - as I had no time to come up with several iterations for each. On top of this, drawing 9 characters in such a short amount of time left me severely burnt out by the end, and as a result some character artwork clearly has significantly less effort put into it. The character I made last, Robin, as a result was the one I liked the least - the colours didn’t really fit properly, the pose was a little rigid and the linework was messy. I think that this was partially due to the type of brush I was using, which I don’t think is suitable for the kind of clean line-work I was after - as a result I will change my brush for the next project to try and get a more appealing finish.

If I could redraw these characters, I would do a lot of things differently. I would dedicate more time to each one and really focus on the ‘quality vs quantity’ as my mindset for this project was ‘more work means better’. I would also spend more time creating multiple different looks for each character so I could then pick the best concept and refine it, rather than finalising the first result in my head. On top of this, I would like to spread out the character design across a wider period of time, so that I don’t overwork myself on one - or even just do less characters.

There are some things I did like about the character design - I did try and vary my poses more; each character does have a fairly unique pose (even if the anatomy isn’t great, which I’d like to focus more heavily on in the next project) which I haven’t really tried before, and I think that they definitely look better because of it even if it isn’t a massive change. I also really like the colour schemes of some of the designs, and the outfit design I did, as I think it matches the kind of aesthetic I was going for. One final thing i’m glad I did was to keep the characters consistent in terms of shading, highlights, art style and brush texture - they do all look like they’re part of a set rather than all being drawn in completely different ways. I think the fact that I used a consistent colour palette throughout the project definitely influenced this, as I found that most characters fit pretty nicely together.

The Backgrounds

I came into this project wanting to improve my backgrounds, since they’re a big part of dating sim games and aesthetics. I am actually really happy how they turned out since I’m not normally very confident with them. The first background I made was of a bedroom and window, which I coloured in the same way that I had done the characters. Thanks to the perspective drawing feature, all the features of the room look relatively accurate, which I’m really happy about. It was only the hand drawn features (such as the pumpkin clock) which look a little out of place- but to remedy this I think I just need more practice with perspective.

For the window background, if I could improve it I think I would have added more detail to the walls - as the painting and picture frames are empty. I would have also liked to make the space outside of the window a lot more detailed - but I was too tired after drawing the initial room to bother spending more time on it. To fix this, I could have left it and came back later to finish it off when I was inspired to do it.

I coloured the room with the same colour palette I had used for all the other work, which complimented the character well but also left me with a very limited range of tones that I could use. Overall, I think that trying to work entirely in a certain set of colours was a nice experience, but I don’t think it was really noticeable at all for the most part - I think I should either use 4-5 colours in a palette next time or non at all, but it was still an interesting experience.

I was planning on creating a range of backgrounds but I had not anticipated how much time I would spend on the next one. It took me over 7 hours to draw from start to finish, and while it was absolutely worth it, it didn’t really give me a lot of time to do anything else. This is also an issue which I think can be fixed with practice - as I was still pretty new to the idea. I do really love the Garden background and how it turned out, especially thanks to all the soft lighting and level of detail which I included. For these backgrounds, I actually looked at a variety of reference images while creating it, and it really paid off I think - so hopefully I will continue to do so in the future. While I’m really happy with the few backgrounds I did produce, it would have been nice to have the chance to do more.

The Book Cover & Designs

Having to design a book cover was a pretty challenging part of this project as it’s new to me, so I wasn’t really sure what to put on the front. I did a few different ideas and eventually settled on the one that would allow me to both draw a background and a detailed character. This particular scene involved me having to draw a foreshortened character, which I struggled with. I kept at it until it looked right to me, but in hindsight I could have just looked up a reference to help me. Like the other backgrounds, I looked up reference images for the building rooftops, and as a result I think they turned out really well.

The actual character artwork had some issues initially - her face was too wide, the eyes were slightly wrong for a reason I couldn’t pinpoint, and the whole thing looked a bit flat. I ended up having to change the colour palette at this point just to help the character stand out from the background. I’m glad that I went back and fixed all the issues before finishing the work, as i’m a lot happier now with how it’s turned out, although the face still bothers me a bit. I think if I could do this again i’d love to attempt an actual painting, rather than just soft shading and adding overlay layers, as it’s something I haven’t done in a while. I’m happy with how the character is posed as well as I think it actually looks different from my usual static poses. On top of this, I’m really glad that I went for a handwritten title as it gives it more of a fun feel. I do however think that it doesn’t really show the dating simulator aspect of the game- but I would have liked to create an alternate cover that is a lot happier and more pastel if I had more time, to show the dual genres present in the game.

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marciaillust · 7 years

Note

Hey marcia:) sorry to bother but I needed to ask...How do you establish commission prices?Lately I've been thinking of opening them myself but I don't really know how much it is okay to charge? I know it's supposed to be according to the amount of time taken per drawing,among other things. I'm not sure anyone would be interested, so I'm afraid it won't work, but at the same time I feel like I should just go for it(?)Like, I dont have the courage to start.. Thanks for reading this♡have a nice day

Hi! I’ll be happy to help :) Honestly, this topic is one of the hardest and the most subjective things in the semi-private sector of art industry. Basically, you’re forced to ask yourself “how much is my work actually worth in the terms of money?” and this can be tricky. Obviously, no one wants to underprice their art and bring themselves down but overpricing will discourage the potential clients - achieving equilibrium is necessary. And difficult.

Here are some things to consider:

How long have you been drawing? If you’re rather an inexperienced artist/commisionee, you shouldn’t go for relatively high prices. One of the functions of price is informing the client of the quality of the service they can expect from you and the brand value. A new shop selling shoes cannot charge as much as Nike, you get the idea.

What is the service you can provide?In other words, what can you really draw? People will come to you demanding different things: their OCs, favourite ships, fursonas etc. and you gotta know what you are able to draw. If someone wanted a dragon in a forest, you can’t just not announce that “you don’t know how to draw trees in perspective” by the end of the commission process! This goes back to experience - the less confident you are about your skills the less you should charge.

How long does it take you to make one piece? Usually, the longer you draw the more you can charge for a picture, but! Remember that time taking accidents such as “I cant get this hand right, I drew it 5 times and it still does not look ok” don’t count! That would be the effect of your lack of experience rather than you making the piece more detailed. We’re talking about a theoretically smooth process here.

How much time are you willing to spend on a particular commission?This is a little bit different from the previous point. The questions asks: how much time are you willing to spend to satisfy your client fully? Are you willing to make several value sketches? Colour compositions? How many times will you go back and redraw something because the client informed you they didn’t like it? The more you’re ready to do for your client the more you can charge. However, remember!! Each sketch/idea has to be of the same quality!! You can’t suddenly stop caring halfway through or decide that “this composition sucks, the client won’t choose it anyway, so I can half-ass it”You don’t get to decide that, the client does.

How much would you spend on your own art?Be honest and do not be greedy. You’re only starting and since art is surely your hobby, low prices will not hurt at the time being. First, you have to dip your toe in the water and decide if it’s okay, then make changes and eventually rise prices.

Check prices of other artists! You gotta know what your competition is serving :) This should be your starting point, but!! Take as a reference several people with relatively similar art styles/experience to yours, and again, be honest with yourself. Adjust these prices to the criteria I mentioned above.

Additional commission related tips:

be as informative and neutral as you can be during the commission process; you can throw in suggestions but never any uncomfortable opinions

remember that it is you who has to put effort into pleasing the client,

it is not the client’s obligation to jump around you,

you can refuse to draw something, moreover, you can refuse the whole service if the client is eg. acting shady,

in your commission info state your contact, price info, way of paying and when it happens (before/middle/after work), how the commissioning process looks, how much time it takes, your preferences/info about your abilities (not necessary) and what you expect from the client,

the more information you provide the more confident the client will feel, it rises the chances of them commissioning you

be professional, be serious; surprise surprise - it is your job! :)

I think that’s all, hope I covered the topic fully and it helped! Now go rock the art industry

#millienery #art advice #commission advice #advice

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terriblevalveartandocs · 7 years

Text

About Valve OCs and the blog

This has been on my mind for a while.

This blog never got a satisfying end in my books, and I’m sure for other readers as well. Even though closure is a myth perpetuated by mainstream media, I will make this post to try to rectify past mistakes and general truancy of this blog. I have my own suspicions that most of my readers are dead (considering all of the porn bots are now starting to follow me), so I write this post in the darkness of the night into the void that is Tumblr. Read my cry if you care.

Firstly, this blog will never update again. There are multiple factors that have led to this blog’s extinction and I think they’re important to address

Motivation

This blog took up a large chunk of my life back when it was active. Don’t get me wrong, bad art still gets me to cringe and I find myself on occasion still pining over weird ocs and art styles on Deviantart. However, maintaining it as a blog with daily updates became a chore for me along with promising critiques of ocs and such. I’ve come to discover that I can’t do what I love as “””work”””. While bad art still remains a passion for me, I don’t see myself continuing this in blog format.

OCs have changed

The OC market has changed. Base art has definitely taken a downturn in the past few years and you’re more likely to see people hand-drawing their ocs or writing them out. Thanks with the culture of memeing about bootleg fandom ocs (This is my own original character blonic, donut steels) , it seems that people are more drawn towards creating their own worlds and characters rather than shoving their mary sue into their current fan favorite content. These are good changes in terms of originality for artists and writers in my opinion.

However, a lot of the formats for OCs have changed as well. There tends to be an emphasis on their sexuality and race in OC culture now. I don’t consider that a bad thing but I’d rather not poke that hornet’s nest of gender identity and race of fictional characters. What used to be the standard straight, bi, gay has expanded into other territories that I am unfamiliar with and now we have more ocs outside of the standard white chick but with Japanese last name because the creator really likes naruto. Again, this just seems to be the trend and I think my last few revival posts kinda show them.

Valve as a games publisher

LOL when’s half life 3???

Valve has definitely moved from being a game developer to a digital distributor. Steam definitely seems to be their focus outside of Hat/Weapon Skin collecting and online gambling (and also their weird consoles/controllers???). Not that I would continue this blog if they released more content (They published another update to the TF2 comic, can’t wait for that to get updated in a year).

Along with this slump of their own original content, this has led to a slump in original characters for their franchises. There are not as many fan ocs and art isn’t being produced for their franchises (except maybe with comic updates for TF2 and nostalgia for old games).

This blog was created at the optimal time imo with L4D2 still being fresh, TF2 still having an active userbase, and Portal 2 giving some great content in terms of creative material.

Also I’m not interested in reviewing Dota 2 art and I don’t think there are enough Counterstrike ocs.

Negativity

I don’t know if this blog was a source of positive or negative energy. On one hand, I was ridiculing people’s art without much hesitation and not acknowledging how much time and effort that might have been put in by the artist. But on the other hand, it provided laughs for people during its duration and gave me a creative outlet in terms of humor, arguments, and writing. I think I did my best to avoid any harassment for these artists by removing any watermarks that might lead any rude reader to them, but I’ll never know if they suffered any bullying. Obviously I’m not going to put this on my resume as work experience but I like to think that this blog help think critically about their content, regardless of what role you played on the blog be it me, a submitter, an observer, or the subject. Maybe if some supreme being questions why I started this blog in the afterlife, I can tell them I did it for the lolz.

In the end, I think I did more harm than any general good for the world and nobody will really understand that weird pain if I try to repent for it publicly. I don’t know of any key examples of this (or really remember because I haven’t done this shit in years), but I do apologize if I ruined anyone’s ambitions for writing/drawing.

I’m glad there is a stronger hugbox mentality for artists who aren’t very good and I embrace that style of encouragement. I guess my only concern is veering too far into that and just embracing everything as perfect and awesome and never improving. Criticism has its place in society.

Perhaps the real lesson is that who the hell gives a shit about what you post on the internet. Why should you give a stranger any control over how much your art is worth? However, this also gives the argument into determining if any of your art is worth anything based on your preconceived notions on your art’s merits since you are only a stranger to me. Why should you tell me that your art is valid and equal to anything else produced when it looks like you drew it with your tablet pen stuck up your ass?

Maybe we all just need to learn to stop giving invisible voices the power to ruin our emotional states and work on our self satisfaction.

Growing up????

I wrote most of this blog like a million years ago. It was a stronger part of my identity and a part of a community in a way of similar blogs in the same style. But I don’t really relate to the content as much I used to. Valve games are still near and dear to me, but they’re more nostalgic than my current flame and muse. I feel the same happened to other blogs in the same vein as mine. Perhaps also age and the changes of time led to our own focuses in our own lives than looking at the scribbles of some stranger on the internet. While it’s still one of my internet past times, it is not my main focus in life to critique bad art (unless it starts paying serious dosh). I just don’t relate to the words and passions anymore. In a way, this is my own cringe that artists produce when they’re young on Deviantart. It’s kind of funny in a weird way.

This blog will continue to remain up but I’ll probably move into another blog of some sort (I accidentally made this my primary blog and I can’t delete it). It sort of became my main lurking blog and I guess its time that I make a less weird not ghost blog (I’m probably confusing a lot of the people that I follow with my constant hearts and comments).

I guess I wanna say thanks for all of the people who followed this blog and its contents. I probably wouldn’t have continued for very long without followers so you’re all to blame for this negative impact I’ve made on the world (jkjk). I like to think we’re connected with our mutual spirit in improving how we create things and wanting to see improvement in others. I think this blog helped me see the dumbest of things and not be afraid to say it was dumb and I hope it did for you as well. I also hope it brought you laughs in the content that was displayed or the humor I attempted to convey. It did genuinely warm my heart whenever I got a heart, reply, reblog, or messages to keep up the work. It kind of makes me sad to think that I left rather abruptly, but better blogs have died quicker and quieter. Simple fact of life really. Thank god my ego keeps me in check to constantly remind people of my existence.

To any artists out there, bad art is a fact of life. You do not come out of the womb knowing how to do two point perspective and 3d shapes. You mess up doing 3d shapes each any every time until you get it and then move on to the next thing you’re not good at. There’s a common TIL leddit post about how Michaelangelo burnt all of his old works so nobody would know how bad he was when he was starting out. I don’t know how true that is, but that’s not a great mentality to have for your art. Seeing that bridge between your former self and current self is important for seeing self growth in your skills. Plus you won’t have those juicy likes and comments on instagram when you do the art redraw and show how far you come like how can you skimp on that you dingus.

All of the great content creators right now love showing off the shitty art they did as kids because it gives them a sense of progress in their work and their accomplishments and continues to drive them in their own works. (unless you’re rebecca sugar and drew ed edd and eddy shipping porn lol). Heck, some of them even take the stuff that was once cliche characters and expanded on them in their own Original Universe Donut Steel. And thanks to their own Original Universe Donut Steel, now tens of thousands of impressionable young artists can look at it and say “that’s awesome, but it would be way better if there was my own character...”.

OCs are weirdly one of the ultimate ways of fan expression where you enjoy the content so much you wish you were part of it. Even though it’s very disjointed and out of place, it’s usually done in a place of love for the franchise or the characters. So for those of you that are doing that still, keep at it I guess.

Fan art is sorta in the same way where you enjoy something so much that you want to replicate the style/themes/characters in your own or the content’s style. While not as extreme, it’s still in the same place of love and people generally like that more than original shit anyways so continue to make it so I can buy your posters at anime conventions without supporting the original creator lol.

If you want to harass me further for my sins against budding artists, I guess I’ll link my personal blog if anyone actually asks me. I also wrote this at 3 am so it is extremely unedited and awful but it’s the most “pure” for my usual diatribe. Consider it my first OC for the blog.

Good night, good life, and farewell.

#valve #terriblevalveartandocs #wow this dead blog finally got an obiturary #that's right grandma decided to haunt this blog and repeat this blog post to those who enter #came back from the dead to remind you i'm dead #but this is on my own terms death ahahahah #there go my dreams of being tumblr famous #i love all of my ...*looks at smuged handwriting* smefty hundred followers #NOW I CAN SLEEP #this was actually part of my repentance for church that my pastor assigned me #now i can get into heaven where i belong #also the real reason i stopped updating was because i was in prison for 3 years for cyberbullying #i hurt too many bronies feelings #thankfully i'm back and i ended up joining a brony prison gang #guess what my cutie mark is #why do i still think i'm funny

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wherever-i-look-blog · 7 years

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After dancing around, if not outright avoiding the topic, Sota finally goes into his part in Shimazaki’s death.

The Aftermath: Selesia, Meteora, Matsubara, Sota, Kanoya

Thanks to their healing abilities, from Meteora to even Selesia, everyone survived that fight. Some, like Mirokuji, may have lost their dignity, but pretty much it seems no real loss was given. But, even while everyone lived through the fight, Sota’s heart weighs heavy. This bothers Kanoya a little bit so he decides to spend some one on one time with Sota. You know, try to put life in perspective.

Leading to Kanoya trying to explain that as gods, they aren’t trapped into a storyline like him and the rest. He, Sota, has an unlimited ability to create, erase, redraw, and pursue any life he wants. Which, to a certain degree, makes Sota feel better.

Commentary

I have to admit, I was surprised Kanoya, of any of the characters, had a real good moment. If only because, like Mirokuji in a way, he has really been neglected thus far. Though, in general, this show doesn’t really do much with its male characters. They all pretty much range from Sota to Blitz Talker. Either they are kind of anxious, quiet and sweet, or some form of arrogant and more known for fighting than saying much.

Thus making Kanoya not just getting a huge amount of dialog, but it not being a Meteora styled monologue, noteworthy. I mean, I highly doubt this will happen again, but at least Kanoya got one chance to be featured right?

My Relationship with Shimazaki: Sota

Context: This is after Sota saves Shimazaki from nearly falling off rafters and they slip on the rafters and end up side by side. Possibly making the whole event the most fun either had in a long time.

It has been a long time coming, but Sota finally reveals to everyone he knew Altair’s creator. Much less, he contributed to her death. Though the whole story isn’t presented in this episode.

What we do get to see is Sota’s drawings, Shimazaki taking an interest, them exchanging e-mail addresses and becoming friends. First of the virtual variety then meeting in person at this social media event. There, oh my god, it is like they have a date and it is all really cute.

However, as Shimazaki’s art gets notice and she gets into a real, likely paid, gig, the two grow distant. Then, to make matters worse, as people begin to attack Shimazaki, say she plagiarizes, Sota is silent. Thus pushing the idea that his past issue with running away stems from not defending Shimazaki when she needed him the most.

Commentary

Setsuna (Yuna) Shimazaki is how she presents herself.

I get Shimazaki was likely sensitive, and the online comments contributed to her death, but Sota better not say his inactivity killed her. For this was probably the first time this show wanted to really dive into a character’s emotions. Not to say Alicetaria wasn’t in her feelings after Mamika died, but she didn’t get to really deal with it. She just became a pawn in Magane’s game.

What I’m talking about is these characters really confronting their past and growing from it. For, as Kanoya noted, all this time away from home has allowed him to reflect. It has allowed him to see his place in his world and while he isn’t fond how his fate is in stone, or rather ink, he knows he is the only one who can save his world. A drastic change from this kid who just wanted his freedom.

So with Sota, I’m hoping that what he and Kanoya presented represents a shift. One in which, since we know the likelihood of another character dying is low, it is compensated with the emotion of these characters. Be it Sota’s inaction and contribution to Shimazaki’s death or each character coming to terms with their fate, even if their world, in comparison to the one of the gods, seems like hell. [note]It seems Sota may have drawn nearly all the characters we have seen on the show. I’m not sure if that plays into why they all showed up in particular, but maybe the ones Shimazaki liked his artwork of Altair picked to bring into the gods’ world?[/note]

Collected Quote(s)

Instead of mourning for the past, it’s better to create. Create the things that only you can create.

#ReCreators: Season 1/ Episode 11 "We cannot decide where we go but you can" - Recap/ Review (with Spoilers) After dancing around, if not outright avoiding the topic, Sota finally goes into his part in Shimazaki’s death.

#Episode 11 #Kanoya #Matsubara #Meteora #Re:Creators: Season 1 #Selesia #Sota #We cannot decide where we go but you can

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brandonrucker · 7 years

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Note: this is a re-posting of an interview I had published nearly five years ago on a different website (that web archive is no longer available, making this re-post necessary for posterity, if nothing else). The following Q&A session was drafted October 17, 2012.

Patrick “Patch” Zircher [pronounced: zer-ker] is the artist and co-writer of Valiant’s all-new SHADOWMAN series, launching November 7, 2012 from the resurging publisher. Co-written with Justin Jordan (THE STRANGE TALENT OF LUTHER STRODE), the new Shadowman series is about New Orleans’ worst nightmare coming true. As these dark forces begin to claim the Big Easy as their own, Jack Boniface must embrace the dark legacy he was born to uphold as Shadowman. He will become the only thing that stands between his city and the legions of unspeakable monstrosities. Zircher, Jordan and Shadowman are poised to not only occupy the darkest corners of the revised Valiant Universe, but perhaps shine some light and hope there as well.

Zircher, In Passing

Earlier this year I met Patch Zircher somewhat in-passing at my local comic shop. I didn’t know who he was at the time until an old former colleague at the store informed me. He was there mainly to purchase comics for his preteen daughter (trade paperbacks of Marvel’s Runaways, I recall), but was also there searching through the back issue bins for some oldies-but-goodies. He, the store staff and I geeked out in a brief conversation about when exactly the transition from the Silver Age to the Bronze Age of comics supposedly occurred. As we departed the store I was left with the impression that Zircher’s a humble, laidback and rather approachable fellow (the kind I suspect would talk with you forever should you meet him in Artists Alley at a comic con someday), and was jazzed that this awesome artist is a fellow citizen living locally in a suburb neighboring mine. A few Twitter conversations eventually led to the following interview you are about to read.

Hey Kids, Meet Patrick Zircher!

BRANDON RUCKER: Are you a native of our ‘great state’ of Indiana? If so, where did you grow up?

PATRICK ZIRCHER: I grew up in Ohio and Arizona, but moved to Indiana when my kids were born. I actually missed fall and winter.

RUCKER: How did you get your start as an illustrator of comics? How we’re you finally discovered?

ZIRCHER: That’s hard to answer because there were a lot of stops and starts. Right out of high school I was published in paper and pencil role-playing games, then inked, wrote, and drew comics for smaller comic companies like Eclipse, Blackthorne, and Caliber. Art became a full-time job when I started drawing Green Hornet for Now Comics. Back then, I sent art samples (photocopies) in the mail. I would draw on the envelope to get submissions editors to notice. A few years later I was hired by DC at the San Diego Comic Con and a short time after that by Marvel for New Warriors. This is all in the ‘long ago and far away.’

RUCKER: I’ve seen your early pages for this new series, and Patrick, I have to say that I’m blown away. Admittedly I’m a latecomer to your work having discovered it at Marvel the last couple of years. You’ve recently alluded that your work from 5-6 years ago is not worthy of your name. In what ways do you feel you’ve improved? Do you feel like you turned a certain corner when you went digital?

ZIRCHER: I was joking a little, but I do try to improve each year. I’ve never been satisfied with having a ‘set way’ of drawing. As far as improvements, I think my storytelling and panel compositions are stronger, as well as anatomy and gesture, spotting blacks and contrast. Ha, everything I guess. To be honest, improvement came when I began inking my own work. It isn’t that other inkers aren’t talented, but inking is, to some extent, redrawing for me – a second chance to improve on the pencils and layout.

RUCKER: Since I’m a follower of your Twitter feed, I’ve come to realize that you are a kindred spirit when it comes to music. What positive affects does music have on your artwork?

ZIRCHER: I’m a music geek, as a listener – I can’t play at all – and tailor what I listen to with what I’m drawing. Drawing involves long hours at the board so I’ve been putting together a ‘mix tape’ with hundreds of songs that keep me in the zone when working on Shadowman. It’s how I justify my passion for “Daemon Lover” by Shocking Blue.

RUCKER: Do you have any favorite artists among your peers?

ZIRCHER: Many. But listing them only makes me regret the ones I left out. I will say the overly-flashy art, the absurdly detailed art, the no-attention span- jumbo-figures-on-every-page kind of guys usually leave me cold. I’ll take a great storyteller who can frame and compose panels, pages, and sequences over the loud guy every time.

RUCKER: You recently said on Twitter: “Never say never, but that’s my last Marvel piece [AVX Consequences #1] for a very, very, very long time.” I assume that this, well, one: refers to your exclusive contract with Valiant, and two: you’re as happy as a fat kid in a candy store at Valiant.

ZIRCHER: I love working at Valiant. I was unhappy at Marvel. It happens. As far as exclusives, as I said, I love working at Valiant, but I just don’t sign exclusives anymore. I’m working exclusively for Valiant because I want to – not out of a contractual obligation.

RUCKER: There’s a huge boom in creator-owned comics these days, perhaps the most ever in the history of the medium. Do you have any interest in possibly doing something creator-owned in the future?

ZIRCHER: Yes, but co-writing and illustrating Shadowman is a full plate. And the plate’s full of good food. There are so many projects at Valiant I’d be happy to be a part of that making a creator-owned book isn’t a priority right now.

Shadowman #1, pg. 1

Shadowman #1, pg. 4

Shadowman #1, pg. 5

RUCKER: What was it about the Shadowman character that attracted you? Were you a fan of the 1990s version as well?

ZIRCHER: I was a fan. Like a lot of fans though, sometimes you’re as much in love with a character’s potential as you are their actuality.

RUCKER: With all due respect to all the previous creators who worked on the character, what is it about this new iteration of Shadowman that you think makes it just as good as, if not better than the original?

ZIRCHER: Well, first, I admire the talents of the book’s previous creators. Bob Hall wrote and drew quite a few issues and you can see he put a tremendous amount of energy into the work. Comics have evolved a different style of storytelling since then and the work Justin Jordan, myself, and colorist Brian Reber are doing on the book reflects that.

RUCKER: The return of Valiant Comics is obviously great for fans of the characters and the industry overall. What was the main aspect about the all-new Valiant that attracted you to the point where you decided to stop working for Marvel?

ZIRCHER: I’m very attracted to working at a company that’s really in touch with its talent. Everyone at Valiant is excited and enthusiastic and I wanted to work with people who felt that way.

RUCKER: The Valiant re-launch has been executed very methodically and with great care and precision. Given your relationship with Warren Simons, were you (and writer Justin Jordan) hand-picked for the Shadowman series, or did you two have to pitch against other creators in consideration/contention?

ZIRCHER: I was under contract with Marvel at the time Valiant was putting together its initial titles so we didn’t get together until later. Fortunately several of my favorite Valiant characters were in the early (re-) developmental stage. Warren and I wanted to work together on something with equal enthusiasm so we discussed a variety of characters. Comics is a business, but I think it’s a key element, an often neglected one, to match talent with titles and characters they want to work on. As far as Justin, he’s a writer both Warren and I really wanted. We had read Luther Strode and both saw a personality in Justin’s work that would enliven Shadowman. When Warren told me Justin had pitched for Shadowman, I couldn’t believe the serendipity of it.

RUCKER: Did you, along with Justin, have a lot of freedom to revamp and re-design the character and his world according to your shared vision?

ZIRCHER: I think so. It’s a team effort that includes editorial. Valiant is building a cohesive universe and an editorial perspective is part of that. Personally, it’s thrilling to be in the early stages of comics universe-building. Co-writing is a fascinating process because, in many ways, a third writer is born, with a style that is different from the individuals and yet, not.

RUCKER: Have you had to do any specific research for this new series, perhaps research on New Orleans, or jazz culture or what have you?

ZIRCHER: A lot of comic creators research and I’ve been doing that for years. With New Orleans, so many clichés are used in comics based in the Big Easy that we’re purposely taking it easy on the New Orleans-specific references. They’ll come, you just won’t have Mardi Gras, the French Quarter, jazz, the bayou, voodoo queens, and above-ground vaults all thrown at you in the first issue.

Shadowman #2, pg. 2

Shadowman #2, pg. 4

RUCKER: In your own words, how would you pitch the new Shadowman series to prospective new readers – the on-the-fence fan or the naysayer?

ZIRCHER: Shadowman is about a guy named Jack who is bonded to a supernatural spirit. After that, everything in his life changes. I’m having a crazy, good time making the book and that DOES show in the pages. If you’re on the fence after seeing the previews there probably isn’t a whole lot I can say. Justin’s dialogue could charm a cat out of a tree. Brian’s colors are gorgeous. If you want a very good comic, you’ll find it here.

RUCKER: For those unfamiliar with your work, what of your previous work would you recommend people check out prior to Shadowman’s release –something you’re proudest of?

ZIRCHER: Captain America Vol. 3 [trade paperback of Ed Brubaker’s recent run], or Batman: The Man Who Laughs with Brubaker. Terror Inc. with David Lapham; Mystery Men with David Liss; Hulk of Arabia with Jeff Parker. Or pick up Thor: Ages of Thunder with Matt Fraction. Warren [Simons] gave a copy of the Thor book to Valiant’s publisher, but his son took it so he had to get another one. That’s as strong a recommendation as I can think of.

UPDATE: Currently Patrick Zircher’s work can be found on the DC Rebirth Action Comics series from DC Comics where you can find him having a ball drawing Superman and Lex Luthor-Superman, plus a dastardly host of supporting characters and villains.

Patrick Zircher: Into the Shadows, Man | Q&A Note: this is a re-posting of an interview I had published nearly five years ago on a different website (that web archive is no longer available, making this re-post necessary for posterity, if nothing else).

#comic book art #Patrick Zircher

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aaylajartblog · 7 years

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Do It Again

This week I’m going to talk about the concept of re-doing a project or piece of artwork from your past. There are many good reasons why you should absolutely do this every once in a while, and quite a fair number of benefits from doing so. Let’s get started!

Where to begin

You might be thinking, “Okay, great, I have to redo something that I already finished. But I put so much time into that project and I don’t really feel like doing that all over again. What now?” Luckily, I’ve got some tips for you.

Pick something that you finished quite a while ago.

I suggest going back at least a couple of years, and here’s why. The more recently you’ve done a project, the less likely you are to have a fresh perspective on it. When I am working on a piece of art, I put quite a lot of time and energy into it and get very invested - and it takes me a while to forget the specifics of all of that work. For most people, artwork is a very personal endeavor and doing it creates strong memories. This is a beautiful and wonderful process but being that attached to your artwork makes it difficult to see it anew. So when I look through my art folders to pick a piece to remake, I try to go far enough back in time that I cannot recall all of the details of how or why I made a particular piece.

Redo a piece that has a similar subject to what you do most often now.

I love drawing human characters - that’s my thing and for the most part it always has been. But for some people, the subjects that they focus on in their artwork changes over time. So how do you pick what type of old artwork to redraw? Well, one suggestion is to choose one with subject matter that most closely relates to the art you do now, and that is because it will likely be the easiest way to gauge your improvement. If my highest skill level is in drawing human characters, I wouldn’t want to redraw an old piece of landscape art because I am not as good at landscapes so I might not notice much improvement.

On the other hand, DO redraw something with a completely different subject than what you normally work on.

To contrast what I said above, maybe you want to change it up and draw something totally opposite from your normal subject matter. There are plenty of good reasons to do this, and it can add a challenge for you that perhaps isn’t there when remaking a piece of art in your subject matter comfort zone. I say go for it!

Okay, you’ve chosen your piece ... now what?

A danger when redoing your own artwork is that you could end up copying it exactly how it was before, so I’ve put together some things to consider when you rework an old piece.

Keep the “matching” loose.

If you drew a character, redraw the character with a similar hair style, outfit, color scheme, etc. However, allow yourself the freedom to stretch your creativity and higher level of skills. Add a new background, change the pose, shift the perspective, draw with a different medium, change the style, etc. In my examples from this post, you can see that I’ve kept the same basic character while changing many details - yet you can still tell that the newer artwork was inspired by the older one.

Don’t worry too much about the end product.

A beauty of redoing an older piece is that part of the creative process has already been done for you. You already thought up the character, the scenery, the composition. Now all you’re doing is taking your months/years of added experience to make improvements on what is already there. I believe that you don’t need to focus too much on making an extremely high-quality product because you’re already going to notice your improvement without having to go to the most extreme effort. Instead, focus on your skills and the changes you want to make to the older piece.

Have fun!

Certainly there are real artistic benefits from remaking a piece of art, but overall this should be enjoyable for you. This process is (most likely) not about creating something beautiful that you are going to sell, but about seeing how far you have come. Sit back and have a good time with it.

I know I can do it, but what are the benefits?

Hopefully you are thinking that this is something that you might be interested in doing, but maybe I still haven’t convinced you that this is a good idea because I haven’t explained why you should do it. Never fear, the time has arrived!

It’s the clearest way to judge your improvement.

You will not only notice how much your skills have improved but also how your creative process has changed. I simply cannot think of a more obvious and straightforward way to see exactly how much better you have gotten than by putting two of the same pieces side by side and seeing the difference between one from this week and one from five years ago. Can you?

It is a quick way to get practice.

As I mentioned before - half of the work is already done for you when you remake an old piece, because the subject and composition is already chosen. This is actually pretty great, because in remaking the piece you get to put all of your energy into your current creative process - what details can you add, how can you improve the lighting/colors/dynamics/perspective, what would make this piece more engaging, etc. Doing this also gives you insight into your process if you weren’t aware of it before; maybe you never really noticed how you put together the elements of a piece until you did this assignment.

It allows you to change things up.

Maybe you still design your characters or landscapes in the same way that you used to, but your skills have improved over time. In redrawing a piece and trying to make it different you are forced to change the way you interpret the subject, the story that you create behind the meaning of the piece, the elements that you choose to include. This is a great way to stretch yourself even further.

Bonus reason: everyone loves seeing them!

If you post your art online, I can guarantee you that people love to see improvement comparisons. This is a trendy thing to do and improvement memes go around at least a few times a year. Maybe it will help you gain more viewership.

To be clear, this concept works for any creative endeavors. I used the example of drawing characters, but it applies to just about anything that you can make. There are always ways to look back on your creations and make them again. I hope you have fun with this project. I would love to see what you come up with!

#art #aaylajart #remaking #redrawing #redoing #do it again #art project #art assignment #art challenge

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