ACEXLUV 🍉💗

Sims 4 Custom Content Repost/ Sims 4 CC /Blender Scene store

[acexluvv]

˚₊‧☆ Vrtual Brat Collection ˚₊‧☆

Check them out here and let me know what you think! As always, thank you for your continued support. Happy Simming!

Ace ꨄ

[acexluvv]

[mr-orion]

Idk who needs to hear it but if you have Aphantasia you can absolutely do character art. Don't let it discourage you. Especially since a good portion of art advice won't fit you and will leave you feeling like its your fault.

I have Aphantasia, its super hard to put characters in poses from my mind. I cannot draw cartoons or exaggeration well, its very hard because I do not see the drawing until it is on the page. I use so many construction lines and blocks of color and always need a reference to base my character poses on. I cannot imagine things artistically before they're on the page and it is super frustrating.

You can still do it with Aphantasia though, it just takes practice. So many of your sketches without references are going to look awful despite you knowing the proper proportions of the human body, it doesn't mean you don't know what you're doing.

It just means you need to give yourself extra help. You're not lesser or bad for not being able to draw on a whim or not having these intricate details. Trust me, I've struggled with thinking that.

The best thing you can do to work with it is collect so many references, use a pose software (like magic poser), and absolutely screenshot and collect art that has a creative element you struggle with. (For me its color, backgrounds, and splash text.) Also, maybe practice abstract art. You have a brain unhindered by a visual expectation, I recommend it. For me I like to do surrealist/abstract pictures of water and space. It takes technical skill but everyday is a good day to start practicing.

Having Aphantasia is a neutral thing. It's not bad or good, it's just there. That bad part is not acknowledging that you work differently so you need to adapt differently.

[smoothlysassysavagery]

Open Wound

Open wounds. What are open wounds? A taunt not forgotten. A joke that hit a little too close to home.

Anxiety. An open wound to live with, your entire life. You might get used to it gradually, but it's always present at the back of your mind

Burning like embers after a bonfire, and if added a little more wood, it would burn a little too brightly, a little too painfully.

And the smoke makes it a little harder to breathe, the initial smoke that is. Later on, you would need oxygen masks for it.

And when your chest tightens a bit too much, when the wound is poked a bit deeper, and you really cannot breathe. It gets harder and harder, more difficult, like an out-of-body experience.

You watch and watch, helpless to do anything because what can you do? how could you stop it? how could you hope for it to stop, when it hasn't for years.

But then it does. Slowly, steadily, like a train coming to a stop. And then it's gone and there's relief. Relief as it's gone and relief that I don't have to feel like that anymore.

Until you do. Until you do again the next time ⁓SS

[hamletthedane]

I was meeting a client at a famous museum’s lounge for lunch (fancy, I know) and had an hour to kill afterwards so I joined the first random docent tour I could find. The woman who took us around was a great-grandmother from the Bronx “back when that was nothing to brag about” and she was doing a talk on alternative mediums within art.

What I thought that meant: telling us about unique sculpture materials and paint mixtures.

What that actually meant: an 84yo woman gingerly holding a beautifully beaded and embroidered dress (apparently from Ukraine and at least 200 years old) and, with tears in her eyes, showing how each individual thread was spun by hand and weaved into place on a cottage floor loom, with bright blue silk embroidery thread and hand-blown beads intricately piercing the work of other labor for days upon days, as the labor of a dozen talented people came together to make something so beautiful for a village girl’s wedding day.

What it also meant: in 1948, a young girl lived in a cramped tenement-like third floor apartment in Manhattan, with a father who had just joined them after not having been allowed to escape through Poland with his pregnant wife nine years earlier. She sits in her father’s lap and watches with wide, quiet eyes as her mother’s deft hands fly across fabric with bright blue silk thread (echoing hands from over a century years earlier). Thread that her mother had salvaged from white embroidery scraps at the tailor’s shop where she worked and spent the last few days carefully dying in the kitchen sink and drying on the roof.

The dress is in the traditional Hungarian fashion and is folded across her mother’s lap: her mother doesn’t had a pattern, but she doesn’t need one to make her daughter’s dress for the fifth grade dance. The dress would end up differing significantly from the pure white, petticoated first communion dresses worn by her daughter’s majority-Catholic classmates, but the young girl would love it all the more for its uniqueness and bright blue thread.

And now, that same young girl (and maybe also the villager from 19th century Ukraine) stands in front of us, trying not to clutch the old fabric too hard as her voice shakes with the emotion of all the love and humanity that is poured into the labor of art. The village girl and the girl in the Bronx were very different people: different centuries, different religions, different ages, and different continents. But the love in the stitches and beads on their dresses was the same. And she tells us that when we look at the labor of art, we don’t just see the work to create that piece - we see the labor of our own creations and the creations of others for us, and the value in something so seemingly frivolous.

But, maybe more importantly, she says that we only admire this piece in a museum because it happened to survive the love of the wearer and those who owned it afterwards, but there have been quite literally billions of small, quiet works of art in billions of small, quiet homes all over the world, for millennia. That your grandmother’s quilt is used as a picnic blanket just as Van Gogh’s works hung in his poor friends’ hallways. That your father’s hand-painted model plane sets are displayed in your parents’ livingroom as Grecian vases are displayed in museums. That your older sister’s engineering drawings in a steady, fine-lined hand are akin to Da Vinci’s scribbles of flying machines.

I don’t think there’s any dramatic conclusions to be drawn from these thoughts - they’ve been echoed by thousands of other people across the centuries. However, if you ever feel bad for spending all of your time sewing, knitting, drawing, building lego sets, or whatever else - especially if you feel like you have to somehow monetize or show off your work online to justify your labor - please know that there’s an 84yo museum docent in the Bronx who would cry simply at the thought of you spending so much effort to quietly create something that’s beautiful to you.

[not-terezi-pyrope]

The problem with "I could do [X popular modern art piece]" being responded to with "then go ahead and do it!" is that I think the point that a lot of people are making is not so much "this artwork has no value" but rather "modern popular art is a heavily gatekept industry that you cannot enter into without requisite pre-existing social cachet".

So even if someone is technically/artistically able to create something on the level of a gallery piece (and, to be honest, I think substantially more people have that ability than anyone would be likely to admit) they do not exist in an environment where they have the financial freedom or recognition for that to be possible or worthwhile.

I assure you that there are millions of people who absolutely could and would want to make Pollock style abstract paintings or giant time-consuming sculptures made with garbage or whatever, but they're currently stuck in a low wage job and if they quit in order to make their masterpiece then nobody would bat an eye and they would go broke because they wouldn't have the sociocultural weight to impart that special numinous reverence that "high art" is granted, and which makes it financially viable as a thing to spend your time doing.

It is also true that a lot of people who have that cachet are able to spend their time making pretty much whatever, and will still be able to support themselves even if the art itself is fairly mediocre outside of the time dedicated to its creation.

Anyway, I feel that people are perfectly valid in feeling a sense of vague resentment at that when they visit galleries holding paint/canvas combinations that sell for more than they will earn in several years. I mean it speaks to what society is implying about their worth as a person. I don't think that it's as much about arrogance and entitlement as people like to pretend, because a lot of that comes from buying into the mystique of the Worthy Artist anyway.

[djvpensayosehistorias]

On Art History

Art history is the knowledge and study of art. To interpret and analyze art, its characteristics, its reason of being, its function, it has to be placed in a context, and it is the context of its production that informs about its value as human activity. To do history about art is to relate it to the culture that produced it, to learn about its geography, to place it in the chronology of its evolution. Art history, then, follows a methodology that aspires to be as scientific as possible, and so it adapts to evidence, emerging technologies and evolving sensibilities. Kleiner outlines several criteria used by art historians, such as age, style, subject matter, authorship, and patronage, to learn about an art object or an artwork’s history, about what it represents about its culture and human history at large.  

Art is an activity best defined by its function: it communicates, it expresses a message. To somewhat narrow it down, art pertains to culture, which is largely understood as all human activity. Before what anthropology considers civilization, there were examples of people creating iconography, communicating a message that might have had some relevance, some practical function, as it is speculated. Art too can be created for mere pleasure, as the manifestation of personal will, of identity. Whether art is an individual or a group benefit, it is not an either/or question. Art is a social activity. It can take the form of small objects or large buildings, it can be manifested in many aspects of society. As it is a social activity, it has value: material monetary value and intangible cultural value. 

Art is in dialogue with other disciplines of knowledge. When doing art history, it is important to determine when an artwork can serve as an historical object - because it is part of an antique infrastructure or it depicts a historical event - and when it serves a communicational purpose that is not historically accurate. It can represent ideas - or ideals, more precisely - just as it can represent observable reality. Emmanuel Leutze’s Washington Crossing the Delaware conveys not a historical occurrence, but an idea about a historical figure. This same dynamic applies, more clearly, in representations of mythology and religious texts, which are taken as different from historical facts, yet they serve an ideological purpose, and they can inform much of a society’s history. 

Art history is a discipline that intertwines the often literary and subjective world of art and the scientific exercise of history. The purpose of art history is, as it is of any research, to better understand humanity using the totality of the past, the cumulative corpus of creative activity. It examines perspectives, ideologies, temporalities, norms, hierarchies, and therefore it is a valuable branch of the social sciences.

Reference

Gardner, H., Kleiner, F. S. (2017). Gardner's Art Through the Ages: A Concise Global History. United States: Cengage Learning.

[leenlue]

The Great Tsunami

Once, I wrote you a poem

And you loved it

And you loved me

But what you didn't know, is that I wrote you three more after you said you didn't want me and I cried

I cried tsunamis and hurricanes

And I guess you could say I'm not over it

Because whenever I see her I feel a knife through my chest

A sharp pain

One that only you could inflict

And of course you love her now

I get it

She has a smile like the full moon

One that you have to stop and look at to see if it's real

It's mesmerizing

It engrosses you

And you've always been one to worry about looks

Well look

That's shallow

But I know

That the girl who writes poetry every time she feels an emotion is not what you wanted at all

I was merely the bus stop to your real destination

Some kind of

Procrastination

I was nothing

To you

Yeah, I get it

A girl who can light up a room is one you wanna keep, man, she's special

But I thought I was special too

See what kept me going was

You

And you were all that I wanted so I just gotta ask

Why'd you do it?

I hate to say this but I hope she breaks your heart

I hope you tell me

Every grueling detail

And the excuse she had

Because even though you'll be sad you'll understand the devastation you caused me, and all those countries that had to live with the great tsunami.

- d.

[the-happy-princes-sketchbook]

Football Field Confessional

Ekphrastic poem

Did Jesus love his father

when he woke up with scars on his palms

and blood in his eyes?

Did instinct tell him to be good,

even when his body bore

the holes of human hate?

Sitting on the bleachers, cheap

liquor hot in the pit of my stomach,

I can’t find him to ask.

I don’t feel so good, I want to tell him.

You’re supposed to make sure I’m not alone.

The rage in me is ancient, Roman;

the same kind that killed Jesus.

I want all the men who punch holes in walls

and put their hands on little girls

to die slowly and painfully.

I want the boy who fucked me

into a dirty yellow mattress to come

back home so I can tell him

I never loved him.

I want his brother to come back

so I won’t have to see the half-mast flag

on his mother’s rotting porch.

I want to find the edge of the world

in California, where I know there is love

and so many other bright, wonderful things.

[dramarising-replacement]

Most of you have no idea how making a living with art actually works Your experience begins and ends with watching a generic popfur smut artists get 10k a month in passive income via patreon subs and cashapp donations and it shows In the professional art world if you take 40 hours a week to produce 1 digital piece you will be replaced laughably fast. Being expected to yield something after a 40 hour work week is not crunch culture, that’s an average full time job. People I’ve worked with who make an income exclusively through art are capable of producing 6 12x12 water color landscapes a week and that’s on the slower end. Hobby commissions =/= art as a full time job It’s unreasonable to expect fully lined and painted art from a commissioner online to be done quickly. That’s a completely different standard for completion time since most people who do commissions are only doing it on the side and aren’t looking to enter professional spheres The site credits almost 20 artists. A significant few being “contributors” im not sure if they were hired on a one-off contractual basis to do one or two drawings and no more than that, but nearly all of them address themselves as active members of the art team so Im counting them as well. A lot of the apparel is copypasted, rotated and flipped. There is nothing wrong with this but it’s a simple fact and it’s efficient. I’m not sure why users get so angry about acknowledging this but I’m not arguing this point because it’s obvious with the barest amount of looking. Undel sketched and lined a dragon in 5 hours in a stream where she was heavily distracted by chat and kept forgetting how to use her tablet. They dont’ color by hand, they run it through a coloring program. All of this adds up to a system that should be more efficient than it is If this site can’t manage to get a modern done more frequently than 1 every 5+ years then it’s a sign of either gross mismanagement or they need to hire more productive artists “the artists are already bogged down/there’s too much apparel” yet they release a new ancient every couple of months which increases their gene bloat and errors and decided it was a good idea to add 2 genes a month to the festival items. Those are not the choices of a struggling team. Nobody adds a few gallons to the tub when they’re already drowning.

It’s fine to think that the pace that they produce art is acceptable. If your standards and opinions line up with their output then you’re entitled to feel that way. At least try to admit it’s based on your personal preferences and opinions rather than a professional standard you clearly don’t know anything about

[b0ilet]

Creating 'Bad' Art

The reason you look at your art and feel such disgust and disappointment is because you know your potential. Delicacy and taste are a practiced sense that comes with time spent considering creation. Currently your taste is higher and more cultured than your ability which is why you feel able to cast judgement on other peoples work who are arguably more skilled than you.

But knowing you can't yet create that image you have in your head isn't a reason to never try. It's really the opposite. You need to create a thousand bad things to create your one good thing.

Lets say arts value comes from its impact. Bad art would be art that is unimpactful. Art that makes you feel nothing. You may be an elitist dick who hates modern art because it "takes not skill" and "I could've done that so what makes this circle on a blank canvas so special?". But that art make you feel an emotion, albeit anger, you still felt something at the hands of someone else. If your argument for why art is bad is that "you could've done it"... then why didn't you? You may feel something is bad because you feel you could've done it but you never did it. you never put yourself out there and made anything because you were too scared of making something someone found worthless. They did something. You did nothing.

"Make good work. Make interesting work. Make the work you want to see.' - My College Art Teacher.

Make bad art because god forbid you have a good idea and you lack the skills to make it real.

[tuurverheydepoetryandprose-deac]

In some corners of the internet there is a readiness to call anything pretentious whenever it is complex, abstract or deliberately alienating. Some people are also eager to claim that artists are too self-serious, snooty and elitist whenever they create something that is not straightforwardly understood.

They pretend art has always existed to appeal to the greatest number of people and appeal in a way that is simple and explicable. If you look at the history of art that could not be further from the truth. Even art that was performed to an ‘illiterate’ public often maintained layers of meaning and ambiguity throughout long periods of history (just look at the global historical traditions of oral storytelling)

The simplification of art and the expectation that everything should appeal to a wide audience is the result of commodification not democratisation. Art has arguably never been less revered than now and still there are people who think it has further to fall in esteem. Just look at the AI movement’s desire to undermine artists while stealing their work.

I believe that the ‘it’s not that deep’ crowd who is eager to wield the accusation of pretentiousness whenever something doesn’t connect to them is part of an anti-artist, anti-intellectual movement to do away with mainstream non-consumerist (non-recuperable) art.

There has been a concerted effort by corporations and those purely interested in consumerism to erase the notion that art is primarily a human expression that is not necessarily made to pander to a wide audience. Every day we see more efforts in the social media & technological culture wars to devalue art and demonise artists who wish to create artistically fulfilling works rather than crowd-pleasing content.

I think we need to push back harder against this. The anti-complexity consumerist mindset is not only incurious and subservient to corporations, it’s also anti-intellectual, anti-cultural and insidiously reactionary.

[paranoidghosts]

happy pride month! miku loves you ❤️🧡💛💚💙💜

[absolutely-rad-boy-number-one]

What is Aesthetics? A Study of the New Art Movement that Art History is Looking Over

It started on tumblr [citation needed], we've all seen the "a e s t h e t i c" tags and all the blogs dedicated to the many many different types of aesthetics. I have spent the better part of 4 years collecting, studying, and categorizing theses aesthetics. I do have a formal education in art and architecture so I sort of know what I'm talking about. I'd like to share with you what I've found. I've also made a chart (link) of my findings. This chart is very rough and not meant to be taken as fact. It is how I've categorized almost 700 different aesthetics but that is not even close to how many there are. I do plan on expanding it more. If I get some attention, maybe I'll make more posts that dive deeper into defining this new art movement.

In short, today's use of the word "Aesthetic" is a noun that refers to a title/word given to a specific atmosphere, emotion, feeling, or vibe that a collection of images evokes when viewed together. A comparable approximation would be a "mood board".

Anything can belong to a particular Aesthetic; an art piece, a song, an entire show, an outfit, etc. In my opinion however, its very rare that a singular work can express an entire aesthetic. As stated, an aesthetic is a very specific emotion. Thus, in most cases, a singular work (work here referring to any form of expression) is likely to be interpreted in a multitude of different ways. The only exception to this is if a particular aesthetic is based on a very specific motif found in a particular work that is unique to only that work and from there new pieces can be made that also carry that motif or relate to the original work that the aesthetic was built upon. This will be discussed later. Not every genre of art can express an aesthetic, for example, some aesthetics may not translate very well to fashion, imagery, music, etc. That is to say that it may not be possible to express the emotion evoked by the aesthetic through other mediums other than the original medium the aesthetic was created in.

In summary, an aesthetic is a collection of images that evokes a specific emotion. Most often, this emotion is evoked through the combination of particular motifs found in each work that contribute to an overall "vibe" or atmosphere. These motifs can then be used to create new original works that belong to this aesthetic.

There are a multitude of categories of Aesthetics that I have identified and some of them may seemingly contradict this definition. We will discuss these later. There is also much overlap between specific aesthetics, it is extremely common to find that an art piece may belong to multiple different aesthetics.

This is a very brief definition of the movement. But to fully grasp the depths of this new art movement, we will need to discuss a lot of art history and definitions.

[saiwriting]

Thoughts, Thoughts, Blog #1

The concept of hunger and the ways we use it in metaphor is so interesting. Some things that we "hunger" for are always linked to our desires, but we never really desire the physical sensation of hunger willingly. To hunger is to suffer, if we're being completely honest with ourselves. But, just like there is a risk to eat too much and overstuff ourselves full of gluttonous fervor, there's a huge risk to overindulge in trying to satiate the metaphorical sensation.

I too, sometimes struggle with both the physical and metaphorical ways in which hunger presents itself in my life.

On one side of the coin, there is the inevitable period of life where we all reach a personal understanding about the instruments of overindulgence. It formulates what we first understand to be the healthy coping mechanisms strictly forced into place by familial and societal influences. I grew up in a family with a mother who was deeply entrenched in retail therapy. I could always tell when she was having a difficult bout because time would freeze around us and various sugary food items would find its place among the nearly-expired ingredients and the pile of dishes waiting to be attributed to the rest of the family's "messes." She battled with the hunger for a life she once thought she were to have, she hungered for the relief of the present, and she hungered for a better-a healthier- version of herself for the future. I never indulged in these practices on a conscious level. In fact, I portrayed the opposite behavior in detest for my mother's effect on the family during these periods of insatiability. I would starve myself. I would use the emptiness to hopefully dull the noise of what I truly hungered for in my life. I did not allow myself to hunger for more than what was in front of me. Sometimes, it was not much at all. I never allowed the stomach of my desires in life to grow deeper or to even be satiated without the association of contentment and fullness with guilt.

Growing up in a strongly Evangelical Christian household, the cognitive dissonance to understand that desire is sin and sin is death while experiencing very human hungers within me was enough to drive me disorderly. This is the other side of the coin: the side where we realize that nothing we knew to be right was going to work any more. I wanted beauty. I hungered to be desired. I yearned for sex and to be seen as more than a vessel for others. I hungered for myself. But, that sense of guilt still lingered. It still does to this day, somewhat. It is not hunger that will lead you to places where you will damage your gut, your intuition. Listening to your hunger will only lead you into people, places, and things meant to satisfy you, but you have to listen. You have to listen for when it says no. You have to listen for when it says enough. You have to listen to when it says that you are just fine where you are.

I am still learning what it truly means to be hungry. Was it my insatiable appetite living as a soccer player for 13 years? Was it the desires I had for a version of myself that I deeply hunger for but still feel guilty for wanting to consume? I hunger for a life of satisfaction, but still feel like satiating myself will land me in a world of trouble. I hope that one day, in the near future, my eyes will be opened to what the fresh, whole food life has to offer. Then, maybe, finally, I will be satisfied and able to rest peacefully with said satisfaction. l

[alvivaarts]

Writing Tips For You (as if I don’t currently have insane writer’s block)

-Can’t start a scene? Write the setting instead. What is the lighting like? Is this place comfortable? Is it familiar or not? What should you point out now so it doesn’t suddenly appear when it becomes important for the characters? SET! YOUR! STAGE!

-Everyone says “show, don’t tell”. I like to think of that as “what are your character’s physical reactions? What are they feeling?” You can say “Character looked dismayed”, or you can say “Character grimaced with dismay.” See the difference?

-Struggling with dialogue? Talk to yourself while you’re writing. You might be blocking yourself if you subconsciously think some dialogue feels unnatural.

-Context, context, context! This applies to everything from the small interactions to the big plots. Every force has an equal and opposite reaction, allow interactions and events to grow as such.

-Context, context, context pt 2! But worldbuilding! If your character is performing an act, how does that fit into the physical reality they already exist in? How is it possible? Can you imply (imply, not explain) that these things are commonplace or why they wouldn’t be?

-Build the action. (Stealing this from theater class like twelve years ago.) You can’t just put a character into the scene and say ‘they made a sandwhich’. What has to happen for the sandwhich to be made? Your character has to walk into the kitchen, open the cupboard, get out a plate, get out the jam and peanut butter, get out a plate, get out the knives, open the fridge, get out the bread, close the fridge, open the bread bag, lay down two slices of bread on the plate, close the bag, open the first jar, pick up the first knife, scoop up the jam, slather it on the bread, put the knife down, close the first jar- and so on and so forth. Every small step is necessary for you to understand, and to engage your readers. You don’t have to go into ridiculous detail like I just did, but even understanding that for yourself.

-See above, but it’s not a scene and a sandwhich. The scene is your whole story and the sandwhich is your plot. What small steps MUST happen to reach the climax? Does changing one of those small steps change the result? How?

-Emotions are best portrayed when you have experienced them or can get insight from those who have experienced them. Let yourself get emotional in a scene. Allow yourself to be empathetic and vicariously experience what your characters are.

-Reread your own work! Your writing style and characterizations can change over time, but if you feel like you’re losing them, don’t be afraid to look at where you started to ground yourself!

-Proofread your own work 2-12 hours after you finish a section! Not while you’re writing! Don’t let yourself get carried away with writing things ‘right’, just get the ideas out.

-Have a friend or volunteer proofread for you too! This can help pick out things you repeatedly say, words you might misuse, grammar and punctuation that might need correction, and phrases that are hard to digest or don’t make sense.

-Make sure you’re making an effort to use regionally/era specific words and slang both in dialogue and in your writing. There are plenty of websites and videos online that list and discuss regional and era slang worldwide. Not to mention, we can connect with people all over the world using the web just to ask! Using incorrect phrases can really break immersion and make characters feel- well, out of character! I.E. an 80s jock saying ‘dope bruh’, American characters (generally) saying ‘lift’ instead of ‘elevator’, so on and so forth.

-Research research research! Research bloodloss limits, research how laws and jobs operate in different regions and countries, research weirdly specific myths and biblical themes, research as much as you can! You can only build a richer environment to write in!

-If you actively want to implement themes, allow them to reflect the experiences of your character. Example character is an Italian American who was orphaned at 13 after his orthodox Catholic parents died, he has been in and out of foster care his whole life, and the moment he got out his military job became strict and he allowed himself to be blackmailed to protect a child in a similar position. This has plenty of fun themes and symbolisms, like sacrifice, fate, lack of control, love, losing autonomy, etc, all of which can be framed under the impactful history of his Catholic childhood. This evokes the imagery of farm animals, servitude, animal tags/dog tags, holy spaces being used for other purposes. Play with it!

-Build three base playlists! One for your overarching story, one for songs that remind you of the main character and their story arc, and one for how you feel when you’re writing/songs that weirdly remind you of your story. You can cycle through these to help get into your mood.

-Consume other media! If all you do is focus on writing, you WILL lose steam and inspiration. Don’t be afraid to watch new shows, read new books, look at more artwork, read more poems, listen to more music. You might get a flicker of inspiration for themes, motives and ideas, and you’ll continue to fill yourself instead of dumping your focus out on your writing.

-Understand how each major character thinks and instinctively reacts to things. Some characters can stay calm, but others might instinctively react to things ‘angrily’, others might try to run away. This is an easy way to figure out character flaws and impliment easy conflicts.

And last but not least:

-Take breaks! Don’t worry about forcing yourself to keep a posting schedule (unless you’re being paid. I’m not. I’m doing this shit for free and for funsies) if all you do is spend all your time worrying about your writing, you won’t be able to relax your brain. Spend time with friends, play games, go outside!

I hope this helps!

[die-rosastrasse]

Various stars & moon details from my gouache paintings 🌙✨

[thecollectibles]

Art by Leah Gardner