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[the-golden-comet]

Lately on my dash, I have been seeing lots of wonderful mutuals get too hard on their beautiful minds.

Lovelies, your stories and art are beautiful because they are from you, and FOR you. Stats do not determine the quality of a product. Again, some of the BEST stories on the archive I have ever read were around 100 hits, and 0-10 kudos. Some of the BEST ART I’ve seen has 0 notes.

You know how I can tell? Because the authors and artists poured their heart and soul into their craft. As long as it can inspire ONE person, you should be proud. You just radically changed the life and perspective of ONE person. That’s amazing.

Sure, you might think your art or story is “cringe” or “bad”…OR, it can be someone’s comfort piece that they go back to after a long day. You may see your stats and think, “man, nobody enjoys this,” not knowing that maybe, juuuust maybe, you have that ONE person who you’ve inspired, who loves your work, and lurks your socials awaiting for your next project. Your art, your music, YOUR story has the potential to do that, but you have to love what YOU do.

And yes, your love WILL show. Maybe not with stats, or kudos, or notes, or comments. But you may be someone’s favorite without even knowing. As long as your art is out there, it WILL reach somebody. I will try to be that somebody for a lot of you, but there is indeed A LOT of you.

In a world where media is being “consumed” for “content,” remember that ART comes from the heART (sorry not sorry for being cheesy). Artists, Writers, Poets, Musicians, Sculptors, HUMANS: Get your hearts out there for the world to see. The world needs more motivated minds. 💫

[smii-doodles]

Isn’t it funny how you can probably tell a lot about what an artist looks like based on features they subconsciously add to their work?

Like how artists with thin hair probably don’t draw many characters with thick hair bcos they’re mentally referencing themselves for what a hairstyle would look like. Or artists with a very unique nose shape will draw characters with that nose shape a lot cos it’s just a normal nose shape when they have it. Or how artists with moles or freckles probably add those features more often than artists without. Artists who wear glasses probably draw specifically the glasses style that they wear more than any other because it’s the easiest to get reference for

…And you can also generally tell what an artist DOESNT look like by features that look awkward in their pieces. Like when a characters hair looks like a solid piece rather than looking like there’s a head under there bcos that artist so clearly didn’t get a reference for what that hairstyle might look like irl. If a chubby character looks really unnatural it’s probably bcos the artist isn’t chubby and hasn’t done their homework. If a character has facial hair and it just looks bad then they probably don’t have facial hair because otherwise they’d probably have more experience drawing it.

It really makes me think a lot about subconscious biases I might have in my art without realising and abt how we accidentally create representation of ourselves in our character art when we don’t see our features represented by media.

[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

[altrbody]

Abstraction:

"Abstraction is flying. Abstracting is ascending to higher and higher levels of conceptual generalization; soaring back and forth, reflectively circling around above the specificity and immediacy of things and events in space and time, from a perspective that embeds them in a conceptual framework of increasing breadth and depth, a framework without horizon, ceil-ing, or basement; a framework composed of increasingly comprehensive concepts that generalize over increasingly comprehensive classes of things, organize them relative to one another, unify them into a coherent tapestry, a dizzying object of contemplation the details of which stun one into panic by their connectedness, significance, and vividness.

Abstraction is also flight. It is freedom from the immediate spatiotemporal constraints of the moment; freedom to plan the future, recall the past, comprehend the present from a reflective perspective that incorporates all three; freedom from the immediate boundaries of concrete subjectivity, freedom to imagine the possible and transport oneself into it; freedom to survey the real as a resource for embodying the possible; freedom to detach the realized object from oneself more and more fully as a self-contained entity, fully determined by its contextual properties and relations, and consider it from afar, as new grist for the mill of the possible. Abstraction is freedom from the socially prescribed and consensually accepted; freedom to violate in imagination the constraints of public practice, to play with conventions, or to indulge them. Abstraction is a solitary journey through the conceptual uni-verse, with no anchors, no cues, no signposts, no maps, no foundations to cling to. Abstraction makes one love material objects all the more."

--Adrian Piper

From Adrian Piper: Reflections 1967-1987, Alternative Museum, New York City April 18-May 30, 1987.

[the-golden-comet]

✨Motivational Monday✨

Happy Monday, everyone! I’m back with some more motivation to start your week off right (and write) ✨

I’ve received some amazing DM messages this past week, both supporting my works and asking for writing advice. So, I figured I’d share a little bit of my own philosophy here:

Your writing and art doesn’t have to be perfect. Seriously. Humans aren’t perfect, so why should we hold ourselves to unreachable standards? It is inevitable for us to make a mistake, and that is perfectly okay.

Do you know how many times I reread and edited Peter Hart? A lot. There were still a few errors that made it past the final draft. I kind of chuckle when I read them now, and recall that there were typos that made it through print on some of my favorite childhood books. It happens. But…I don’t remember the typos. I don’t remember the minor errors—I remember the stories.

Think back to your favorite book series—do you recall a typo or printing error? Even so, it’s most likely not a big deal. What matters is you’ve tried, you polished, you’ve presented the best possible art you could. And, most importantly: you ENJOYED it.

Art without passion and emotion from the soul is hollow. This is why AI can never “create” art like we can. People get their feelings of anger, joy, sorrow, love, lament… deeply human emotions, out there. It’s vulnerable, it’s beautiful. It’s human. That’s why writing and the arts are part of the humanities.

Look, I get it: If it’s a job, sometimes you have to push through feelings of lower motivation to reach a quota. But I always harken back to the beginning: Why did you begin in the first place? What inspired you to pick up writing or art as a career? What sparked the creativity in your soul, that you wanted to share your passion and vulnerability with the world? If you lose sight of that, you lose sight of what makes art enjoyable: the fact that it was created by YOU. Do you know how freeing that is? YOU are the masters of your own world.

Wonderful people, your art is beautiful because it is uniquely yours. And nobody can take that joy away from you other than yourself. So why not enjoy what you do? Why not find happiness in your penstroke? Why not lift yourselves up, instead of tearing your beautiful hearts down? Life’s too short, lovelies.

Do what you want. Love who you are. Love what you do. Love what you love. 💖💫

[analogmartt]

“Ci sono fotografi che pensano in termini di "doppia pagina", "copertina", "orizzontale", "verticale". Non mi interessano (…), non li voglio frequentare anche se riconosco che sanno come commuoverti, come fare le foto. Ma io preferisco i fotografi che vanno, incontrano, escono.

In una scuola o un'accademia di fotografia e pubblicità, o qualcosa del genere, ho chiesto ai ragazzi di dirmi il nome di un fotografo o di una fotografa che gli piaceva. Silenzio assoluto. Va be', cito Koudelka, Cartier-Bresson, oppure Berengo Gardin, Ugo Mulas, per parlare degli italiani... Niente. Dico: "Ragazzi, ma avete mai sentito parlare di Pier Paolo Pasolini?". Giuro, hanno risposto "No". Gli insegnanti non gliene avevano mai parlato! Questi ragazzi sono letteralmente "vuoti". Ho chiesto loro: "Ma allora cosa studiate, di fotografia?". "La tecnica". Che è il peggio che si possa insegnare, perché ormai la tecnica non esiste più: fai degli scatti, e basta. Mentre il linguaggio, la trasmissione, il racconto, il documento, l'invenzione... niente!

lo sono sempre stata fortemente ancorata nel presente. La fotografia bella ed elegante mi interessa, mi piace, ma mi interessa di più quando racconta e denuncia lo stato delle cose. La resistenza la si fa anche con le piccole cose, come una mostra, un dibattito... (...) Non è che mi metto lì a fotografare i trulli di Alberobello, no, io fotografo quello che mi è vicino, che mi interessa, che mi coinvolge. Qualcosa da difendere, da amare, da apprezzare, da odiare..."

Letizia Battaglia - Volare alto volare basso: Conversazioni, ricordi e invettive.

[thecollectibles]

Song of Four Seasons by alice haun

[arthoeacademia]

my blue and yellow

everything i wanted to be in the cup in my hand, i find it in the cup that sits on the table in front of me. staning the papers that were laid out beneath it. i look hopefully inside the cup in my hand. it is the most favourite utensil of mine. its handle is broken and it has cracks at the edge of its mouth. still i do not seem to care and hold it layering both of my hands clenched to that cup. even though it sometimes leaves stains on the collar of my shirt due to its uneven cracks. it sometimes also burns out my hand due to the hot coffee in it. it doesn’t have a handle, remember? that cup is still so dear to me. it is blue in colour. i look at the cup that sits on the table desperately wishing to be picked by me. it is yellow. i feel bad for that cup for it has all the things that my blue cup lacks. it is new with soft edges and a very fine handle. i eye the insides of my blue cup and it suddenly shatters in my hand leaving me bruised. blood slides down from my fingers and i can taste the feeling of abandonment. again. my blue abandoned me yet again. i cry and fill up yellow with my tears. it stays calm and collects everything without complaints. i don’t pick yellow up. i am scared of abandonments. i ask yellow how long will it stay? how long will it wait? “you know waiting is so beautiful if it ends with you” yellow has this carved besides its handle. and i tear up again. i look forward to the day i can pick up yellow without any hesitation. when i can fill it up with my favourite desserts. i really hope blue is at peace though. i miss blue. it is still my favourite cup.

[revilonilmah]

Splish Splash Psyduck

[blackbloodteeth]

Soul sighs as little wisps flash past him, drifting through the sea of little whispers always following him around.

Road's blocked today. Fate's tryin' to pull on him again.

He glances out at faint brushes of steam moving along the late morning cars, tired eyes landing on the bus stop where he doesn't have to entertain them, doesn't have to dwell on any of it.

At least until someone just has to join him there.

"Bus not here yet," a lady in pigtails asks him. Imagery, like rapid camera footage, bursts vividly through his head – Pain, laughter, an intimate embrace. What could be, all in a brief fleeting second.

She's… important to his story, isn't she.

Only a discerning eye would've told that he shudders while he tears his gaze away, muttering. "Nope. Soon though."

And that was that.

He should just walk away. Put his headphones in, tune her and all of it out. Out of his life that hasn't happened yet even while it's on full preview display.

…She's carrying a lot of stuff. Books? She looks like she's about to drop them…

Soul sighs, always having hated spoilers but is so used to living with them by now. "You need help with that?"

[amateur-scribbler]

I am an artist, or I guess something of the such, I write and paint and read and devour art with a longing lust.

But lately I am messy, maybe I always have been; I can’t count how many times I’ve been caught with flecks of paint buried under my nails or charcoal smudged on my skin.

Even when messy, I know what I want to do. I want the mess I create to be something beautiful; art asks for us to take tragedy and transform it into something the masses can relate to.

So, I’m smashing perfect tiles to create some new mosaic but, it all is just starting to look eerily similar to the normal messes I make.

The shards of ceramic are askew and won’t sit how they should, so now I’ve got this frown on my face tugging down and taking with it everything that makes art feel good.

But, I see it in the shards and shapes, right there is a trail of every single idiotic mess I have made.

It’s all the drunk kisses that leave my lips bruised, or the weeping tears to be a version of myself whose ribs protrude.

It’s ugly and never looks how it should; it’s throwing daggers with my tongue at those I love to see if they come back, even if they’re staggering from their wounds.

I am an artist. I create all the time but, it’s not always pretty pastels or delicate little words spoken with a small smile. It’s messy and cruel, which are two traits that stick to me like tar.

Because I am an artist, and I have mastered the art of fucking up as well as the stars have mastered dancing in the dark.

the artist - t.k.o

[roadarchie]

The Great Beast

The Great Beast, once alive here, is no longer. Its roars silenced in the fog of the town; glisteningly dull reflections brought to a still gray in the puddle water. The first sign of its release. There were people here once. Bustling, stepping toward the mouth, brought to work in the belly. Sweating from the heat to do what they came here for, now left only courtesy notes and abandoned boots. Its horns, once puffing out smoke town-wide, now a dirtied red, the tips blackened by soot and ash. The second sign of its release: The fog winning against the fume. Amongst the swamp and pine no longer carried a taste, nor smell, only that of nature. Curious animals, bolstered by the lack of warning, made nest here, only for what was left to hurt them. Trees close by now no longer husks of their former selves, but green and lush as once they were before. The beast had its downsides. The third sign of its release, a sickening drought, boiled out by intense heat from the womb. Water turning to vapor. A thin, white streak of gas serving as its last breath, as both fire and man finally vacate it. It served us well years long. Instead of death we found peace, protected by the beast- Its work utilitarian, necessary. I found myself caring more for it than I bargained. Its exterior nostalgic and its interior impressive, myself found nervous amongst its organs, dusted fingers rubbed off on clothing.  I walk a path many others have, yet its eerie silence brings shuddering to my shoulders as ghostly hands impart on my back. From lockers to tables set for a day to never come, I alone was here to witness both past and future. And I was afraid; For things to follow through hallway and room, always behind enough to hide, tracing claws along walls made of need. So, I ran. Out from its womb, to its belly, and out of its mouth. Looking behind me to see only dreams.    

//////////////

Yes this is about an abandoned steam power plant written from a different perspective :) Please RB/Like if you liked this <3

[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

[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.

[visceralvermin]

Excersizes for fighting art block ✨

P.S. these work best for people more focused on character design

1: no-pressure DTIYS

go on a social media page (I like Pinterest the best) and try to find a simple non-competitive DTIYS that you like. I usually find random sketches

2: the emoji combo challenge

Randomly or have a friend pick out 3 or 5 (or any number) of emojis, and try to make a character while incorporating all the emoji motifs!

3: the cursed Pinterest method

I stole this one from PricklyAlpaca on YT— just go on Pinterest and find some image you enjoy. Whether it be cursed, cute, or just strange or random, try and make a character out of it

4: the basic technique

try different mediums. I know you might have heard this one before, but I found that, as a digital artist, just sketching on paper and working with different pencils and pens really helps me enjoy my art more. Especially when it’s a big doodle page, so once you start you’re not intimidated by a blank canvas.

5: the inking method

I saw this somewhere but I don’t remember who said it— when doing traditional doodles, don’t sketch with a pencil. Go in with the ink. You spend less time erasing and more time drawing that way. Also, I like to cover up mistakes with post-its and redraw it

Reminders:

You don’t have to clean your sketch’s unless you want to

you don’t have to do inking unless you want to

you don’t have to color or render unless you want to

you don’t have to do ANYTHING unless YOU want to!

Also:

Art block and burnout are not the same thing, these are methods for dealing with the former. Art block is the lack of ideas and motivation, burnout is the fatigue from creating too much. If you’re experiencing burnout, let yourself rest, don’t force yourself to draw.

EDIT: the last tip is from @/heikala

[retificarei]

[medesaboaqui]

Eu só queria entender, porque parece que toda vez que eu insisto em você, eu sinto como se estivesse desistindo de mim.