Some call me Gin.

Personal projects, fanarts, WIPs & and cool things from other people. Currently stuck in a Naruto phase.

[somecallmegin]

Hey people, I want you to know that every like and reblog is a gift, and each of your comments and tags makes my entire day!

I also have a mainblog full of stuff, and a (currently mostly inactive) art instagram account.

[rapidpunches]

[aishishii]

rapidpunches:

SHORT STORY/ONE-SHOT/ONE CHAPTER/COMICS 101 CRASH COURSE RAPIDPUNCHES’ STYLE

I’m NOT an expert but I have some working experience I can share. You need experience to become great. Here is my set of instructions, tips, and notes towards making a 12-page comic.

My method is to work backwards. Personally I work “backwards” because the end is the only wholly necessary page or set of panels in the story. Everything in between is open to editing and hacking as the most important moments are emphasized and chosen.

I even plan/draw the end page first. The end is the last page a reader sees- so spend your freshest energies on making it as epic, memorable, poignant, and beautiful as #$%^&.

If you draw the pages from 1 to 12 sequentially you run the risk of fresh to burnt out- an uneven distribution of drawing skill. (treat the first page and the 2-page splash as you would the last).

Roughly… the steps to making your comic is

WRITE

PLAN THUMBNAILS

DRAW

…BEGIN THE WRITING (DO NOT SKIP NO MATTER WHAT) like this, in this order:

How does it end?

Does the protag succeed or fail?

What is the turning point of their story?

What the protag do that led them there?

Where does it start?

Who is this protag?

EXAMPLE:

Guy gets mauled by a bear.

This is a fail on the guy’s half.

The bear must eat something or he’ll starve to death.

It’s the guy’s fault the bear can’t find other food. He caused the avalanche that buried all the cabins.

The guy is yodeling in an avalanche zone.

The guy is some guy.

CREATING “THE BEAT SHEET” Take the above stuff and reorder it to make sense.

This guy yodels.

Echoes roll.

Snow slides down.

Avalanche buries the mountain.

Cabins are engulfed.

This bear has no access to cabin food and garbage.

Bear eats this guy.

Expand. Blow up important beats for emphasis. Keep less important beats brief.

This guy is hiking in the snowy mountains.

He comes across an avalanche warning sign.

There is nobody around but him.

A dumb expression forms over his face and he yodels.

Echoes roll but nothing nearby is moved.

At the top of the mountain the snow drifts twitch.

Guy, satisfied, hikes away from there still yodeling.

Frozen snow cracks.

Snow puffs billow and great slabs of ice crash down the mountain side.

Guy sees this and hightails it to safer ground.

Animals, people, are all panicking and getting pushed over by the rushing snow.

Cabins are destroyed.

The guy takes cover by an outcropping of rocks, fastens himself securely to the rock face, and waits for the avalanche to die down.

Avalanche dies down.

A lone bear shambles over from the other side of the mountain.

The bear goes to where a cabin used to be (only roof tiles are left). Bear sniffs a dish satellite.

Bear forlornly eats a food wrapper.

Bear tries to dig.

Guy comes down from the rocks he as climbing and sees bear.

Bear stops digging and sees him.

Guy runs.

Bear chases him down.

Bear eats the guy.

BEAT SHEET COMPLETED!!!

After the beat sheet, write up all the sound effects and speech bubbles and conversation/dialogue you want to be in your comic.

Since comics are a visual medium, highest priority is given to the beats. If a story can’t be told with the art without the dialogue– you messed up and it’s time to rethink your life choices.

Try to keep all your text chunks as short as a tweet. Professionally you don’t want more than 25 words per speech bubble and no more than 250 words per page.

Next is translating the beats to pages…

STRUCTURE OVERVIEW:

[1] point of entry, in media res, hero intro

[2][3] conflict. establish conflict, setting, and mood by the third page. [4][5] rising action/false resolution to conflict/investigation

[6][7] turning point/plot twist/epiphany (this one epic image, to page spread is pivotal, spend a lot of effort into creating this)

[8][9] aftermath/“darkness before dawn”/struggle [10][11] recovery/“rise and conquer”/“fall”

[12] resolution/final end/cliffhanger

[front cover][interior] [interior][back cover]

——————–

My maximum per page is nine panels but I’ve seen pages that have way more. I like to have about 3 to 4 panels per row or less but I’ve seen the “rules” broken before. Advanced comic book artists manipulate time with the number of panels and the size of each panel.

remember, DIAGONALS!!! open up an issue of batman, superman, spider man, deadpool or whatever youre reading theyre everywhere.

———-

…DRAW IN THIS ORDER:

Page 12,

Page 6 and 7 (this is typically one large image that takes up the space of two pages),

Page 1,

and then the rest.

ONLY “DEVIATION” ALLOWED:

Page 12 and 1*

Page 6 and 7,

and then the rest.

*Draw the first and last page as a spread in situations where the beginning of the story mirrors the end of the story.

Cover is dead last.

———-

(If at the very end you find out you need more pages and it’s absolutely unavoidable and totally necessary you have to add them in fours. Try to stick to 12 pages for this crash course.)

——————–

FURTHER NOTES:

Plan and draw the pages in spreads (the twos) since this is how it will appear in print and when you submit them to an editor for review guess what, the pages with an exception to the first and last will be reviewed as spreads.

You at most only need one establishing panel of the setting and environment (scene) per page.

Forget “true to life” perspective outside of the establishing panel). Practice diagonal composition of objects and subjects within panels. For dynamism.

You don’t have to present the text all in one go (one paragraph or bubble). You can and should break up paragraphs, sentences, and if you need to single out words– to make smaller, more easily managed bubbles to scatter through the panel.

Less important moments have smaller panels and or lesser detail. More details (or more word bubbles) slow down time. More drawn detail also creates a concentration of values (it’s darker and sometimes combines together as one shape or mass)

Know your light sources. Control the blacks. Control the values.

TIPS | COFFEE? :3 | dA | IG |  ♡ |  ❤ |  ⋆

(more coming soon 11/22/2016)

[netherworldpost]

There is a comment later from the original poster linking to a PDF

At the time of this reblog, it can be purchased for $0 with a fair price request of $3.

How To One Shot Comics

Thank you to everyone who tipped me $ and helped me survive thus far. I hope to read your comics soon! UPDATED 03/31/2021

[hipstergecko]

Oh look at this useful thing! Thank you beautiful people. My artistic journey continues.

[lunar-boo]

This stuff is genuinely super helpful I have been stuck at a stand still with my first comic and sure I had some idea on what I was supposed to do but after a day of referencing this`and I’ve made substantial progress.

[punchdrunkdolly]

i exist and i love you

[kineticpenguin]

taken.

A web page that tells you what your browser gave away the moment you arrived. No login, no form, no permission. Most pages do this. None of

[hellenhighwater]

This whole project was heavily inspired by the work of Lina Shamoon/ Mirrors by Lina (website here, check out her very cool and much higher quality work). My spin on things is definitely not made as well as her stuff, but I'm still loving the effect.

[elodieunderglass]

So cool, thanks for showing me@eloso !

[victusinveritas]

A Bronze Age deer stone in the Gobi Desert of Mongolia. Birder for scale (image from Facebook).

More deer stones (images from Wikipedia)

[tochira]

Found a thing! It's behind a paywall but it's JSTOR so... hopefully library patrons can at least get access:

https://www.jstor.org/stable/24049037

And a bit more:

Deer Stone Monuments and Related Bronze Age Sites

Located on the slopes of the Khangai Ridge in central Mongolia, these deer stones were used for ceremonial and funerary practices. Dating fr

[victusinveritas]

Ooh, thanks for this!

[penwiper]

So a couple days ago, some folks braved my long-dormant social media accounts to make sure I’d seen this tweet:

And after getting over my initial (rather emotional) response, I wanted to reply properly, and explain just why that hit me so hard.

So back around twenty years ago, the internet cosplay and costuming scene was very different from today. The older generation of sci-fi convention costumers was made up of experienced, dedicated individuals who had been honing their craft for years.  These were people who took masquerade competitions seriously, and earning your journeyman or master costuming badge was an important thing.  They had a lot of knowledge, but – here’s the important bit – a lot of them didn’t share it.  It’s not just that they weren’t internet-savvy enough to share it, or didn’t have the time to write up tutorials – no, literally if you asked how they did something or what material they used, they would refuse to tell you. Some of them came from professional backgrounds where this knowledge literally was a trade secret, others just wanted to decrease the chances of their rivals in competitions, but for whatever reason it was like getting a door slammed in your face.  Now, that’s a generalization – there were definitely some lovely and kind and helpful old-school costumers – but they tended to advise more one-on-one, and the idea of just putting detailed knowledge out there for random strangers to use wasn’t much of a thing.  And then what information did get out there was coming from people with the freedom and budget to do things like invest in all the tools and materials to create authentic leather hauberks, or build a vac-form setup to make stormtrooper armor, etc.  NOT beginner friendly, is what I’m saying.

Then, around 2000 or so, two particular things happened: anime and manga began to be widely accessible in resulting in a boom in anime conventions and cosplay culture, and a new wave of costume-filled franchises (notably the Star Wars prequels and the Lord of the Rings movies) hit the theatres.  What those brought into the convention and costuming arena was a new wave of enthusiastic fans who wanted to make costumes, and though a lot of the anime fans were much younger, some of them, and a lot of the movie franchise fans, were in their 20s and 30s, young enough to use the internet to its (then) full potential, old enough to have autonomy and a little money, and above all, overwhelmingly female.  I think that latter is particularly important because that meant they had a lifetime of dealing with gatekeepers under our belts, and we weren’t inclined to deal with yet another one.  They looked at the old dragons carefully hoarding their knowledge, keeping out anyone who might be unworthy, or (even worse) competition, and they said NO.  If secrets were going to be kept, they were going to figure things out for ourselves, and then they were going to share it with everyone.  Those old-school costumers may have done us a favor in the long run, because not knowing those old secrets meant that we had to find new methods, and we were trying – and succeeding with – materials that “serious” costumers would never have considered.   I was one of those costumers, but there were many more – I was more on the movie side of things, so JediElfQueen and PadawansGuide immediately spring to mind, but there were so many others, on YahooGroups and Livejournal and our own hand-coded webpages, analyzing and testing and experimenting and swapping ideas and sharing, sharing, sharing.  

I’m not saying that to make it sound like we were the noble knights of cosplay, riding in heroically with tutorials for all.  I’m saying that a group of people, individually and as a collective, made the conscious decision that sharing was a Good Things that would improve the community as a whole.  That wasn’t necessarily an easy decision to make, either. I know I thought long and hard before I posted that tutorial; the reaction I had gotten when I wore that armor to a con told me that I had hit on something new, something that gave me an edge, and if I didn’t share that info I could probably hang on to that edge for a year, or two, or three.  And I thought about it, and I was briefly tempted, but again, there were all of these others around me sharing what they knew, and I had seen for myself what I could do when I borrowed and adapted some of their ideas, and I felt the power of what could happen when a group of people came together and gave their creativity to the world.

And it changed the face of costuming.  People who had been intimidated by the sci-fi competition circuit suddenly found the confidence to try it themselves, and brought in their own ideas and discoveries.  And then the next wave of younger costumers took those ideas and ran, and built on them, and branched out off of them, and the wave after that had their own innovations, and suddenly here we are, with Youtube videos and Tumblr tutorials and Etsy patterns and step-by-step how-to books, and I am just so, so proud.  

So yeah, seeing appreciation for a 17-year-old technique I figured out on my dining-room table (and bless it, doesn’t that page just scream “I learned how to code on Geocities!”), and having it embraced as a springboard for newer and better things warms this fandom-old’s heart.  This is our legacy, and a legacy the current group of cosplayers is still creating, and it’s a good one.  

(Oh, and for anyone wondering: yes, I’m over 40 now, and yes, I’m still making costumes. And that armor is still in great shape after 17 years in a hot attic!)  

[armoredsuperheavy]

In 2018 I developed a method to bind fanfiction into hardback books. Like penwiper, I was also literally working in my kitchen by myself and trying things out. This solo work was a meditative experience that allowed me to think deeply about the implications of what I was creating and what my ethics and philosophy should be. I got around to the idea that the knowledge I was building should be spread far and wide, so that together, many of us fans could bind all the wonderful fics that made our lives better in a million tiny ways, and wherever possible, create a copy to give to the authors themselves. In 2019 I wrote How to Make a Book From An AO3 Page, a free manual for how to format and bind fanfic, as a gift to fandom as a whole. It took off during the 2020 lockdown and has been going strong ever since.

Now, through the efforts of so many wonderful people, Renegade Bookbinding Guild has developed out of the Discord server I originally created just to answer questions about paper, fonts, printers and such. I figured there would be no more than 15 people joining. We have surpassed 3000.

I hope in another 20 years time my little tutorial still be kicking along out here, my bad photography and potty mouth sitting forever at the foundational level of an exploding practice of radical generosity and community, preserving the best of fanfiction from the ravages of time and digital threats and censorship, and giving authors the best thank you I know how to give.

ArmoredSuperHeavy, March 2026

[headspace-hotel]

i need to get into fanbinding tbh

[girlinspacepodcast]

Resist the push for generative AI. Make art.

Source:

Make Art — Joshua W. Cotter

Alt Text: Four panels of a comic by artist Joshua W. Cotter entitled "Make Art".

Panel 1: "Art poses a threat to corporatocratic systems because a purpose of art is to remind the individual of their inherent autonomy. Their humanity."

Panel 2: "That is a purpose in direct diametric opposition to that of corporatocratic systems: objectification of the individual for profit and control."

Panel 3: "Generative A.I. is part of an authoritarian corporatocratic effort to co-opt and commodify the creative process to rid the end result — art — of that with threatens its existence — humanity."

Panel 4: "Resist commodification. Defy corporatocracy. Defy oligarchy. Defy their anti-human, anti-life authoritarian movement. Make art." — JWC, 02-10-26

[cherribalm-deactivated20140609]

site that you can type in the definition of a word and get the word

site for when you can only remember part of a word/its definition 

site that gives you words that rhyme with a word

site that gives you synonyms and antonyms

[bumblebeebabie]

THAT FIRST SITE IS EVERY WRITER’S DREAM DO YOU KNOW HOW MANY TIMES I’VE TRIED WRITING SOMETHING AND THOUGHT GOD DAMN IS THERE A SPECIFIC WORD FOR WHAT I’M USING TWO SENTENCES TO DESCRIBE AND JUST GETTING A BUNCH OF SHIT GOOGLE RESULTS

[archivestorystuff006]

OMG

[dduane]

This one’s an always-reblog, because who knows who needs it and hasn’t seen it yet?

[tonysopranobignaturals-deactiva]

this is from a "manipulation advice" video and it's just so fucking funny to me. why didn't I think of responding to insults like this

[magnoliabloomfield]

I can’t remember where I got the information now, but apparently if you stare silently for at least 4 seconds it triggers a feeling of rejection which I don’t have to tell you is uncomfortable and makes most people backpedal pretty quickly and awkwardly.

[eldritch-bisexual]

Immediately going concerned/extremely polite always throws people off their game, it's beautiful.

The Quiet Stare Of Disappointment is also super effective, indeed .

[live-long-and-suck-it]

My sister and I were walking across a car park.

Random bloke: Maybe if you walked more you wouldn’t be so fat

My sister stops dead, stares him in the eye and goes: Is everything alright at home?

I’ve never seen a man’s face turn to horror so fast

We just walked to her car and drove off

[icemankazansky]

The silent stare is so effective. I learned about it in social psychology in undergrad, and have often used it to great effect. Probably the best example is when I went to sign the papers on the car I was buying—I had already worked out a price and my trade-in with the salesmen the day before—and they decided they were going to take $1000 off the value of my trade-in. (I want to emphasize that I was buying a 10+ year old car; I ended up paying $8k total.)

"No," I said. "That doesn't work for me. If you're unwilling to honor the deal we made, I'm not buying a car from you."

Well, they talk for a living. So they talked. Here I am, a young woman on my own, and these two men at the dealership are giving me all the reasons they couldn't possibly honor the deal we made yesterday.

So I sat. I didn't say a word. I just stared at them.

They kept talking, trying to get a reaction out of me. After about 10 seconds, they abandoned all pretense of logical arguments and started hammering pathos. They weren't even buying my old car from me for the dealership; it was a personal favor for which they were using their own hard-earned money to help this poor guy at church who just got out of rehab and his house burned down and his children exploded and his dog left him for another man, etc etc

I didn't say a word. I just stared at them.

They began falling apart. They continued trying to hustle me, but their confidence left them. I think they might have been sweating.

Within five minutes they caved and signed the papers for our original deal.

[finnglas]

I have been told for years I am intimidating, and by people who had never even seen me angry. Just in general, intimidating. This absolutely baffled me until a friend one day pointed at me and said — “This! Right now! You’re being intimidating!”

Friends, I was staring silently at someone while inwardly flailing desperately to come up with a response to something they’d said that wasn’t overly rude but also was holding my ground. In my mind, I was being hellishly awkward. I couldn’t summon any charm, I couldn’t figure out a sentence to string together. Silence spooled out horrifyingly between us as I got farther and farther away from being articulate and became more and more flustered by this failure to respond. From the outside, I guess, I just looked like a stone cold bitch waiting for them to get their shit together, lol.

I still don’t think I’m intimidating but you know I’ll take it.

[lifryxai]

a huge part of appearing intimidating is simply being obviously willing to no bluff just walk away

conveying wordlessly their unimportance

[rivendellrose]

...Wait, so I can just do the Mom Look on full-grown people? The look I give my five-year-old when he starts to do something he knows he shouldn't... I can do that to normal adults when they do something THEY know they shouldn't?!

Goddamn, I'm gonna have to try that!

[artmagine]

The beautiful art of Serena Malyon

[juney-blues]

I'm thinking of Symphony of the Sixth Blast Furnace by Evgeny Sedukhin again...

[juney-blues]

hmm okay i'm trying to dig up a source on this painting, to see if i could find it in any higher quality

but i can't find any evidence of its existence from before 2018 lmao

and searching the artist's name only gets me like 6 pages of results on google

and a little artist showcase page on arthive for this guy with exactly 1 painting listed

and a biography that spells this guy's name like 5 different ways

which i'm pretty sure is because it's machine translated from something

very mysterious

[juney-blues]

oh doing his name in russian gives me some actually useful results, why didn't i think to do that

[juney-blues]

Солнечный город "Sunny City" - No date given.

Мир "World" - No date given.

Чусовские просторы. "Chusovskie expanses." Canvas, oil, 1997. Exhibited at the Nizhny Tagil Museum of Nature.

Осень "Autumn"

[juney-blues]

ooooh this one is really nice

Огни трудового Тагила, "The Lights of Labor Tagil" acquired by the Tretyakov Gallery in 1986.

[juney-blues]

октябрь "October" 2009 cardboard, oil, 29.5x39.5 cm

Осень на Чусовой, "Autumn on Chusovaya" 1999, canvas, oil, 79x100 cm

Чугун идет "Cast Iron is Coming" 1976

okay that's all the art this article had, i'm really glad i could find some this artist's other works!!!!

[artmagine]

The beautiful art of Murray Smoker

[crimethinc]

Over thirty years of movement history, analysis, strategy, philosophy, and arts from all around the world are archived on our site for the benefit of the general public.

We've recently updated the introductory reading lists on our Library page for your convenience. Enjoy!

https://crimethinc.com/library

🏴

[dostoyevsky-official]

The world energy shock is coming - Isabella Weber, Gregor Semeniuk

Do you remember the days when the world already knew that there was a Covid-19 outbreak in Wuhan and that it was spreading rapidly, but you were not under lockdown yet? An in-between moment when it was clear a catastrophe was coming, but not what it meant. This stage of the US and Israel’s illegal attack on Iran is another such moment. The shock is here. The shockwaves are on their way.

One fifth, one third, one third, two fifth, nearly one half – these are the respective shares of global exports of liquefied natural gas, crude oil, fertilisers, helium and sulphur normally passing through the Strait of Hormuz. Our research shows that these are essentials the world economy depends on. Fossil fuels are by far the most systemically significant inputs in (as yet) predominantly fossil fuel-powered capitalism. Food production depends on fertilisers. Helium and sulphur are necessary for microchips production, in turn needed for everything from lawn mowers to data centres sustaining the AI boom. The passage through the strait of these raw materials – key for making everything else – has been effectively suspended since the beginning of the war.

One of the lessons of the Covid supply crisis was that even a momentary blockage of trade’s flow provokes massive disruptions. Remember the images of traffic jams off major ports? Now add the production side to this. Since local storage facilities for oil and gas have filled up behind the Strait of Hormuz, several production sites have had to stop production – they are “shut in”. Supply is not just slowed but simply not there. And you cannot switch oil fields or refineries back on overnight, it can take weeks or months to do so. Moreover, production and transport infrastructure has been damaged. And as fertiliser is produced with gas, and sulphur and helium are by-products of oil and gas production, these chemicals are no longer produced either.

[...] European and US consumers are still, for the movement, relatively insulated, even if they already see elevated gasoline prices that bring a major cost burden to households. The full scale of the effects to come remain hidden in the complexity of the global supply network. Here is a sketch of what might be coming: inflation, redistribution shocks, shortages, stagflation and global financial instability.

[...] Most of today’s global economy is run by giant corporations that set their own prices, and our research shows that cost shocks helped them coordinate price hikes. They did not swallow the cost of pandemic and war but pushed it on to consumers, protecting their margins and lifting their bottom line in the process. This is sellers’ inflation. Corporations transmit price explosions in essential inputs across the whole economy through their own price setting, ultimately causing inflation.

Such corporate price hikes become even easier when inputs are not just more expensive but in short supply. This grants companies a temporary monopoly.

[...] There is a real threat that many consumers will not only have to pay more but will be priced out of the market for goods altogether. Shortages will rip apart societies and run along international fault lines. They are already a reality in the most exposed fuel importers in Asia. And affluent economies buying up what remains of supplies will leave people in developing countries without the physical product.

Most worrying are food shortages. The disruptions from Covid, the war on Ukraine, all exacerbated by climate change erased more than a decade of progress on combating global hunger. But that was a world food price crisis – there were no physical shortages globally. Now, with some 40 per cent of fertiliser exports at risk at the time when key markets from the US to India have a planting season, food output decline during the next harvest is a real risk. What would manifest as a price shock in the Global North, would devolve into a food shortage crisis in import-dependent regions in the Global South.

[...] Sellers’ inflation only benefits business so long as the output destruction is not too large. If a prolonged strait closure exacerbates shortages and too much production ends up going offline due to shortages, the recession that follows could also hit profits. It would definitely lead to unemployment, which in turn would make it very hard for labour to have wages keep up with inflation. So, the worst case scenario from a macroeconomic perspective is stagflation. While some stocks are booming on war profits, the stock market as a whole could lose much value, and credit default rates go up, with risks for financial stability. All of this will lead to major political fallouts. (x)

[small-bambi]

Harrison Wood Hsiang

[glumshoe]

Art forgery is the best crime tbh. It requires absolutely incredible artistic talent, technical skill, and attention to detail to make convincing fakes. Does anyone get hurt from it? No! The only people who suffer for it are the extremely wealthy who want the prestige of having original paintings in their own homes. It’s full of international intrigue and mystery. Perfect.

[glumshoe]

Also… art forgers like van Meegeren sometimes become a kind of folk hero. A swindler, sure, but a gentleman’s swindler.

[cipherface-deactivated20200224]

I liked this guy’s story, Mark Landis, who conned several dozen museums into displaying his forgeries, but when the FBI came after him they couldn’t do anything because he had always given them away as donations. They said if they could have found that he’d ever taken anything in exchange they would have prosecuted him, but all he wanted was get to out of the house and meet people.

[glumshoe]

“The first painting Landis “donated” was a copy of a work by Maynard Dixon, an artist well-known for his paintings of cowboys and Indians. It started as impulse, Landis says, but then “everybody was just so nice and treated me with respect and deference and friendship, things I was very unused to — I mean, actually not used to at all. And I got addicted to it.”” And it looks like all his forgeries are done with cheap materials, like markers and Hobby Lobby frames.

[skweebs]

Ok, but Wolfgang Beltracchi is probably one of the best Fraud Artists in the world.

His career brought him millions upon millions of dollars and lasted almost 40 years. He finally admitted to painting fraudulent art after the white paint he used came under scrutiny. 

“ Bob Simon: What do you think this Max Ernst would be worth? Wolfgang Beltracchi: This one? Simon: Yeah. Beltracchi: $5 million, I think. Simon: $5 million.  And you can do it in three days? Beltracchi: Yeah, oh yes, yes, sure, or quicker” -From a 60 minutes interview with Bob Simon

In The interview with Beltracchi, he said that none of his forgeries are copies, they’re all original works that the famous artists could have painted.

“Beltracchi estimates he has done 25 Max Ernsts. He is not copying an existing work. He’s painting something he thinks Ernst might have done if he’d had the time or felt like it.”  -  The Con Artist: A multi-million dollar art scam

His wife was also in on the scam, she would dress up in old clothing and take pictures holding the paintings with old cameras to fake proof of the paintings’ ages.

At the end of the interview with Wolfgang Beltracchi he was asked if he felt he had done anything wrong, his answer was “ Yeah, I used the wrong kind of paint”

[out-there-on-the-maroon]

Just … the levels of con there, the fake photos and … wow. That’s incredible. 

[therobotmonster]

That’s just rapscallionry.

[digitaldiscipline]

This is what AI wants to take from us.

[lucybellwood]

Let’s add Tom Keating to the mix, yeah?

Keating painted more than 2,000 forgeries by over 100 different artists in his sixty-six years. Many had fraudulently sold at auctions with the total profits estimated at over 10 million dollars. “I flooded the market with the work of Palmer and many others,” the artist said. “Not for gain (I hope I am no materialist) but simply as a protest against the merchants who make capital out of those I am proud to call my brother artists, both living and dead. It seemed disgraceful to me how many of them had died in poverty,” he defended in The Fake’s Progress, his autobiography. “All their lives they had been exploited by unscrupulous dealers and then, as if to dishonor their memory, these same dealers continued to exploit them in death.” […] Keating had a great respect and understanding of all the artists he imitated but was always reckless in his handling of the materials. He often used house paint and poster paint to mix in with his acrylics as a cheaper way to achieve the impasto works. At times he wouldn’t bother preparing his antique canvases he found at the junk shops out of laziness, so that in just a few years the paint would peel right off to reveal what was originally underneath. Keating often planted what he called “time bombs” like this in his paintings. Because of his understanding of the chemicals used in art restoration, Keating would purposely paint with layers of glycerin, which would destroy the painting once it was cleaned by a restorer, proving it was a fake. He often wrote obscenities under his paintings, like “Bollocks!”, in lead white so that it could be seen by the experts who x-rayed the painting to check its authenticity.

- Darby Milbrath, Tom Keating on Painters