Teresa Gutierrez, Juarez, MX, 1992

I made a Room Building tutorial! Lemme know if it helps! 🧡

Tip me here| Commission info here!

it’s time to trace~!

heads up. the charts in the middle are very rough guides. everything about copying is super grey, you need to use your own judgement…also I have more notes

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K so not to be dramatic or anything, but there's a free vintage French pattern book available on antiquepatternlibrary so if you like to crochet/weave/make pixel art/tie epic friendship bracelets don't walk- RUN.

It has scenes from aesop's fables! Cherubs doing things! Beheadings! Greek muses! Little farm people! Intricate floral pattern! Goth stained-glass window like patterns! Fun little corner pieces! Eeeeeeeeeeeeee

https://www.antiquepatternlibrary.org/html/warm/C-TT008-180.htm

Came across this on the cover of an old magazine at work today. It was published in Epic magazine in the early 1980s. It’s called ‘Self Portrait, with Wings’ by Barry Windsor-Smith.

Gonkar Gyatso, b. Lhasa, Tibet, 1961 My Identity Nos. 1-4 UK (2003) [Source]

A leading figure in contemporary Tibetan art, since the beginning of his career Gonkar Gyatso has attempted to unify divergent abstract and hyperrealist representational systems used as politicised tools to promote religious belief or totalitarian party lines… 

The photographic series My Identity is emblematic of the artist´s major ideological shifts across national, political and stylistic borders that constitute “Tibet.” The central motif of the series is a re-enactment of a 1937 photo by C. Suydam Cutting, the first Westerner to enter the Tibetan capital, that portrays the Dalai Lama’s senior thangka painter at work. 

In each photo, Gyatso is seated before a canvas looking out at the viewer, but each time the context is radically different. The first image depicts Gyatso dressed in a traditional Tibetan robe drawing a devotional Buddha figure; in the second he is a Communist Chinese painter rendering an image of Mao Tse-Tung; in the third he is a contemporary refugee artist painting the Potala Palace, chief residence of the Dalai Lama before he fled to Dharamsala; the fourth shows the contemporary Gyatso sitting in a modern flat in the act of creating an abstract image.

One can interpret these photographs as cosmetic transformations depicting his life in each of these locations; in reality they act as Barthesian “certificates of presence” that ask who, and what, has the power to control forms of iconization.

🎨color study note

Sleepy boy

(via)

Mt Yoshino - Nara, Japan

In your view/experience. is the rate of "incompleteness" among webcomics more or less the nature of online personal projects as a whole? Or is there something specific to webcomics like laboriousness, audience expectations, relative medium infancy or whatnot?

well for one thing webcomics has changed significantly in the last ten years. it used to have a much lower barrier for entry, just get a smackjeeves account or set up a website with a wordpress plugin. starting a webcomic when i started my webcomic vs starting a webcomic now are totally different experiences.

so i can only speak to people who started their webcomics roughly ten years ago. and roughly ten years ago a lot of us were a whole lot younger with a lot more time and energy to spend on a comic for free. this part is probably still somewhat true for new artists.

but then you get older. your ideas change. your skill develops and the old stuff isn't as good. or you don't have as much time, you got a day job. unless you're one of like five people on earth your webcomic is not paying your rent. you need to make money. your shoulder hurts. you're 30 now. you're struggling to make updates on time between whatever else makes you happy and what else you need to do to live. you wrote this story when you were 21, you don't relate to it anymore, you have different ideas, you've grown up, your audience has noticeably dropped off from the peak, social media managing is hard, you have to go to work, you're so tired, all the time.

it's a lot of things.