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torturing myself as an amateur artist with these visuals *sob*

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ISLAND from Max Moertl on Vimeo.

SO。CUTE。VISUALLY。

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How to lift cats in Cinema 4D: a glimpse into the making of #Swipebait! Read Mike’s full making-of story via the link in our bio 👆

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Love this Chinese Food Documentary SO MUCH!!!

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Ryoichi Ikegami <3

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A random sketch from 5 years ago. I didn't know what happened to my hand at that time. . . #dibuangsayang #random #sketch #sketchbook #tbt #timetravel #pencil

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“Amid the lush and pleasurably larkish Southern Gothicism of Sofia Coppola’s The Beguiled, the auteur’s creative soulmate Kirsten Dunst turns the character of Edwina, a lonely-hearted teacher and undoubtedly this story’s most plaintive figure, into a tremulously real creation. In Coppola’s earlier The Virgin Suicides and Marie Antoinette, Dunst made ravishing and indelible impressions in performances engineered to convey concrete ideas about the inherent sorrow of young womanhood, as opposed to actually presenting full-bodied, psychologically-rich women. In The Beguiled, Dunst strikes an impressive balance between two assignments, honoring the conceptual archetype of this sullen, self-effacing girl, while also carving out space for some truly experiential character-acting that results in many of the movie’s most bracing moments: an ambivalent confession, a distressing discovery, a reckless sexual offering. Working deftly from a purposely limited register that never lets any one sentiment reach full flower, Dunst proves herself, yet again, to be an expert, breathtaking modulator. By inhabiting Edwina so intimately and yet keeping her cards so close to her chest, Dunst ensures that Coppola’s cadre of women will be neither underestimated nor swiftly forgotten.” — Matthew Eng

The 10 Best Female Film Performances of Early 2017

(Source: TribecaFilm.com)

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2017 and still reblogging.. Never released a single original post

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Have a Bewitching Halloween! 🌙 🎃 👻 🔮 ✨

All my Halloween greeting card designs for Punkpost.

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Hey, could i Ask u why do u usually fill the shape of the drawing with one colour and then u color over it?

I do what is called a clipping mask, once i have the shape of the drawing in one solid color, i clip another layer on top of this one ( create a new layer, place it on top of the solid color layer, press alt+left click between the two layers).It means that on all of the layers clipped to the solid color one, i can’t draw outside the pixels of the solid color one. here’s a gif i made that might make things clearer.On top of the technical side, for a character, i usually make the solid layer the skin color, doing that makes it easier to choose colors for the hair, the clothes, etc, etc. At least for me it does

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https://soundcloud.com/myqx/paperboat

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30 years ago today, Madonna released her record-breaking album, True Blue. 

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Strange, Bizarre and Adorable: Renee French’s Emotional Creatures

To meet more of Renee’s adorably creepy creatures, follow @reneefrench on Instagram.

“There is no such thing as too cute, and there is no such thing as too gross. And if you put them together, there’s this nice balance.” Meet Renee French’s (@reneefrench) cast of graphite creatures who live at this cross section of adorable and creepy. “I sit down, make a sketch and try and make myself laugh first,” the writer and illustrator, who lives outside San Francisco, says. “If I draw it, and it’s making me laugh inside, I go with it.” Renee’s emotions play a big role in her process, and she’s curious to learn how others react. “I love it when people look at them and have an emotional response,” Renee explains. “If you’re having a bad day, you could interpret it as being really sad, when someone else might see it as anxious or scary. It depends on the person. Except my mom. My mom always thinks they’re cute.”

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The Best Vintage BAZAAR Covers Through the Years  

A look back at the best of BAZAAR—the oldest fashion magazine in the world. 

See them all. 

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Creating a Portfolio for Entertainment Design, Concept Art, and Visual Development

FACEBOOK VERSION

EMAIL: allisonperryart@gmail.com | PORTFOLIO: allisonperryart.com

Find me on FaceBook, Instagram, Tumblr, ArtStation, & Twitter @allisonperryart​

DISCLAIMER: While this document is a collection of my observations as a student, teacher, and designer, following these instructions does not guarantee you acceptance into any particular college or company. I wrote it as a syllabus for a college portfolio prep class I teach and thought others might be interested. All images in this document are created by me.

INTRODUCTION TO STORY-TELLING AND WORLD-BUILDING

A good portfolio is a collection of strong work; however, a great portfolio is a collection of strong work with a coherent idea! When it comes to concept art and visual development, colleges (as well as employers) aren’t just looking for the ability to create beautiful illustrations—they’re looking for an ability to build worlds and tell stories. In order to showcase this ability, you will need to think of a story you want to tell and use your portfolio to “pitch” that story and the world it takes place in.

Keep reading

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https://soundcloud.com/myqx/cover-priscilla-chan-thousands-of-songs

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How can I get the energy I need to work on my personal projects after a long and exhausting day at work? I mean, I get exhausted both physically and mentally with my current job and it's pretty much when I get home from work that I have the time to paint. What should I do?

Whew. This is a tough question, and a frequent one. The answer is very easy, but the implementation is one of the toughest things you’ll do.

First, let me give you a big hug. No, really, I swear, I’m sending you a hug right now, because I have been there. I fight this battle over and over and over again. And it’s a privileged problem, right? You have a job, where a lot of the people asking questions here are desperate for a job, any job, and if you have an art-related job, that’s even more precious! But those of us who have full time jobs know the burnout they can cause. When you’re working all day, it’s really hard to scrape the bottom of the well again when you get home. This can be draining at a job that isn’t fulfilling you with exactly what you want to do—but let me let you in on a little secret—it’s even MORE draining when you have your dream job, because you’re giving all your creativity to it, scraping the bottom of your barrel every day. And you feel even more guilty about complaining about it because everyone knows you have the coolest job ever and how dare you complain?

So technically the solution is easy. You just fucking make art. Any way you can. If you have to set an alarm every day to get up earlier, if you have to use your lunch break, if you keep a sketchbook in the toilet (I’ve seen this, I swear) you just do it. You give up the dream that you’ll squirrel away 4-5 hours at a time to paint. Instead you steal 30min of whatever kind of art you can whenever you can. You get good at taking sips of art instead of gulps. You force yourself to do it, just like any good habit you’re trying to form. 

But you know this. Your question is how to get over the exhaustion. And in my experience the mental inertia is a lot more difficult than the physical exhaustion in being creative. Ready? 

Stop making your personal art just another job. I know, it’s going to help you switch careers or get ahead in your art career. I know personal projects are more often what gets you noticed for commissions. I know you may have dreams of your side project becoming your main moneymaker one day. HOWEVER if that’s the only reason you’re doing it, then you’ve lost the point. You need to rewind back to the love that made you think of the project or the painting in the first place. The only thing that cuts through exhaustion is joy. The joy of a little kid begging to stay up later so they can keep playing. You need to find that place within you that’s free from pressure, free from expectations, free from future plans. You need to remind yourself that making art is way more fun and rewarding—and makes you feel better—than collapsing on the couch and watching TV. 

You’re not making art because you should, or because you have to to achieve a future goal. You’re making art because you’re a goddamn artist and making art is what makes us feel fucking good. If you can’t find that place, and learn to summon it when you need to, then you need a different side project. Or maybe you need to let go of the dream of being an artist in exactly the way you think you want to be. Go back to that sense of play, and see what comes out of it. Forgive yourself for putting aside the future goals for a little while. A few months maybe. Maybe forever. Don’t worry about that now. Right now, you need to play, and find joy in the process again. 

Staying in the moment, enjoying the process over the product, is the hardest lesson to learn in art, if not in life. 

Good luck.

—Agent KillFee

P.S. You might think I was answering your question, but really I’m putting it here as a reminder to myself. Thank you for asking the question.