#thats why i drew them on the same canvas

[bf-rally]

i stayed up too late again messing with this site but on the brightside, i dont dislike how the name looks on the header image for the site!

[angelic-corrosion]

I refresh your blog quite frequently when I'm home so that's why I was able to reply quick (this was so late thoo)

I love seeing people in love happy and actually you know, in love! I do not see much of that here :')

Ooo I did do that once! I drew the entire sketch, took a pix and traced it again on my ipad! I didn't like it personally cause I wanted to do like a project from scratch in digital! I've been practicing though :3

I hate listened to much music from that genre. I usually listen to pop and kpop but I've recently started listening to the band Ghost :D

I did read The Silent Patient which wasn't much gorey(?) but it had crime and murder so I liked it :3 Omg you just reminded me of the books I have that I still have to start reading ;v;

Hmmmm well, I like the collection of babybells I recently pressed but i usually press flowers given to me from my friends and family so there isnt any specific ones :3

I usually do scrapbooking too so you can do that if you'd like!! Scrapbooking is what I do alllll the time

(I usually force my family to test my experiments so they might not really share the same sentiment :')) I once used a tablespoon of bqking powder instead of teaspoon and made my family eat the entire thing :D (I'm not that cruel i promise loll)

Ooo animal management?? That sounds interesting!!! I haven't heard about it much tho, where do you work? Like a vet clinic or the zoo or something else??

I like it!!! I like simple stuff more so yeah, its nice :3

-🪻

I see my little flower, I'm glad that you like my blog so much that you do that (Or maybe you're just a little obsessed with me but i dont mind that either). I agree with your point about seeing other people happy; especially if I consider them close to me in my life. Its rather bittersweet, but in a good way. Its a shame that not much is witnessed in your life, I must admit myself that I'm kind of in a similar situation with that, yet I'm proud that some people have managed to break the cycle to find a relationship where they are truly comfortable in. Now before I continue, my petal, how was your exam? I still have your ask in my inbox mentioning one, but I'm sure you did absolutely amazing! ˶ᵔ ᵕ ᵔ˶ Exams can be tough, and I have some coming up within the next two months; two of them is 3 hours long and another is an hour and a half so I guess it isn't that bad. Now lets get back on track! I see, making art from scratch is very therapeutic isnt it? It gives you a blank canvas so you can do anything, and improvement is always great! It shows your dedication to the craft and that you're getting getting better over time. Well for music, just as you said 'Opposites Attract don't they?' however, I also listen to Ghost! So we do have some music similarities even despite our vast differences ꉂꉂ(ᵔᗜᵔ*) Scrapbooking huh? I'll have to take a look into that later, It seems interesting! experiments within cooking? Now thats interesting, I don't know much about cooking, But I'm going to assume that the taste becomes stronger or bitter like? Maybe you should share some recipes time to time for me to try flower. I actually don't work anywhere for my course. I go to a different campus on my college, where there are lots of animals hosted there. so I guess you can say its like a mini zoo! I think the most bizarre animals we have there are either meerkats or wallabies, I just wonder how they can even afford all of it ꉂ (˵ •̀▽•́ ˵ ) My course is also divided by practical work and theory, So sometimes I have to take exams, but the majority is based off of coursework (Which I have a few assignments to do (꒪ᗜ꒪‧̣̥̇) ) And thank you for the feedback, my flower. I'm glad you enjoy the nickname, its always good to enjoy the simple things isn't it?

[astranauticus]

ok one last post about the Project to truly exorcise it from my brain. just some process/design thoughts (also now that it's done if you want to read my liveblogged whinging for whatever reason here it is)

first off some stats because i kept stats like the nerd that i am:

time wise making this animatic took about 93.5 hours give or take (thanks procreate process replay) spread across exactly 2 months

anyway when i said i finished this project mostly through stubbornness and sunk cost fallacy this is what i meant lol like a lot of my thought process through this was just 'no way in hell am i letting some of these drawings disappear into my drafts forever'

on average each frame took about 2 hours 45 minutes but thats a bit of an overestimate since i forgot to count some of the animated bits from the first two lines (so id guess the actual number is more like.. 2 hours 20 minutes?)

btw that line with the starry apparition fading away? 12 hours total

the single longest and most painful frame to draw was the one of the crew walking through tu'narath (5 hours 30 minutes) because a. perspective b. architecture design c. for some reason i put a lot of detail into rendering the armour on all the githyanki i drew why on earth did i do that

(its especially painful bc that frame was one of the ones that didnt... feel like an important enough moment in the actual story of the show to be worth capturing the way the wish or even like, endellion is, i just needed to put that there for the storytelling flow or whatever of the animatic itself and it bothered me so much)

one other interesting little mishap was that i did all of these on canvas size 1080x720px (so that's why the youtube resolution isnt particularly high lmao) which is why procreate let me put an absolutely absurd amount of layers in one canvas (all 8 frames of with memories projected on the astral sea were done on one canvas. 159 layers) because the layer limit for that canvas size is 400 BUT. i accidentally started the starry apparition fade on an A4 canvas (my default canvas size for like all my normal fanart) and i only realised after finishing all the lineart and starting on colouring because i hit layer limit so i had to resize the canvas which did... interesting?? things to the lineart resolution

also if youre wondering how i drew K-LB that many times in something resembling timely fashion the answer is i sacrificed some... amount of sleep to 3d model and rig him in blender which. honestly? i consider it a roaring success

splitting the frames by bar was a Choice and certainly a choice ive.. had doubtsTM about but thats the kind of thing you cant really change without bringing the whole project crashing down so if the frames seem to move a bit too fast im so sorry there was really not much i could do there

idk if people actually noticed the very very tiny drawings of the crew moving around on the ship in the 4th line especially since they sometimes get obscured by the subtitles but the REASON for that is in my original drawings the subtitles went in the top left corner but they kept conflicting with other stuff so i just gave up and threw them to the bottom (also i originally included the chinese lyrics but then i got lazy lmao)

anyway that little detail like VR-LA angstily looking at the sea reminiscing about the JourneyTM and the crew sort of appearing along with the memories of their adventures together was one of those things that seemed SO COOL in my head but once i actually execute it its like. hmmmm not sure if that worked out the way you thought it would buddy. also the tiny crew was EXTREMELY hard to draw so put that down as another point in 'me subjecting myself to deeply painful and out there compositions for no good reason'

anyway i called this my magnum opus but i do actually have some thoughts about another one (a companion piece, if you will) for another song by the same band because now that i know what capcut can do im.. really itching to try something a little different because this like powerpoint presentation style? fully a product of me using iMovie as my only available video editing software for the past like 7 years of my life

[meringuejellyfish]

ooooh the curse <- he wants to draw fanart its not that serious but ohhh the curse

[the-hellion-studio]

joey drew. your most honest opinion.

HI THANK U...

Joey Drew... He IS wasted potential cause I think the entire game is . Wasted potential in my opinion so hahaaa yea.

[Looks at Absinthe] Yeah yeah yeah I was projecting SO hard he really helped me .Overcome some stuff god bless

He's fucked up and awful <3 Good for him

free space/nothing I like abt them is technically canon; same thing to me like the fandom is what made the character truly fleshed out and interesting thats what I love so much abt batim not wanna get too meta but its really a blank canvas for imagination which i appreciate:

why do they look like that.

[emilycollins00]

hi hope your having a good day! could i request a banri scenario thats just some domestic fluff w/ maybe some banter back and forth and banri being soft for his s/o (he claims hes not a simp but we see you boy) maybe some light teasing from other troupe members sorry if this is a lot to ask for feel free to use these as insp not requirements!!! love your work

I’m doing wonderful! Thank you for asking sweetie 💕  My, do I love fluff with characters like Banri. It was so cute and fun to write! Hope you like it too. Please enjoy it!

Title: Bickering and fluff

Pairing: Banri Settsu x Reader

Theme: Lovers/Fluff

 Whether Banri liked it to admit it or not, he had fallen for you. Hard.

Everyone at Mankai saw how his eyes followed you when you visited, even though the autumn member would would say he was nailing his cool and chill attitude.

His behavior started changing whenever you were around and he couldn’t help but love the way you fitted inside his arms, while laying on the couch. How your lips brushed his, softly and tenderly. Your touch. Your voice.

He loved when you pointed excitedly at him when you finally beat him in a game -had you really- or when you tried to conceal a smile when you were absorbed in some reading.

Anyway, he just finds it too cute, so he makes fun of you.

That evening had been closing night at Mankai for the Autumn troupe. Everyone was chatting happily in the living room, having some snacks as dinner was being finished, when Banri heard the doorbell ringing. He raised both of his eyebrows in surprise when he opened the entrance to the dorm and saw you there, a ball of pure glee.

“What are you doin’ here? Didn’t you go on vacation to visit your family until next week or somethin’?”

You laughed and approached him to kiss him “I did, thank you for remembering…  but I came back earlier! And guess who made it to see your play?” you lifted both of your thumbs, pointing at yourself.

“Your grandma?”

“Almost!” you snapped your fingers, following his banter. You took both of his hands and shook them up and down cheerily “It was amazing, Banri. Seriously, I loved it!”

What the hell, he could feel his chest expanding from just those words and your touch.

“Yeah well, we are the best troupe so no surprises there.” he stepped to the side so you could enter. You rolled your eyes as you took off your shoes, distinguishing now the noise coming from the living room.

“Can’t you take a compliment and say thank you like a normal person?”

“Thank you...” he smirked “…like a normal person”

You got up from putting your inside shoes with a confused look. A second later, after understanding his answer, you squeezed your eyes at him, hands moving to your hips “I was right. You DID get more annoying while I was away.”

A few new steps came across the hallway, Mankai precious director arriving to check why the autumn leader was taking so long.

“Banri-kun? Who is-? Oh, Y/N! I thought you had left for a few weeks, welcome back!”

You smiled, happy to see the young woman “I decided to stop by after seeing the play. It was great!”

Banri glanced your way, following you and Izumi from behind until you three reached the already full and noisy living room. Well, it had been the last performance of the play, no wonder everyone was there.

“Isn’t that Y/N-san?”

“Y/N!”

Misumi came to you in a flash “Ah, Y/N, Y/N! Did you remember to bring me a triangular souvenir?”

You chuckled, nodding at the boy’s excited face. You promised him you would bring it next time.

“Y/N? Weren’t you arriving next week?” your classmate and leader of the spring troupe approached you happily.

“Hi, Sakuya! Yes, well…”

Itaru stared at you entertained, watching you greet the rest of the dorm. “Surprised event unblocked, uh? Good, good. Now Banri will stop sulking about Y/N and actually help me with the quests.”

Sakyo snorted next to him “I wish they would have contacted him, it was a pain in the ass working with the brat the first days they left”

“The hell s'that supposed to mean” Banri sat on the sofa, frowning at them, but watching you from the corner of his eyes- not that he himself noted.

Azuma patted the teen softly on the shoulder, seating next to him with two glasses of wine on his other hand  “Now, now, don’t get angry. We just love seeing you happy with them here before time” he handled the other glass “Here Sakyo-kun”

Banri rolled his eyes at the comments.

                                             -.-.-.-.-.-.-.-.-.-.-.-.-.-.-

Of course, you stayed for dinner, missing dinners with Banri and the rest of the actors. Honestly, you always had such a good time whenever you went.

After eating you decided to help Omi cleaning the dishes along Tsumugi and Muku.

“You don’t have to do it Y/N, we have enough hands” tried to persuade you Omi, his hands carrying now empty plates “I’m sure you must be tired from the trip.”

“You must be tired too, Omi-san” you tried to keep the hair out of your face as you washed a few glasses, not really being successful “Why don’t you-”

“Stop for a sec” a familiar voice reached your ears at the same time two pairs of hands started playing with your hair. Confused, you tried to turn around, without being successful.

“I said stop movin', you can’t clean like that” he kept you in your place annoyed. After a few seconds, your field of vision got rid of any meddlesome hair “There. Now you don’t eat hair and I’m free from your tie. Better right?”

You thanked him, failing to notice the thrilled and overly dreamy look you two got from Muku.

“Banri always comes like a knight whenever Y/N-san needs something!”

Tsumugi and Omi smiled too at the exchange, happy to see how the new caring side of Banri was showing up more and more.

“Yeah, you sure you don’t want to become Y/N’s assistant rather than a boyfriend?” Yuki called from the couches.

The autumn member just gave him a death stare as you and the rest laughed. He sighed “Anyway, just came to tell you I’ll take you home when we are done” he ruffled your hair gently as he turned to help Taichi move the chairs back to their place with the others.

"See what I mean?"

"Yeah, whatever."

                                          -.-.-.-.-.-.-.-.-.-.-.-.-.-.-.-

You glanced up at your boyfriend, his body leaning onto yours as you two walked down the street holding hands. It had become a custom for him to walk you back home, even though you didn’t live that far.

“Banri?”

The blue-eyed boy was focused on a game on his mobile so he merely hummed, not bothering to look at you. He was almost going to break his own record there.

“Nothing just…” you couldn’t help but smile “You really love me, don’t you?” 

The autumn actor stopped leaning on you and instead drew himself away slightly, causing you to straight up from your position.

Of course he loved you. And it was more than that. It was the way you made him feel loved with himself, with his choices. Most of his life he remembered it as a blank canvas, constantly confronted with long, dull faces.

But then he found you. The way you talked, how you accepted his flaws… The warm you gave off as you smiled and called to him like at this moment.

Hell, he had even stopped skipping classes just to be with you even if school bored him to death.

He stared at you for a second before returning his eyes onto the game again “Wow, you sure are full of yourself” he declared.

“Nah-ah! You love me a lot! It’s really cute how you pay me so much attention, I just wanted to thank you!”

“Well, it’s true I tolerate you more than most people” he smiled at you “But don’t get too cocky.”

"Look who's talking” Banri shrugged and bobbed his head, returning to his mobile. “Oh come on, just say you love me so much it hurts!” you pinched his cheek.

“Hey, stop! I’m playing here.”

 “You are annoying” you said as you took his hand again and resumed your walking position, this time you resting on him which caressing his hand tenderly.

You missed the fondly look the boy gave you. However, you definitely felt how he turned his face and planted a kiss on the top of your head, making you smile again.

What did you expect? Banri was head over heels in love with you. That was clear… but there was no way this boy would fully admit it. 

Yet.

_____________________________________________________

Have a wonderful day! 💕

[startwithbrooklyn]

THE GREAT ND REWATCH OF 2021 / SEPTEMBER 10, 2019 // the seancé

watched this while drinking and working my second job after my full time job (hence the drinking) when my supe called to tell me i didnt do enough work for them and could i start doing more because being tired after working an 8 hour day was just. unacceptable. (while i'm drinking during this ENTIRE call) anyway 🍸 i use nance/nancy interchangeably like luce/lucy

-"denial: smalltown USA's favorite pastime" 👌🏻👀

-the begrudging kiss + george w the coffee = lmfaooooooo awkss nance

-wonder who this FBI agent friend of owen's is since they never get to meet 😕

-"we just opened!" / "work ethic" how nancy views the claw/work is manifested in her constant lateness and skipping out. like she says "i never thought i'd be wearing this" its clear she has some of that upper middle class/white suburban bias against restaurant working that only becomes okay in the pretext of saving up for college. this is made ironic by ryan who jokes in s2 about having no money and working at a coffee shop, sharing nancy's opinion. also ironic is how a group of her coworkers "not my friends" at this same place she puts little appreciation into turn out to be her biggest support group

-carson & family dinners: seeing john sanders' texts w nancy and trying to keep up with what shes doing / makes you wonder how ryan would approach as a dad. judging by s2 he's less subtle than carson but possibly more effective for it (i have so many nancy&ryanthoughts but i'll wait till the reveal ep)

-steaks lmaooooooo what a white suburban dad thing to say

-"we are on the same side" / "why does it feel like we're on different teams" : laura/ace and nancy/nick mirrors (almost like some kinda men vs women showdown but these women do NOT trust these men...)

-why is the precinct "the least haunted building in horseshoe bay"? does lucy not haunt the police bc she knew karen was trying to get revenge/"justice" for her? or bc she doesnt want to haunt karen at all? and what of other ghosts? a police station seems like prime ghost material for officers of unsolved cases. is it chief mcginnis with his link to the supernatural keeping everything under control? if so, what happens when he leaves and tamura shows up? (based on the dress ep i cant remember if hes woke to the supernatural or not)

-"you would need an object lucy touched the night she died" nancy like -->😌it me

-okay. anybody who hugged lucy would HAVE to know she was pregnant?? like wtf

-LAURAAAA lmfaoooo

-UNPOPULAR OPINION: laura/nick - hatefuck - hes strong enough to top her with words AND hands - bringing out something tougher created by prison (like it rough/lose control) nick is presented to be so kind and almost always on top of his emotions but laura is def a canvas that can take a few hits. i can definitely see her being attracted to how much he doesnt really like her and wants to stop her from always getting her way. her pretentious ass motormouth is practically begging you to grab her by the arms and shake her to shut her up (and she would be begging you to shut her up too)(ik s2 nick/race talks/his mom ep would never ever do this to anyone but its a choice "what if" to me)

-this casting for teen candace to adult is on point

-so two days after lucy's death they pay him 50 grand from a shell company? he says it's for services rendered but then for what services? does everett know or suspect that the drews took lucys baby and pay them for taking care of an impertinence, including lucy, not really caring what really happened to her as long as shes no longer a threat to him? honestly could see a cover up. nance only does the reveal in her balmain tazer glory and we dont really get an honest reaction out of him iirc (the new actor they switched to shows wayyyyy less emotion than s1 guy) and he could easily fake surprise. obvs celia doesnt know bc s2 but whos surprised at that. i wonder what tipped her off that nancy could be ryans baby and prompted her to test. hmm. and payroll vs shell account. why would it have been paid differently. sus. 🤔🤔

-the irony of nancy picking at nick's story at the inn for karens deal + nancy straight up ignoring nicks proof w this transfer... like ep 1 "i'll tell you about my past if you tell me about yours" except...no, actually. "i'm just trying to solve this / it feels more like you're trying to solve me" its so true. and nancy really badgered nick into telling about his conviction but it was kinda payback for showing up at the claw and making her admit their "relationship" -like when george says "you need to be just as relentless", it was equal but nasty. like. nick never asked george for details about ryan that way. he even admits he doesnt wanna push her to ace after learning what not to do with nancy.

-this seance has nick so irritated w nancy lmfaooooo

-"half sister" so josh and patrices' last name is dodd- his grandpa must be a dodd also for the name of the shop. wonder why lucy's last name is sable, and where her dad is, and where josh's dad is as well- there's no mention of dads or stepdads anywhere for these two

-mcginnis knows theyre innocent / "work together" he knows they arent really suspects but he just wants to fuck with nancy. could be playful or just nancy's naivete. maybe he actually kinda missed her fucking around in his work and is trying to make up for the lost time when she withdrew from mysteries d/t her depression after kate

-nancy + knowing everybody else's secrets - nick's conviction, bess's family, george's affair, ace's deal w mcginnis and confronts them all in turn like nick and the secret phone, george from the meeting in the woods, bess from the passport/ring and acs's phone calls (they all somehow end up knowing all each other's secrets after a bit anyway)

-fuckin love Ted 😌🙏🏻💙

-when lucy grabs nancys hand i was just like "MOM!"

-if nancy had asked lucy if carson did it, she would have been spared the trial 👀🙃

-"even if you did, nothing was gonna stop you" true truuuuueeeee like. nick needs to be needed. nancy doesnt need him starting in episode 1. nick thinks that sex = relationship but nancy never saw it that way until she realized thats what nick wanted her to admit. "i wanna be with you / im trying" she is literally forcing herself to try and date him normally when thats honestly never what she wanted. and its nicks own fault here bc she never even wanted to be "official" but he forced that out of her too in front of coworkers no less. he set himself up to be disappointed

and lastly

-so carson stole the evidence, but what did he do with it? burn it like the dress?

[myelocin]

tw homophobia , religion, mental illness , mental breakdowns , sickness n shit (dont answer/readthis if ur not comfy i sincerely apologize ;;;)

sorry for the vent but sifkis about that parent thing,,, my relationship with them is so different from then and now :•D my parents are extremely religious and when it comes to politics n shit theyre (esp my mom) is aggressive bt it and saying that this and that are wrong (....like being part of the lgbtq+ community bc it's not part of god's plan and shit :'D but it's not just them,, it's everyone that's in our religion which scares me since they might abandon me if i ever come out when they say 'u can trust us') and as much as i hate that theyre like that and that they make me trust them less bc of it,,, i just cant find myself to hate them at all since there are still times when we do have fun around each other or i feel happy w them like when we're reminiscing or just whenever jobs, politics, and religion's out of the context then yeah it's still fun

they never were really there when it comes to emotional and mental support and they even go 'u shouldnt be depressed we give u everything u need' (which is why im so scared of telling then i want to go to therapy) and yeah they kinda are around when it comes to physical needs like shelter n food stuff and i'm so grateful for that honestly and love them for that but,,, at the same time theyre partly the reason why i'm a mess;3; it makes me so confused whether to love them or hate them whenever i remember that theyre like that and then when i remember about the little things like how at least every once in a blue moon, my mom comforts me n hugs me whenever i break down after a whole lot and sometimes understands that my mental health isn't always so well, how she reads books about understanding love languages, how my dad used to sing disney songs to put us to sleep as a kid,, and i think thats the only thing i could ever really rmb since they were always so busy with their own jobs and lives since i was a kid and i hate that theyre rarely around but my mind tells me they do it bc they love me and it's just really messy and confusing that i dont know what to do anymore esp now that my mom's not doing so well with her health so im just trying to be as grateful as much as i can to have her even though it's a mess at times

again im so so sorry if u had to read thru this but if u did thank you anyway i hope ur doing well and please be safe sending lots of love and hugs your way <333

helow!!!

halow agen welcome to this corner i make just for u. come sit. i have fruit and markers; we can scribble on the canvas and talk.

my bestfriend once told me that you’re allowed to feel things in waves. i think issa nice thing to tell u bc it’s a nice reminder that u are very allowed to feel things as them come, and let them go once they go. angry or happy. loved or hurt. u love them, u hate them. just feel it all.

and PLSSSSL i understand the coming out thingy 🥲🥲🥲 esp the religious family part!!!! i truly hope all the best for u.

haiz love is a headache to deal with. i hope as u talk ab things and feel them, you’ll imagine you’re holding onto a marker and drawing a couple of waves. you can pause and take the pen off the paper. draw it squiggly or stick straight. bendy or flawless. blotchy ink, zigzaggy, or smooth stroke. change the color if u want. blue if u okais and red if u arent.

when u felt what you felt and finished your piece i hope you’ll see that what you drew is still in the shape of a wave. ride it out and know that after every raging sea is a gentle wave that can maybe rock u to sleep and rest.

love and share stories w ur mom when u want then retreat somewhere quiet and safe when u feel hurt. (or talk to them if u want/if ur ready)

either ways, i will sit with u in this corner and patiently watch you draw the waves until the skies clear and some form of clarity comes.

here’s a hug and a marker 🫂🖌( issa brush emoji we have been robbed of a marker emoji )

[franeridart]

hi!!! first of all i adore your art so much!!!! like daddy jesus, it gives me life. u draw rlly good poses, so maybe u have some tips? or any good places to find references cuz i can only find pretty stiff looking pictures and thats sad :((((

Tips! Yes! I have those, since it’s a thing I’ve always struggled a lot with too, so I ended up hunting down and hoarding tips like an artist dragon with fancy pictures of gold - disclaimer, even though I know of these tips it doesn’t necessarily mean I’m good at following them. Because I’m a mess. SO! TIPS!

 - When trying to decide on a pose, try to picture the whole action behind it instead of just the single instance! If we were to talk in animation terms, I’d say try to picture the whole sequence instead of just a single, specific frame of it. What is your character doing? Picture in your head the whole movement, and then pick a frame that’s smack in the middle of it - this is because generally the stiffer moments through an action are the beginning and the end of it, so drawing the middle will give your pose a lot more life! If you’re unsure about exactly which moment of the action would work best, draw thumbnails of a few different “frames” of it and pick the one that flows best for you

 - Related to that, when looking for references generally I prefer looking for videos instead of pictures, specifically to get a better sense of how the whole movement flows and where it would be best to stop it. In the same vein, I’ve made a habit of at least partially always keep an eye out for body language while watching movies/tv shows/cartoons&anime, because while real life is just as much a good source of reference as anything else, actors and animators tend to exaggerate movements to make them more captivating and eye-catching, and that’s what we’re looking for when drawing too! It’s all in the drama of it, look for the drama

 - “A real life person wouldn’t do that/move like that/bend like that”, that’s okay, this isn’t a real life person! Exaggerating the shapes and lines is a good way of increasing the flow of your pose, as long as you don’t make it grotesque then pushing on the shapes and curves is always a good idea! Unless you meant to go for grotesque, in which case push all you want, who’s to stop you. In this specific area action lines are your best friends, so if you feel your pose is stiff or lacks life, try finding the action line in it and push it more - you can find a lot of youtube tutorials on action lines and gesture drawing, in case you want to look more into that! Only god and my youtube history know how long I’ve spent doing just that

 - Talking about youtube, if you want to work on your flow a good way is to try out the one minute figure drawing exercises - they give you a pose, you have one or two minutes to sketch it out depending on the video, then it moves to the next pose. It’s a good way to loosen up your lines, in my experience! This is a nice playlist for that, in case you wanna give it a go!

 - Rewinding a bit and going back on body language, if you want your pose to feel alive and be realistic while at the same time conveying a specific mood or feeling, maybe you’ll want to look into how people express themselves through body language! I always see this suggested to writers to set the mood without explicitly stating the emotion, but it’s a wonderful tip for artists too the way I see it (mostly so if you’re drawing a comic, actually!). A good list is this one, give it a skim!

 - More than a tip it’s a trick, really, but giving a prop to your character can help make the pose more interesting - there’s only a finite number of things a character can do standing alone by themselves with nothing to occupy them with, an object or an animal or a second character to interact with really do make finding an interesting pose easier!

That was a lot of theory there, wasn’t it, let’s go for some practical tips too (featuring Horikoshi’s pencil sketches, because I love them and he’s very, very good at this whole posing thing)

 - If you picture your character as standing in an open space and the eyes of the viewers as a camera, moving the camera around them to find an interesting angle adds a lot of depth to the pose. It can be really, really tempting to just draw them from the front and eye level, but sometimes even just raising or lowering the camera the smallest bit helps with giving the drawing life - perspective! I know, I hate it too orz but we’re working hard to overcome that problem, because look at Horikoshi’s latest Kirishima sketch!

so alive! So beautiful! The pose in itself isn’t all that special, but the angle he decided to draw it at sure helps give him life. A thing I do often is to draw a thumbnail of the scene I’m trying to draw from the most boring angle possible, to make sure of where everything is, and then metaphorically move the camera around to try and find a more interesting angle to portray it from - it helps! At least, it does for me haha

 - Keeping it asymmetrical makes the pose dynamic! Let’s look at Toga over here

Her legs and arms are an obvious example of this, but specifically I marked for you the hips line and shoulders line to show you how they aren’t paralel either, because that’s a little thing that’s generally a good idea to keep in mind when you want to give a bit more of movement to your posing! It’s true in photography too, actually. If you want a full body selfie to look good, try keeping shoulders and hips on non-paralel lines, it makes the whole thing look a lot more professional 

 - Keeping that Toga pic as our set example, hair and clothes give a lot of movement to the pose too! If you draw someone in the middle of an action, their clothes and hair are (possibly, if the clothes are loose enough and hair long enough) going to move with the action too - they show the direction of the motion, so keep that in mind when drawing them. Additional tip! If your character is just standing still, wind is a thing you can always make use of to give a bit more movement to the whole set-up!

 - It’s a good idea to keep all the noise in your pose on one side, to give it a bit more balance and make it less chaotic - let’s use Jirou here as our example

the lines on the right side are a lot more simple and straight than the ones on her left, as I tried to very roughly mark for you - all details and “noisy” bits are all on the same side too, so that your eyes can easily focus on what’s important in the pic without getting lost all over the canvas. Balance and asymmetry! Again! It’s an easy way to make poses interesting, after all!

 - That said, it’s not like you can never keep it symmetrical - the human brain actually likes that symmetry a whole lot, finds it compelling! It has to be perfectly symmetrical, though. Let’s look at Bakugou, because why not, always a good time to look at Bakugou

if you drew a line in the middle of his face and down his body, you’d see he’s pretty much perfectly symmetrical - that’s nice! That works! ...why does it work, though? This goes a bit more into composition and less into posing, but this has to do with the rule of thirds: generally and very simply, the rule is that for a picture to be well composed it needs to be set so that the main focus isn’t smack in the middle of the canvas. Some examples with the pics I just posted up there!

The way the bodies are positioned and the way in which the empty spaces are used respect the rule of thirds pretty dang neatly, and that helps make the pictures look less stiff too, between the others things! It gives balance to the whole composition, and makes it more lively! (The reason why it works with Kirishima is that the focus of the drawing is less him as a whole and more his face and right fist - so very neatly positioned! I’m in awe, ngl)

Bakugou’s case is a bit different thoguh, and that’s why the symmetry works there!

when you want to go for the symmetrical look you sort of need to forget about the rule of thirds, as far as I’ve been thought - symmetrical means tidy, and it’s only really tidy if it’s symmetrical based on a line traced right in the middle of the canvas, so Bakugou’s center is right along the median axis, and his pose works even if it’s pretty stiff, by all means.

(this goes into the rules of making a good portrait work, actually, but the lack of empty space all around him helps with keeping it looking well composed and tidy, too. There’s a lot of little tips and tricks that help make a pose work when it comes to composition, really!)

(Also, to be fair this last bit about the rule of thirds wasn’t exactly necessary or particularly well explained, I’ll be real, but while browsing Horikoshi’s twitter I realized how neatly all his sketches follow the rule and I needed to gush about that for a sec, it’s how being a fan works haha hope it was useful at least a bit to you, though!)

[mightdeletethis]

I hope yall have a happy and great new year! :D

Edit:

SO! Talk time, ik nobodys gonna read this but anyways

January

I was so proud of this picture. Still sort of am. I remember drawing this with a new set of brushes i had downloaded and it was a lot of fun to redraw these pokemon from small reference pictures. I dont think i noticed that back then but now im proud of my past self cuz i think i managed to draw the pokemon pretty well and it was one of the first times i tried to redraw something without using the exact same pose or position from my reference pic, but trying something different. I was also a bit frustrated with the picture cuz its not exactly how i would have liked it but meh its still nice

February

HAH. My laptop was definitely not made for a canvas this big xD its a 3000 x 3000 canvas and my laptop was struggling a lot during the whole process and i was so scared it would crash any second (luckily it didnt =w=). I was watching naruto while drawing this, thats why the expression looks the way it does lol Now i dont think it looks that good but back then i was damn proud of myself and i think it a sort of achievement aswell since i had never tried to draw a more detailed face this way

March

BOOM! x) "BOOM" 2 to be exact, me and my friend keep track of all my random boom pictures lol. This one was a redraw of a random sketch i had drawn previously, aka boom 1. Tbh i dont think i ever had so much fun or was so satisfied with a picture as i am/was with this one. There was no point to it, no background story, nothing, i just wanted to draw something fun and thats what i did and the picture still makes me happy, despite the flaws it has pwp

April

Very happy with this one too. I wanted to draw fanart for the little trashmaid comic series (its great, check it out) and when i was done i was super happy with how it turned out and the creator of the comic seemed to like it aswell ^w^ I still like it and im not feeling embarrassed about it in the slightest, which i think is the best thing about the picture (even tho it could have been better)

May

I love this picture and i dont really care about all the things i did or didnt do wrong. At the beginning i was having trouble and got a bit frustrated with it since i didnt know how to draw what i wanted to but in the end i think it turned out great and idk, it just makes me happy :D

June

The first picture after i had nuked my old account. Id love to ramble about this picture and the story behind it but that would take too much time and i doubt anyone made it this far anyways lol What i can say is that the drawing process of this one was also a lot of fun and i was able to just go into a..somewhat trance state and just, well, draw. I think that one was also the one where i found my love for lineless backgrounds. (when im in the right mood i love painting them)

July

This was..hm. Challenging. Intimidating. I hadnt seen a lot of Sky: Children of the Light fanart and after my first attempt at a screenshot redraw had gone well, i wanted to try another one. And as soon as i had started, it just worked. I had some trouble with the shading and it doesnt look very good at some parts but eh i still love it (not super happy with the colours but im getting better at that i think)

August

I dont know what happened there lol I remember wanting to draw something for the prompt but being pretty late? Idk, anyways, for some reason i decided to start drawing at 10pm and keep going without a single break until 2-3am. Again, i was in this drawing bubble and only broke out when i felt like i was gonna pass out and i had to finish. I know i could have just stop and gone to sleep but for some reason i didnt. But ye i like the result, i see so many mistakes and things id like to change but it is what it is

September

Hach...Theres so much wrong here xD But oh well. I drew the sketch in a free period in school befor latin class and later redrew it digitaly. I wanted to draw stardew valley fanart and so i did pwp It was fun so i dont dislike the picture but i still know that there are parts that dont make any sense xD

October

Its so pretty ;w; I mean cmon- it is. This is a picture where i have no problem to be arrogant or show of cuz i think i did a really good job with it and welp theres nothing more to say. I love it and it was a great drawing process

November

Very frustrating. The pose was fine but- the background? Oof. It took me ages to get it done, then i decided it sucks and deleted it and started from scratch and drew a whole new background. Im..half happy with the result. Its not what i wanted it to be but i guess it turned out fine and i dont dislike it

December

Again, super happy. It turned out very nicely and actually close to what i had in my mind. It also came put pretty quick. I only had trouble with the clothes but eh im gonna get better at that eventually

Recap time!

[adelaidecity]

Quilty as charged: Ben Quilty exhibition bridges the wonderful and the abhorrent

Quilty is the biggest show in town, as John Neylon reviews the first major survey of Ben Quiltys work. Churchill described success as stumbling from failure to failure with no loss of enthusiasm. Now why should that thought come to mind when reflecting on the art of Ben Quilty? By any measure, his progress to date has been entirely successful. The artist won in 2011 the Archibald Prize for his portrait of Margaret Olley and in 2009 the Doug Moran National Portrait Prize for a painting of Jimmy Barnes. He was awarded a Brett Whiteley Travelling Art Scholarship in 2002. He has presented a significant number of solo exhibitions and been included in many survey exhibitions and biennials. His work is held in the National Gallery collection and those of almost all Australian state art museums. Most recently, he has been honoured with a major survey show, Quilty, recently launched at the Art Gallery of South Australia (curated by Lisa Slade). The exhibition will subsequently tour to Art Gallery NSW and Queensland Art Gallery. Critic John McDonalds eye brow raise on the AGNSWs feting of Quilty, aged 46 (when senior artists Charles Blackman and Robert Dickerson both died without a retrospective in their home city), makes interesting reading. Then again, no other artist bar Brett Whiteley has been given the honorific of an opera based on their life and work. The Australian Opera production of Whiteley will be staged at the Sydney Opera House. But if Quiltys trajectory maintains its upward thrust, he may one day be so celebrated. A recent photo shoot (Good Weekend cover) showing the artist in Pasolini pose with a barbed wire crown might give a hint of how some librettist may one day mythologise him.

Installation view: Quilty, Art Gallery of South Australia, Adelaide, 2019 (Photo: Grant Handcock) This is an impressive level of recognition for a creative talent that has barely begun to hit its stride. Add to this the loosening of the art worlds grip on the Quilty narrative as the wider Australian community picks up the story and claims the artist as one of its own. This is rare but it does happen. Tom Roberts and Arthur Streeton, then Hans Heysen, gave expression to a sense of national identity through pastoral landscape. Sidney Nolan and Arthur Boyd gave utterance to the soul of a nation beginning to reflect on its inner life. Brett Whiteley riffed off 1960s counter culture vibes and Kathleen Petyarre created magic carpets of country that invited the nation to get on board. A sense that Ben Quilty may be destined (or expected) to face such a responsibility was evident at this years Adelaide Writers Week when the artist held a large crowd captive with his articulate description of how he sees his practice relating to wider community issues and aspirations. The audience was primed. Through extensive media exposure his credentials as an activist artist became well-known. In 2011 he worked as an Official War Artist with Australian troops in Afghanistan and subsequently created a compelling series of portraits of service men and women grappling with the trauma of what theyd experienced. His well-known life vest series came from the experience of witnessing refugee camps in the Lebanese Beqaa Valley and of walking life vest-strewn beaches on the Greek Islands of Lesbos and Chios. Then there was the close association with Muryan Sukamaran who was sentenced to death for drug trafficking in Indonesia. Audiences for Quilty the exhibition will be well served by a comprehensive representation of such images and a solid representation of formative work such as the cars and budgies which declare the artists mordant wit and subscription to bold gestural painting. But far more lies in wait, particularly the interlocking and tangled compositions associated with the Last Supper series.

Self Portrait, the executioner, Ben Quilty, 2015, Southern Highlands, New South Wales, oil on linen, 195.0 x 140.4 cm; Gift of the artist 2015. Donated through the Australian Governments Cultural Gifts Program, Art Gallery of New South Wales, Sydney (Photo: Mim Stirling) There are some safer havens in the form of Rorschach blot-mediated images, particularly the familiarity of The Island, seen in Dark Heart, the 2014 Adelaide Biennial of Australian Art, Evening Shadows Rorschach after Johnstone (a somber riff off AGSAs most popular painting of all time Evening shadows backwater of the Murray, South Australia) and, another panoramic work, Fairy Bower Rorschach. In the light of recent media focus on massacre sites in Australia, this particular work, referencing such a site, an idyllic picnic ground on Gundungarra country where in 1834 Aboriginal women and children were reputedly massacred, sends a chill through the room. These works are visually engaging even if they hold their dark secrets close to their hearts. Viewers I noticed spent real time looking at them as if engaged in a Wheres Wally? battle of wits to find the hidden details. These images help to explain Quiltys sustained use of the Rorschach blotting technique of transferring, by folding and pressing, a positive image of thick, wet paint onto the other (blank) half of the canvas. As any respectable Rorschach blot will tell you, its all in the mind. But in the company of other works dwelling on hurt and misery they carry out their duties as gates to hell with disconcerting ease. The Rorschach spin is useful as a slingshot into the grotesque which, in Quiltys imagery, acts as circuit breaker between the wonderful and the abhorrent. Every time he distorts a face to breaking point or subjects a figure to dismemberment there is an appeal to ones inner sense of dread and the voyeur within. Whenever a head or a landscape pulls apart to morph into a Siamese-twin-like thing the grotesque comes sniffing around. From another perspective this recourse to the grotesque as a default within Quiltys imagery may act as an escape valve to relieve what must be for the artist a build-up of almost unbearable tension as he coopts his feelings to the tasks at hand. The grotesque always threatens to erupt as hysterical laughter. In a number of works, particularly faces with extruded noses and goggle eyes, the shriek of horror comes from the lips of Shrek, the unlikely hero. Time for Samuel Johnson, He who makes a beast of himself gets rid of the pain of being a man. This extensive exhibition, with its mid-section line-up of large-scale works that tend to tower over the viewer, oozes with visceral, oleaginous energy. We are not, as a rule, used to dealing with very large paintings, particularly figurative images calling down fire and brimstone on the worst the world serves up. Australian artist Richard Lewers The History of Australia is another, recent example. From an historical perspective, consider the status of the big picture in the Victorian era when panoramic vistas of everyday life by William Powell Frith, such as The Derby Day and The Railway Station, drew large crowds. In the modern era, some in Adelaide may recall being transfixed by the Hiroshima Panels, exhibited at the Art Gallery of South Australia in 1958. So, in one sense, Quilty is winding back the hands of the clock to a time when large paintings (and any paintings for that matter) addressed matters of social concern. The way-points in this reverse journey are many, so perhaps stop at Goya or youll be crushed by it all. My recommendation take a good hard look at Thodore Gricaults The Raft of the Medusa before climbing down into the darkened chambers of Quiltys Dantean journey into the mind. Medusa throws up the same questions: why them not us? Will justice be served?

Installation view: Quilty featuring Self-portrait at 43 and The island by Ben Quilty, Art Gallery of South Australia, Adelaide, 2019 (Photo: Grant Handcock) From here, segue to the gate-keeper of modernitys limner of the human condition, Francis Bacon, who, when he visited a butchers shop, thought it surprising that I wasnt there instead of the animal. Look out for some Bacon references in the bared teeth of one self-portrait. If curious about this ambient link between Quiltys and Bacons agendas, consider this observation by artist Stacy Makishi. In my response to Francis Bacon, I wanted to push my explorations toward finding a transgressive kind of beauty. I wished to paint a muscular poem; a wet poem with saliva, sweat, tears and body fluids a poem that pushed ones body through a glass of forbidden desire. Pushing ones body resonates with Quilty (the exhibition publication) essayist Justin Pattons comment that the artist likes to chase the moment when his forms begin to push back. And thats what his monumental Last Supper images do when their interlocking sweeps of pigment and advancing/receding planes of colours and shapes (looking like a gelati Leger painting sliding towards the footpath) trap the gaze and hold it. Abandon all expectations of subject or social concern (as in the nearby feral polemic (Patton again)) of Quiltys rage at Trumps ascension, and surrender to the paint and the rush of creating something that is primarily about and of itself. In this regard, Quiltys priorities and methodologies line up with artist Robert Motherwells take on arts end game. For him it was all about managing feeling. To find and invent objects whose felt quality satisfies the passions that for me is the activity of the artist No wonder the artist is constantly placing and displacing, relating and rupturing relations veering towards the unknown and chaos yet ordered and related in order to be comprehended. There is art world commentary on the Quilty dilemma the risks of overpowering the art with the polemic and so on. While the artist continues to follow where the medium leads there is every chance that his creative journey will continue to be sustained. So back to the paint and Churchill. The walls of paint overpower almost every other consideration in this exhibition. Perhaps the best analogy to leave you with is that of the solo climber, clinging to the sheer rock wall with only the pressure of a thumb or a toe between the climber and death. In this situation the risks are beyond comprehension. No. Ben Quilty isnt facing such life and death decisions whenever he goes in to the studio. But the manner in which he traverses his canvases is high risk, with the thought of failure always needing to be countered by boundless enthusiasm.

Installation view: Quilty, Art Gallery of South Australia, Adelaide, 2019 (Photo: Grant Handcock) Quilty Art Gallery of South Australia Until Sunday, June 2 agsa.sa.gov.au https://www.adelaidereview.com.au/arts/visual-arts/ben-quilty-exhibition-review/

[adelaideattractions]

Quilty as charged: Ben Quilty exhibition bridges the wonderful and the abhorrent

Quilty is the biggest show in town, as John Neylon reviews the first major survey of Ben Quiltys work. Churchill described success as stumbling from failure to failure with no loss of enthusiasm. Now why should that thought come to mind when reflecting on the art of Ben Quilty? By any measure, his progress to date has been entirely successful. The artist won in 2011 the Archibald Prize for his portrait of Margaret Olley and in 2009 the Doug Moran National Portrait Prize for a painting of Jimmy Barnes. He was awarded a Brett Whiteley Travelling Art Scholarship in 2002. He has presented a significant number of solo exhibitions and been included in many survey exhibitions and biennials. His work is held in the National Gallery collection and those of almost all Australian state art museums. Most recently, he has been honoured with a major survey show, Quilty, recently launched at the Art Gallery of South Australia (curated by Lisa Slade). The exhibition will subsequently tour to Art Gallery NSW and Queensland Art Gallery. Critic John McDonalds eye brow raise on the AGNSWs feting of Quilty, aged 46 (when senior artists Charles Blackman and Robert Dickerson both died without a retrospective in their home city), makes interesting reading. Then again, no other artist bar Brett Whiteley has been given the honorific of an opera based on their life and work. The Australian Opera production of Whiteley will be staged at the Sydney Opera House. But if Quiltys trajectory maintains its upward thrust, he may one day be so celebrated. A recent photo shoot (Good Weekend cover) showing the artist in Pasolini pose with a barbed wire crown might give a hint of how some librettist may one day mythologise him.

Installation view: Quilty, Art Gallery of South Australia, Adelaide, 2019 (Photo: Grant Handcock) This is an impressive level of recognition for a creative talent that has barely begun to hit its stride. Add to this the loosening of the art worlds grip on the Quilty narrative as the wider Australian community picks up the story and claims the artist as one of its own. This is rare but it does happen. Tom Roberts and Arthur Streeton, then Hans Heysen, gave expression to a sense of national identity through pastoral landscape. Sidney Nolan and Arthur Boyd gave utterance to the soul of a nation beginning to reflect on its inner life. Brett Whiteley riffed off 1960s counter culture vibes and Kathleen Petyarre created magic carpets of country that invited the nation to get on board. A sense that Ben Quilty may be destined (or expected) to face such a responsibility was evident at this years Adelaide Writers Week when the artist held a large crowd captive with his articulate description of how he sees his practice relating to wider community issues and aspirations. The audience was primed. Through extensive media exposure his credentials as an activist artist became well-known. In 2011 he worked as an Official War Artist with Australian troops in Afghanistan and subsequently created a compelling series of portraits of service men and women grappling with the trauma of what theyd experienced. His well-known life vest series came from the experience of witnessing refugee camps in the Lebanese Beqaa Valley and of walking life vest-strewn beaches on the Greek Islands of Lesbos and Chios. Then there was the close association with Muryan Sukamaran who was sentenced to death for drug trafficking in Indonesia. Audiences for Quilty the exhibition will be well served by a comprehensive representation of such images and a solid representation of formative work such as the cars and budgies which declare the artists mordant wit and subscription to bold gestural painting. But far more lies in wait, particularly the interlocking and tangled compositions associated with the Last Supper series.

Self Portrait, the executioner, Ben Quilty, 2015, Southern Highlands, New South Wales, oil on linen, 195.0 x 140.4 cm; Gift of the artist 2015. Donated through the Australian Governments Cultural Gifts Program, Art Gallery of New South Wales, Sydney (Photo: Mim Stirling) There are some safer havens in the form of Rorschach blot-mediated images, particularly the familiarity of The Island, seen in Dark Heart, the 2014 Adelaide Biennial of Australian Art, Evening Shadows Rorschach after Johnstone (a somber riff off AGSAs most popular painting of all time Evening shadows backwater of the Murray, South Australia) and, another panoramic work, Fairy Bower Rorschach. In the light of recent media focus on massacre sites in Australia, this particular work, referencing such a site, an idyllic picnic ground on Gundungarra country where in 1834 Aboriginal women and children were reputedly massacred, sends a chill through the room. These works are visually engaging even if they hold their dark secrets close to their hearts. Viewers I noticed spent real time looking at them as if engaged in a Wheres Wally? battle of wits to find the hidden details. These images help to explain Quiltys sustained use of the Rorschach blotting technique of transferring, by folding and pressing, a positive image of thick, wet paint onto the other (blank) half of the canvas. As any respectable Rorschach blot will tell you, its all in the mind. But in the company of other works dwelling on hurt and misery they carry out their duties as gates to hell with disconcerting ease. The Rorschach spin is useful as a slingshot into the grotesque which, in Quiltys imagery, acts as circuit breaker between the wonderful and the abhorrent. Every time he distorts a face to breaking point or subjects a figure to dismemberment there is an appeal to ones inner sense of dread and the voyeur within. Whenever a head or a landscape pulls apart to morph into a Siamese-twin-like thing the grotesque comes sniffing around. From another perspective this recourse to the grotesque as a default within Quiltys imagery may act as an escape valve to relieve what must be for the artist a build-up of almost unbearable tension as he coopts his feelings to the tasks at hand. The grotesque always threatens to erupt as hysterical laughter. In a number of works, particularly faces with extruded noses and goggle eyes, the shriek of horror comes from the lips of Shrek, the unlikely hero. Time for Samuel Johnson, He who makes a beast of himself gets rid of the pain of being a man. This extensive exhibition, with its mid-section line-up of large-scale works that tend to tower over the viewer, oozes with visceral, oleaginous energy. We are not, as a rule, used to dealing with very large paintings, particularly figurative images calling down fire and brimstone on the worst the world serves up. Australian artist Richard Lewers The History of Australia is another, recent example. From an historical perspective, consider the status of the big picture in the Victorian era when panoramic vistas of everyday life by William Powell Frith, such as The Derby Day and The Railway Station, drew large crowds. In the modern era, some in Adelaide may recall being transfixed by the Hiroshima Panels, exhibited at the Art Gallery of South Australia in 1958. So, in one sense, Quilty is winding back the hands of the clock to a time when large paintings (and any paintings for that matter) addressed matters of social concern. The way-points in this reverse journey are many, so perhaps stop at Goya or youll be crushed by it all. My recommendation take a good hard look at Thodore Gricaults The Raft of the Medusa before climbing down into the darkened chambers of Quiltys Dantean journey into the mind. Medusa throws up the same questions: why them not us? Will justice be served?

Installation view: Quilty featuring Self-portrait at 43 and The island by Ben Quilty, Art Gallery of South Australia, Adelaide, 2019 (Photo: Grant Handcock) From here, segue to the gate-keeper of modernitys limner of the human condition, Francis Bacon, who, when he visited a butchers shop, thought it surprising that I wasnt there instead of the animal. Look out for some Bacon references in the bared teeth of one self-portrait. If curious about this ambient link between Quiltys and Bacons agendas, consider this observation by artist Stacy Makishi. In my response to Francis Bacon, I wanted to push my explorations toward finding a transgressive kind of beauty. I wished to paint a muscular poem; a wet poem with saliva, sweat, tears and body fluids a poem that pushed ones body through a glass of forbidden desire. Pushing ones body resonates with Quilty (the exhibition publication) essayist Justin Pattons comment that the artist likes to chase the moment when his forms begin to push back. And thats what his monumental Last Supper images do when their interlocking sweeps of pigment and advancing/receding planes of colours and shapes (looking like a gelati Leger painting sliding towards the footpath) trap the gaze and hold it. Abandon all expectations of subject or social concern (as in the nearby feral polemic (Patton again)) of Quiltys rage at Trumps ascension, and surrender to the paint and the rush of creating something that is primarily about and of itself. In this regard, Quiltys priorities and methodologies line up with artist Robert Motherwells take on arts end game. For him it was all about managing feeling. To find and invent objects whose felt quality satisfies the passions that for me is the activity of the artist No wonder the artist is constantly placing and displacing, relating and rupturing relations veering towards the unknown and chaos yet ordered and related in order to be comprehended. There is art world commentary on the Quilty dilemma the risks of overpowering the art with the polemic and so on. While the artist continues to follow where the medium leads there is every chance that his creative journey will continue to be sustained. So back to the paint and Churchill. The walls of paint overpower almost every other consideration in this exhibition. Perhaps the best analogy to leave you with is that of the solo climber, clinging to the sheer rock wall with only the pressure of a thumb or a toe between the climber and death. In this situation the risks are beyond comprehension. No. Ben Quilty isnt facing such life and death decisions whenever he goes in to the studio. But the manner in which he traverses his canvases is high risk, with the thought of failure always needing to be countered by boundless enthusiasm.

Installation view: Quilty, Art Gallery of South Australia, Adelaide, 2019 (Photo: Grant Handcock) Quilty Art Gallery of South Australia Until Sunday, June 2 agsa.sa.gov.au https://www.adelaidereview.com.au/arts/visual-arts/ben-quilty-exhibition-review/

[blschaos3000-blog]

Its 11:15 pm dark

A little while ago I was lucky enough to have interview the fantastic artist Louie De Martinis whose drawings of The Shadow just blew my mind. Ever since that interview I have been looking for more artists to talk with but I found out that is easier said then done.    My old friends in the music business will get a laugh about how I met Meaghan C. Kehoe…I found her completely by accident. See,I have been a follower of a small art community center in Oshawa called The Living Room which was founded by the lovely Mary Krohnert for a couple of years now. Once in a while Mary will post on YouTube about community center and upcoming events.    When I saw the Taskmaster Art Challenge video which featured 5 very talented artists creating a project in just 5 minutes and then raffling it to raise money for the center,I knew I had found my next artist to chat with Meaghan.     But securing a interview with a very much in demand artist is no easy task either as Meaghan and I played email tag for while before she able to get a little time to answer her questions.    But the wait was so worth it because Meaghan is pretty damn amazing and I sure am blessed to landed this chance to ask her 8 Questions!!!

 Please introduce yourself and share a little of your background.

My name is Meaghan Claire Kehoe and I am a human, feminist, amateur environmentalist, and some would say artist. I’ve always been excited to create things- things that are visually appealing. From drawing pretty pictures when I was a kid and into my teen years, I started to ask myself where I wanted these pretty pictures to take me in life. I went to Sheridan for Illustration, but dropped out after a year and a half when I found I was bored by the direction the program took me in. After months of deliberation, I decided to go safe and do my undergrad in French at Laurier (choosing this university only because my younger sister was applying there for Business). It turns out I loved the structure of university. I loved the critical thinking of dissecting literature and I loved learning about different cultures across the globe. I took German and Italian as well and was hopeful for a future of globe trotting to fill my life with cross-cultural understanding and meaning. In third year, I was finally allowed to go abroad on exchange. I worked full time for a semester as a barista while on a full time course load and was able to afford one semester in France. I went to Tours (for no other reason than our schools had partnerships for course equivalence), and it was beautiful. A small University city overrun with mostly students, shops, cafes and cobblestone (and of course our late-night shawarma place for post-cheap-wine-and-cheese snacks. But it was a single evening that was pivotal in my life’s direction and probably the reason I am where I am. I had managed to get into a figure-drawing class (really had to fight for that one since it wasn’t a normal elective at Laurier) and I remember surprising my stereo-typically snooty french art prof with my skill in the class- he even stopped me after class to ask about my history in figure-drawing (which was an accumulation of Arts York HS and the stint at Sheridan). Anyway, the experience woke me up again. I felt alive. I remember after the class ended, it was already dark out- a late January evening- I literally skipped back to the cafe where I was to meet a friend. Rolled newsprint underarm, blackened charcoal fingers, and a silly grin, I felt weightless flying over the cobblestone. I knew then, or maybe in the days to follow, that it was time to take this thing seriously.

After 6 months travelling Europe, I returned to finish my final fourth year at Laurier and did so with honours, all the while setting myself up to begin the risky journey of being an entrepreneur and self-employed artist.

 What drew you to art? Was there a defining moment where you knew this is what you wanted to do?

My mum is an incredibly talented artist. When I was growing up, she went from working as a graphic designer for an agency to starting her own business from home so she could spend more time with us. She has always had an incredible eye for composition and a refreshing use of negative space. This seemed to alway translate to her paintings as well. She created gorgeous watercolours with expressive vibrancy, colour and edge. She was obviously a strong influence in my life and I followed in her footsteps though I did not always want to. I knew I had the natural passion and all the learned skill she’d taught me through the years, but I had watched her struggle with the classic entrepreneur hangups: getting clients to pay her, getting clients to respect her choices and knowledge and experience, and… getting clients. I didn’t think I was cut out for it. I was shy and insecure and I didn’t think I had anything original or meaningful to share with the world.

That moment in Tours, France on my exchange really helped me remember why I painted in the first place. It was enough to do it because it made ME happy. And if I couldn’t do that then what else was there?

 What are the pros and cons of getting a art education at a university or college? Some say a “formal” education restricts artistic freedom,how do you respond to that?

This one is tough for me to respond to since I never finished my post-secondary art program. All I have to say is that it is likely like any other program. It has to be the right one for you, but also there is no program out there that is going to satisfy your needs %100. It takes a lot of guts to go against the grain or the prof and take from the experience what you need as opposed to what is provided, but its worth it to do some digging and soul-searching to make sure you don’t conform for the sake of conforming. There are a lot of opinions out there about what constitutes “real” art, but they are all just that. Opinions.

 What does “mixed media” mean? 

Mixed media means you are no sticking to strictly one medium in your work. For example, you are not using just oil paint or just acrylic paint. There are some fantastic contemporary artists using mixtures of paints, pastels, papers, photography, and even found objects. (Anya Mielniczek is a great one for this- she’s a good friend of mine who is also an environmentalist and up-cycles trash to create beautiful works).

 What is your typical day like as an artist? How do you get your creative ideas?

I’d like to say my typical day is a romantic sepia-toned dreamy sequence of me in cute overalls with a smear of paint on my nose, a brush through my messy bun that I’ll continually be losing and looking for, and a giant canvas on my wall splattered in passionate marks that somehow emerges as a perfectly balanced masterpiece. And it is. Is the lie I’ll tell Spielberg when he interviews me for the biography he’ll shoot about me one day.

Unfortunately, there is a lot of stuff I have to do that sucks my soul (like in any job). I usually start with a to-do list, then emails, any phone calls I need to make to clients, sometimes brainstorming/conceptualizing/sketching designs for corporate murals, sometimes cleaning up the mess of spraypaints I’ve dumped in my studio the night before after a project. There’s taxes, invoices (which reminds me I still have a couple to do today), and walking my dog. I actually get a lot of my best ideas this way. A walk alone with my thoughts, 50 minutes or so, gets a great creative brain-flow going and puts me in a better mind set to get work done when I get back in the studio.

 What is your take on “art critics”? 

Well, I’ve never been critiqued by one yet- I suppose my work isnt legitimate enough for them. But thats the thing, isnt it? My art isnt for everyone. Nor should it be. Like I said, opinions are opinions.

 Do you ever go to museums or art galleries yourself? If so,do you look as a fan or an artist?

I do go to museums and art galleries, though I feel most compelled to visit them in Europe. They’ve put a lot more value into their arts and culture than we have in North America (as well as a longer and richer history) so there’s a lot more to see. Plus, they’re usually way cheaper or FREE! It’s like they actually want their citizens to appreciate art!

 What was your first drawing and what was the first piece that you sold?

I really couldn’t tell you what my first drawing was. My mom says I was drawing perfect circles before I could talk. But my first piece I sold was probably when I was 16. I was commissioned to create the cover of Salvation Army’s ‘Faith and Friends’ Christmas zine. Though my mom will tell you that I painted a piece in grade three that all the teachers tried to buy off her. She had it framed and it hung in our dining room for a couple decades.

You have done art in over 50 Starbucks in Canada,how did you get that gig and do you have complete freedom in what you paint?

I got the Starbucks gig through a connection (my sister’s friend’s then-boyfriend was an interior designer for Starbucks and looking for more muralists at the same time I had decided I wanted to get into large-scale wall-art). It was a match made in heaven. I honestly have never had so little control over my work than I did with Starbucks- they are very particular about their branding, but they were really professional and respectful and compensated me well. I had so many jobs with them over the span of a few years that I was able to do things like quit my part time job, buy a car and put money into savings. I owe them a lot.

 Are graffiti taggers artists or vandals?

Yeah this one is a tough one. I have to go with both. It’s funny because a certain few street or graff artists have become famous internationally (e.g. Basqiat and Banksy). Their work questioned societies norms in a way that was clever and beautiful and spoke to people. If that isn’t art, then I don’t know what is. But were they vandalizing property? Sure. But many graff artists would say that property is a societal construct and imposition that should be challenged. Personally, I can see it from both sides and its a constant dichotic conversation for me.  

   You do a LOT of charity work, what drives you to give your gift to others?   How did you get involved with Mary Krohnert and The Living Room?

I think one of the most universal human struggles is finding meaning in one’s life. That doesn’t change when you become an artist. In fact, it is only amplified. Everyone has their own gifts and talents and for me it is crucial to find out why I ended up with mine. The answer is that I still don’t know, but if I just keep helping out where I can, I’m sure I wont get further from answering that important question. Or maybe its just the childhood catholic school guilt… Who knows?!

My introduction to Mary from The Living Room was another serendipitous moment in my life. My partner and I moved to Oshawa two years ago and one day I was sitting on my porch and a pretty lady with a cute dog walked by. So I chased her down to meet her pup (a shy hound named Alice), and found  out they were my neighbours from a few doors down. Mary was really excited to find out I was an artist and the friendship bloomed from there. I really believe in what Mary is doing with The Living Room. Any way I can help out, like in the latest fundraiser event where I got to be a part of their very own ‘Task-Master’ episode (a spin off form a British series), is the least I can do.

What is a art battle?

Art Battle is an event that was started around 8 years ago by two guys, Chris and Simon, that began with a competition of two artists painting live and being judged by audience vote and has evolved into a world-wide organization with monthly contests all around the globe between 16 artists at a time. There are three rounds: 1) 8 artists paint for 20 minutes; 2) another 8 artists paint for 20 minutes; 3) the top two painters from each round voted by the audience paint a new painting for 20 minutes and the audience votes for the final winner. There’s a DJ, a bar and a lot of excitement. The winner goes onto the regional competition and the winner of that goes onto the Nationals. I’ve won the Toronto regionals twice in the couple years I painted at art battle only to be beat out at Nationals twice.

 The cheetah and I are coming to see a exhibit of your latest work but we are a day early and now you are our tour guide,what are we doing?

Oh my goodness! Okay! Well we’d have to go the the Robert McLaughlin Gallery for sure. If it was the first Friday of the month, I’d take ya to the RMG fridays event where they also feature some local live music. That would be after grabbing dinner at Spicy Affairs (my favourite Indian restaurant in Durham and its right near my house). Before that might be an afternoon at the Botanical Gardens. Oshawa Creek runs through there and in the right season you can see the salmon racing upstream to spawn. They’re huge! Theyve also got cool sculptures and some playgrounds for the kids around there. Before that we would go to Isabella’s for coffee and snacks or to Berry Hill for brunch/lunch. And at the end of the whole night, we would end up at Riley’s for a pint and a couple rounds of pool.

 THE END.

I like to thank Meaghan for chatting with me. I think you have a true gift and that you share it with the world is tremendous. You are definitely doing what you were meant to do here,never doubt that for a second.

You can follow the wonderful Meaghan Claire Kehoe by visiting and bookmarking it by going to her website here.

Thank you for your continued support and I hope you enjoy these interviews as much as I do. I have many more in the pipeline that I think you’ll really enjoy.

Feel free to leave a comment below and I’ll make sure to pass it on to Meaghan.

8 Questions with…………..artist Meaghan Claire Kehoe Its 11:15 pm dark A little while ago I was lucky enough to have interview the fantastic artist Louie De Martinis whose drawings of The Shadow just blew my mind.

[vitalmindandbody]

If not my surname or my husband’s, could we announce our child after a New Zealand volcano?

Franki Cookney and her husband didnt much like one another surnames, so now theyre having a baby theyve are determined to pick a new one

When my husband, Rob, and I married last year, the question of what to do about our surnames barely participated our debates. We are both scribes, so our figures are on every piece of work we do. That we would save our own seemed a passed. There was just one niggling disbelieve. What would happen if we had children?

I had always had considered that we would just fasten both our identifies on the birth certification, but I knew this didnt quite solve the problem. Whose figure would go first? And which appoint would end up being used?

We could use a double-barrel call, but didnt seem our surnames, Cookney and Davies, gave themselves to hyphenation. Whichever tell you choose, research results is clunky and we were reluctant to saddle a child with it.

We could have just opted whichever call clanged best with our newborn first name. But in that scenario, one parent discontinues up not sharing a surname with their child and neither of us craved that. Plus, Id heard too many tales of mothers being stopped at airfield insurance because the names on their passports didnt accord that of their children.

The conventional option of taking my husbands surname was never on the table. Quite apart from the feminist principle of not was intended to relinquish my identity for his, I wasnt keen on the reputation. Rob supported this and was by no means offended. The misfortune was, he wasnt a fan of my epithet either. Its just a little bit unwieldy, he said. Its almost Cockney but not quite. Youre constantly having to spell it out. We looked at our mothers maiden names and our grandparents names but ever aimed up back in the same situate, feeling that it wasnt equal, that picking one slope of their own families over another wasnt fair.

We hit on the idea of taking a new reputation about a year ago when before our marry we went to write our wills. As we chitchatted to one of the attorneys, it transpired that he and his wife had done precisely this. Theres a fair fragment of admin, but its good, it toils, he said , nodding decisively. Abruptly, it didnt seem so preposterous. This wasnt some foolish uprising or bohemian pretentiousness, this was something solicitors did!

We mooted it with friends, who were largely unfazed. What mention will you go for? was the thing they were most curious about. Good topic. Could we compound the letters of our mentions and make something new, we pondered. Listings were manufactured: Gouges, Cave, Devine, Kinsey, Dacovnicks Cookies? Nothing of them quite hit the mark.

As our bridal drew nearer, we employed the figure recreation on a back burner. But when I became pregnant 3 months later, we were forced to look at developments in the situation afresh and decided to change tacking. How about a lieu? I indicated. Somewhere weve inspected that we adored. A backpacking stint before we got married had left us with slew make their own choices but most sounded fairly bizarre when attached to got a couple of everyday Brits. Rob and Franki Tongariro owned any particular vigor, but identifying yourself after a New Zealand volcano would be ridiculous. And Zhangjiajie might create recollections of spectacular Chinese mountains, but imagine having to sorcery it every time you booked a fuzz appointment or called your internet provider. For a while Salento and Chaltn were on the register, after places available in Colombia and Argentina. But we werent convinced we could pull off the certainly Latino-sounding former and suspected the latter would lead to a lifetime of chastising people who pronounced it Charlton.

Then Rob said, What about Stone Town? The beautiful old-time township of Zanzibar City is where he had asked me to marry him. It instant appeared right. Stone was straightforward but important. It voiced good with both our first name and after a few weeks of trying it on with other calls would work well with almost anything we chose for our child. It was perfect: a solid call( with a potential for puns that was not failed on us) that felt like a constructive solution to our question. We would obstruct our original surnames for wield and accept this new family name for our personal lives.

By law, all you need to do to change your refer is, well, change it. Simply borrowing and using your brand-new reputation is enough. Revising your reports and records, nonetheless, requires a document of proof such as a wedding certificate or, in such cases, a deed canvas. “Were not receiving” official practice of acquiring a deed ballot. You can write one yourself exploiting free templates from the internet, but scarcity of lucidity about the relevant procedures answers in some institutions demanding an original certificate despite the fact that no such concept subsists. You can either fight it out or you can do which is something we did and offer 15 -2 0 for a company such as the Deed Poll Office to draw up the letter on your behalf and etch and stomp it on watermarked paper. Rendered the roster of bodies and organisations you have to notify and the potential polemics over what constitutes an original credential, this seemed a reasonable compromise.

Perhaps “its been” naive, but we didnt expect to meet with fight. Uncertainty, perhaps. Intrigue, for certain. When it is necessary to getting married, we had trenched virtually every habit exiting, forbidding the wedlock itself, and no one had questioned us. Surely this too would be seen as a modern update on an outdated custom-built. But when we announced our decision to our families, the reaction was mixed.

Franki and Rob. Picture: Christian Sinibaldi for the Guardian

While they understood our quandary, the common forbear was that the child would lose the connection to its family history. Try as I might, I cant understand this. To me, family history extends far deeper than ones call. Its in the way we live, our values, the gumption and shared experience passed down through generations. It is part of the storytelling our parents did and its in the floors we, very, “re going to tell” and the beliefs we will share.

Our springs are not in our identifies, they are in our centres. My grandmother, whose surname was Jones, is important to me not because of her identify but because of her enjoy. My great-grandmother, a midwife I never even fulfilled, let alone shared a appoint with, forms a part of my feel of identity. Why? Because of the room my loving mother talks about her, because of the pictures she has decorated in my head of that life, that household, that time.

Interestingly, the mention itself has also testified a sticking point, with a few people commenting that its tolerating. Youre doing this really unusual thing but youve picked a really ordinary epithet, said one colleague, as though by doing something different “weve been” obliged to go the whole hog and call ourselves Rob and Franki Thundercats.

In fact, the accessibility of the epithet was something we thought would help us sell the idea. It turns out “were in” naive there, more. My father, a former primary school teacher, insisted that someone called Stone would be tantalized. Another relative describing him as a dead weight of a name.

In my experience, teenagers will come up with names no matter what. I wasted much of my school years known as Franki Cookie while my given name was regularly elongated to Frankenstein, Frankincense or Frankfurter.

Never tell people your epithet picks in advance, admonished one acquaintance( too late ). Its as if telling parties in advance is inviting a exchange or consultation!

While my familys affections clearly matter to me, I believe she might be right. Eventually, this is our decision, based on our demands, and I hope they will come to see it as a practical and positive step , not an reckless one.

Its almost impossible to get everyone on board, attorney another friend, who changed her surname by deed ballot in 2004. The suggestion upset my grandma but my pa, her son, understood. When I marriage my husband, he took my name. Im still not sure his brother was 100% behind us, but when we had our first son, he was the first to be born into our empire. Im so excited that we are the first in our tree!

This is exactly how I appear. I adoration the idea that our babe will be born into this new, specially opted and carefully thought-out last name. And if one day he or she decides to change it either to something new or to one of our old family names we will fully support that.

Even when you change names, ancestry can still be traced and, if nothing else, I like to think we will be seemed back on as the ones who tried something new; who instead of establishing do with an disappointing place, supposed creatively about how to solve it. Thats their own families legacy Im glad with.

Read more: www.theguardian.com

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