i hope i’ve improved since the last pic i sent you

critique please

i’ve been trying to make my lines a little less shaky

~~~~~~

I like your color palettes! That’s my new Favorite thing!!!!!! I really like your warm toned palette and it works rather well with everything!!!!!!!! Though I gotta say your lines are hella wobbly and I think we’ve critiqued your art before but I would really consider using a stabiliser and thinner lineS. I would also consider studying a bit of more realistic to get a hand at a less…geometric style. I wouldn’t post this as bad art I think! I would probably just scroll past. It’s pretty good though I think.

-Mod Cat

Pasta Emoji Ratings

A classic, nice simple sauce, would eat this no problem. Probably tastes pure and the kids would love it. 7/10

Fun, simple, but dangerously close to Mac n Cheese with that level of orange saturation. They would probably steal your labeled food from the fridge, simply shameful. Not sure what the purple spots are either, not sure if i’d eat this one. 5/10


Shameful, it appears to be a few noodles left on a plate, what a waste. Would not eat someone’s leftovers. 0/10

Elegant, simple, modern. Reminiscent of a pizza, which is a fresh new way to approach the subject. The stray noodle is a little worrying, but for the most part they’re a hardworking, well put together pasta. Would hang this up in my modern art gallery. 8/10

Not sure how to feel about this one. While the sauce is one of the best renditions I’ve seen, beautiful detail, the rest of the dish is lacking. The leaves look dangerous, like those delinquents that try to roll with the pure kids, but we’re onto them. I love the symmetry of the three noodles rising from the sauce, would eat them for sure. Not so sure about the rest. 6/10

Fake. This obviously canned pasta is trying to play itself off as genuine, unforgivable. While the taste is probably fine, a pasta you’d let your daughter hang out with, it doesn’t excuse the fact that it’s a filthy liar. would not eat for fear of my health. 2/10 

A very small noodle, good with young children, tries their best at all times. It has the perfect portion of sauce for such a tiny thing, and it deserves all it can get. I would eat this, but gently, as not to intimidate it. 9/10

Magnificent! Tasty! A real winner of a dish! The attention to detail and shading simply astonishes me. This dish is to die for, and the kind you’d bring home to your mother. Simply lovely, would definitely eat. 10/10

This is just abhorrent, not tasty at all. The choice of thick white noodles surrounded by a yellow liquid, while an interesting take, is incredibly inaccurate and tasteless. Would not eat, especially with that trident thing. 1/10

flavourless, an absolute bore of a dish. White I appreciate the detail of the cell shaded noodles, they lack charisma and courage. Would be a true pure friend, someone you can rely on, but very easily manipulated and a momma’s boy. Need’s more saturation if it want’s to roll with the big boys. 4/10. 

I feel like this is a failed attempt at what HTC excelled at. The abstract look they’re going for just doesn’t execute well at all. And that black border feel’s very threatening and hostile, as if I’m not allowed to eat it. The kind of pasta who has problems with it’s masculinity. Probably wouldn’t eat. 3/10

Why the fuck is there chocolate syrup on my pasta. 0/10

ahoy there! would you mind critiquing this before I go any further? mostly his left wing, it’s a tad… eh. i apologize for sketchy lines and such…

thank-you!
(also he’s still looking for a name, if you wanna throw a suggestion ;) )

~~~~~~

I love your style! It’s very Disney-esque ^^. I can’t really see anything wrong with it besides the fact that it isn’t colored, the wing you pointed out, and also the shoulder a little bit. Great job! I would definitely not post this as bad art :)

-Mod Moon

anonymous asked:

I just keep thinking about the bay or bae choice but like in the context of the choice the beast gives Wirt at the end of over the garden wall. Like the tornado asking to choose between chloe and Arcadia bay and Max just responding with, "that's dumb" and choosing something else that saves everyone lmao

Haha, I’ve never drawn that comparison but that’s amusing. OTGW is one of my favorite stories in general at this point, though. Thinking on all of this led to an informal essay that helps me ground myself in my own mistakes with other fics I’ve worked on, All Wounds’ planning stages, and how I’m approaching its impending ending.

This one’s a bit of a doozie.

(I will be referencing elements of the endings to Over the Garden Wall, Life is Strange, Steins;Gate, and Oxenfree, in case you’re worried about knowing things you don’t yet want to know)

OTGW and LIS are very different stories dealing with very different themes, and OTGW can get away with a blunt and brusque resolution like that because it’s a dark comedy that’s in many ways subverting or teasing a lot of melodramatic tropes. LIS often introduces tropes and then peels back a layer and asks us to look deeper, which is a whole other sort of deal.

The problem, though, is that its own finale and final climax kind of doesn’t hold up, because it hinges upon a choice that really makes no sense – and a moral-oriented choice, at that, which makes it even harder to swallow.

With Wirt and the Beast, there’s a physical character within the world to confront. To call out. To vanquish or scare off or outsmart. Greg’s disposition can be broken apart and he can be released. The entire story is about mystery and, well

OTGW makes no allusions that its story isn’t supposed to quite make sense, it embraces its mystery, and it subverts things by making ‘reality’ a hidden element until the final act.

The story makes it pretty obvious that this world isn’t supposed to make much sense, too, which leads us to not really question things when it doesn’t.

Wirt is the elder brother, he’s supposed to set an example, he’s supposed to look out for his sibling, and he fails.

And while there’s a lot of darkness to this story, it is, ultimately, a comedy, first and foremost, and most resolutions with the various antagonists are resolved with some kind of clever or amusing tactic. It doesn’t want us to take it too seriously, and it’s often making fun of tropes in dramatic fantasy stories.

What’s happening with Max, Chloe, and the tornado isn’t so physical as being lost, as confronting magical beasts. It’s abstract and unexplained, yet the story wants us to take it seriously and tries (weakly) to ‘explain’ things. This falls short because there aren’t really any concrete, established rules, and yet we’re supposed to buy into everything being Max’s fault when we don’t even know how it’s her fault. This is tricky because within the context of the narrative, it makes the player assume the position and perspective the creators wanted:

Max Caulfield is supposed to choose between the greater good, or what she desires as an individual.

The premise of that choice is great, and it’s what the entire game has been foreshadowing and leading up to. The execution is just very iffy to me because of the dodgy attempt at explanation…without explaining anything. ‘Chaos Theory’ literally does not work the way the game alludes to it. The writers know none of this makes sense, which is why in the finale they unfortunately go as bluntly as to make Chloe say:

Keep reading

The Poetics of Disdain

There is simply all horrendous poetry festering on this site.

As an undergrad, poetic communities concern me. I worry about their health, their success, what their plans are, etc. It’s like taking care of all your family members, young and old. You spend time with them, remember their birthdays, and make sure they have what they need.

But this place? I don’t know if it’s the fact of it being completely digital or a blogging site, but it’s mostly trash. Too many people on here posting under “poetry” or “poets on tumblr” have tried to emulate Tyler Knott Gregson, other Instapoets, or simply “spill ink” and utter uncrafted blathering.

(Though, I suppose you could blather craftily.)

Nobody gives concrete details, explores the nuances of language, writes about their feelings convincingly, and has few other objectives than farming for notes. Everybody is writing virtual diarrhea and they’re getting praise for it.

I just dare anybody who writes like I detailed to go to a workshop. Try getting a serious following. Try getting magazines to publish you.

It may just be I’m looking in the wrong place for this, and I would accept that. Tumblr doesn’t seem to be a rich place for much of anything. But if that, I’d like somebody to explain to me why others consider their drivel poetry. That’s all I ask for.

stop saying fic writers post their fic for free. We don’t post out of the goodness of our hearts, we post because we want an audience.

saying fic writers write for free for the goodness of the fandom is a nice feelgood thing to say, but it’s not true. 

It also has the side effect of leaving both writers and readers out of commerce of writing and feedback.

saying that fic writers do this nice thing of giving fic to the fandom for free gives readers the idea that fic is just this thing that happens, and that they’re basically tacitly entitled to fic and updates as it’s “free” and always there.

saying that fic writers are giving you this nice thing for free also tends to give people the idea that fic writers should be exempt from any and all criticism no matter how mild and no matter now necessary “because they’re giving you this free thing because they’re so nice.”

No, it’s not free and and we’re not nice. We post fic because we want attention and feedback. Fic is part of an exchange of ideas, or it should be. It doesn’t exist in a vacuum and it doesn’t happen because we want so badly to give you a thing. We’re here to express ourselves and to participate in fandom, and we need and expect fandom to participate back.

humunanunga  asked:

I gave it some thought, and I did come up with just one thing! I think it may help your artistic growth to practice more diversity in head and body shapes. Personally, I've found that observing the Steven Universe style really helps breaking down body types in a way that's easy to adapt into personal artstyles!

ah!! yeah youre right! i guess i have been slacking with that lately ! but ive been trying my best not to ignore diversity!! (idk if its noticable in the art that i post on here cuz i dont really post that often anymore :’v ) but here are a couple examples of my partice with that sort of thing! (the first two are from back in august of last year so bare with me)

~~~~Warning for tiddies ~~~~

i think i need more practice with male body types tbh ive always had trouble with that (especially chubby males). and ive noticed my headshapes tend to be round most of the time. I’ll be sure to work on that!! Thank you!!

We were keeping our eye on 1984. When the year came and the prophecy didn’t, thoughtful Americans sang softly in praise of themselves. The roots of liberal democracy had held. Wherever else the terror had happened, we, at least, had not been visited by Orwellian nightmares.

But we had forgotten that alongside Orwell’s dark vision, there was another - slightly older, slightly less well known, equally chilling: Aldous Huxley’s Brave New World. Contrary to common belief even among the educated, Huxley and Orwell did not prophesy the same thing. Orwell warns that we will be overcome by an externally imposed oppression. But in Huxley’s vision, no Big Brother is required to deprive people of their autonomy, maturity and history. As he saw it, people will come to love their oppression, to adore the technologies that undo their capacities to think.

What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance. Orwell feared we would become a captive culture. Huxley feared we would become a trivial culture, preoccupied with some equivalent of the feelies, the orgy porgy, and the centrifugal bumblepuppy. As Huxley remarked in Brave New World Revisited, the civil libertarians and rationalists who are ever on the alert to oppose tyranny “failed to take into account man’s almost infinite appetite for distractions.” In 1984, Orwell added, people are controlled by inflicting pain. In Brave New World, they are controlled by inflicting pleasure. In short, Orwell feared that what we fear will ruin us. Huxley feared that what we desire will ruin us.

This book is about the possibility that Huxley, not Orwell, was right.

What are We?

This is the original link (this post has some changes though): http://miss-zarzamora.tumblr.com/post/155866918089/what-are-we-a-victuuri-theory

I was originally planning to pose this as an ask to @thatshamelessyaoishipper​. 

But the more I tried to fit this into an ask format the longer it ended up being, so I’m just going to post this as a separate post, while still working as a counter-reply/inquiry/ask to this post: x.

Without further ado:

Yuuri and Victor are in the “we love each other but we don’t say or decide anything concrete about it” trope.

That’s pretty much it. I think people were working under the assumption that there was a moment where they talked openly about the state of their relationship. And I think that while there was a lot of communication, whether emotional or mental, and I think the writers did a good job trying to make them meet at the same places in many instances, there was also moments where they didn’t work on the same wavelength, and I think all of those are deliberate, including this little theory of mine. Even with the new information out (courtesy of @toraonice) I would like to think the theory still stands (Although I would like for someone to correct me if I’m wrong)

So, almost everyone takes the state of their relationship for granted, which is what I question in this post. But I think that’s on purpose, like the other times where they didn’t meet eye to eye.

It’s the “there is something strong but neither of us say what” trope. And then the “something big happens but because we don’t say anything about us, we are forced to decide to drift away when we actually want to stay together so we go about it by using ‘another reason (aka excuse)’ to do so”, this reason being Victor’s coaching and then the gold medal, subtly but heavily implied in the “you need to win at least five years” or even the “I wish you would never retire” from Episode 9. 

All of those, IMO, are indirect messages. This explains why some people were like “can’t believe they are conditioned by a gold medal” or even going as far as blaming Victor for doing this. They are not conditioned by this. They are using that as an excuse/venue because they never say anything. We all know that trope: There is strong attraction, flirting, sexual tension, direct not so direct words; there is the physical closeness, there could be sexual gratification (not talking about YOI for this one specifically) but no one ever comes out and says anything. Then there is the spin, a big decision to make, and it comes back to the ‘excuses’ “I thought you needed my help more” really meant “I thought you wanted to be with me”. Or that because the other person didn’t say anything then maybe they are not as attached and feel the need to let them go: “I can’t hold you down, you need to go back to skating” and then the slight dig for more information “but it was all your idea to end it at the Grand Prix Final”: “it was your idea to end it… Because maybe it wasn’t anything at all”. 

When Victor shed tears, I don’t think it was because Yuuri was retiring only, but because their “arrangement” would end, and they would not see each other the way they did for those eight or so months. 

They are indirectly talking about their feelings in that scene too. Victor shares more indirect information: “how could I go back to skating if you retire” meaning “I DO want to stay with you”. 

For people that said they were not talking about ending their relationship, I think they were, because by not saying it, and even when doing so, a big decision CAN break a relationship, but even more so when there is uncertainty of their relationship status, when for such strong feelings there is not a conduct to openly speak about it (the conduct being them openly and actively deciding to be a couple and then subsequently openly talking about their relationship). 

If they truly agreed on being boyfriends, the subject of retiring would have being far easier, because they are not anchoring themselves to their professional careers only, but to their well established relationship. Yuuri could well retire and go to Russia with Victor. This ambivalence/uncertainty is exactly why Yuuri not retiring and Victor wanting to come back was not a surprise for me at all. 

This shines through by Kubo saying “they both decided that couldn’t stay away from each other”. Why wouldn’t have they decided something way before? Because they themselves were being knuckleheads about it and not talking about it; that’s how I placed the idea on “miscommunication” between them. It was not Yuuri not saying what he was going to do only, it was the uncertainty of their relationship, brought on by their silence about their status. The scene at the beach is the principal clue in this theory. Victor openly asks what he can be for Yuuri, and Yuuri just says “Just be you, Victor”.

That’s how I placed one of the staff saying “I think their coach-student relationship is only the outer layer”. Why would they say “think” if they had decided to make them a couple before, even if it was off-scene?

For all the people that thought it was queer-baiting, they just didn’t get the subtleties. They were slightly right in one thing, some of them at least, they could have made some things clearer, but they didn’t because IT WAS DELIBERATE. I don’t exactly think they had to “mark off a certain list of ‘this makes a couple canon’” either, but they COULD have been a tiny bit clearer on some matters, but I think they weren’t because it was on purpose; that “negligence” was another message in and on itself. And again, it was exactly because of this that I was already expecting the outcome of ep 12.

For the people that thought they were leaning on too much on their professional relationship to discredit the whole matter: it was more because they were subtly communicating through that venue, and mistakenly relying too much on that; mistakenly in real life because literary speaking many enjoy that trope: to see two klutz being obviously in love with each other but not saying anything, upping the anticipation for when they finally do. 

More cues to lean on this theory:

1. Victor, aside from flirting with Yuuri in the first two episodes, did it so after (before their kiss in ep 7). I don’t think Yuuri would be dense to not see it. I think it wouldn’t be hard for Yuuri to feel immediate attraction to a gorgeous Russian skater either, but it was at the moment that he poked Victor’s head that Yuuri was attracted to Victor, the human, not Victor Nikiforov, the skating legend. I don’t think Victor wouldn’t make it clear what his intentions were either. He came on pretty strongly just right after meeting him, and still offered to be Yuuri’s boyfriend even when he understood that the banquet thing was not really the regular Yuuri of back then. Yuuri’s “I prefer you to be Victor” is not a refusal or ignorance about Victor’s intentions, but of his own restraint to know get to know Victor more, and yeah, maybe his anxiety. 

2. When Victor said “should I just kiss you”, many people thought it sounded very… couple like, and I saw here at Tumblr that some people even thought that they had become a couple off-scene between the past episode and that one when it first aired. I think it was because they had already gone that far off-scene, but they never really said anything about being a couple. 

3. The ring scene fits in perfectly too on the idea of “double entendre”. Victor saying it’s an engagement ring was his way of expressing that desire. Because truly… Yuuri never said anything directly before. I don’t think Victor would go out and proclaim that 100% seriously without consulting or talking to Yuuri about first. One does not singlehandedly, unilaterally proclaim marrying someone without their consent first. And I don’t think the staff wouldn’t include that if it were true. Again, I don’t think it was because “they don’t need to” but more because so it just didn’t happen, but on purpose.

Even couples (like openly established ones) can joke about it but still openly communicate before or after the joke. I think he meant it seriously not in the “this is indeed an ACTUAL engagement ring” but in the “I’m letting you and everyone know that’s what I want it to be”, which isn’t strange at all between people that love each other.

What I want to say is; that all their actions speak of romantic intimacy, but the one that tethers on uncertain grounds. The uncertain grounds of not addressing the elephant in the room:

 What are we?

I don’t understand why some people act like if you critique the series like in terms of representation and other aspects of the books, then that translates to you being a horrible fan. The books were published and meant for consumption, so people are gonna say things, and sometimes they aren’t praise. We need to learn how to get over it. Plus, if they still enjoyed the books, but have complaints, that obviously means they were more analytical and were an active consumer. Sometimes, that’s okay.

I’m gonna be all structuralist at you all for a sec. There’s a lot of confusion and hot blood in the fandom over the way some of the characters acted and reacted in the latest chapter. You all know what I’m talking about, either because you’ve seen other people mention them or because you felt something was off with them as well. I’m not going to argue whether these actions are right or wrong in any moral or ethical sense or try to justify them. I’m going to try to explain what I think is going on here, structurally.

This characterization is a product of a weird narrative structure choice Ishida is making right now. Ishida has, for some reason, decided to rewind the narrative as much as possible - even to the point of straining some credibility, to before the Anteiku raid. Remember, right before the Anteiku raid, Kaneki learned Yoshimura’s story and the beginnings of the truth about V and Eto. After this, Yoshimura asked him to come back to Anteiku, and he agreed. But he never got the chance to do this because the raid happened. His wish to return was cut off by the machinations of the very organization he had just learned about.

Now, having learned a lot more about the secrets of the world, Kaneki is seemingly being given the chance he was deprived of all those years ago. The chance to return to Anteiku that was interrupted by the raid and his life as Haise. He even says that this is like Anteiku. The people are the same. The coffee tastes the same. The chapter even goes so far as to give him an eyepatch to complete the look.

This is a structural choice Ishida is making - it is how he is arranging the structure of the narrative. A strange sort of rewind to before a Bad End. And it has been having weird consequences, as all narrative choices do.

I’ve already written what I think about Koma and Irimi’s survival [x], and the new explanation for how they survived does nothing to change my opinion on that. In fact, the lack of involvement of any other character that would at least allow their survival to advance someone else’s plot (Hide, Hirako) highlights exactly the sort of thing this rewind is doing.

But this reset is also effecting characterization. This chapter is supposed to, in a sense, feel like it takes place three years ago before any of this mess with him being Sasaki Haise even happened. If Kaneki managed to go back to Anteiku like he wanted to. (After all, the Washuu are dead, so why not?)

And that means that Touka is acting like Touka from three years ago. Touka before the raid and years of development and maturity. Touka from the bridge encounter. It means that Shuu is not the Shuu that Karren saved from the roof top in anything but technicality. He is the Shuu from the 6th ward, utterly infatuated with Kaneki above all else.

Where Koma and Irimi have been for three years doesn’t matter to this chapter because this is a reset. All that matters is that Anteiku is as it was.

Even none of what happened in Cochlea seems to have effected the characterization. Yomo is still Yomo-san to Touka. Because they are back to how they were. (Also, none of that family is at all hesitant around the mention of the previous OEK.)

I don’t have the answer as to why Ishida is doing this, all I can say is that this is what is happening, and the strange characterizations in the chapter are largely explained by it. 

But this is the moon arc. More than just a calm before the storm, the Moon arc is about illusions. The Fool, blinded by realizations and a sense of serenity and confidence of the Star, is beset by illusion and delusion, before being plunged head first into the darkest depth of his subconscious. You can’t turn back time. You can’t revive the dead. You can’t undo past mistakes. So perhaps all this is merely an illusion of happiness, and illusion of return. We’ll have to see.

2

Finally got some semi decent stacks out of them! Anyone want to critique them???

(Loki’s a 3yo husky/gsd, and Bruno’s a 1 1/2yo bully mix)

anonymous asked:

I notice that in a lot of your art, you put a lot of detail into shading around the eyelids and nose. What would your art look like without that?

well i thought about it for a while on what that would look like if my recent art would look without those details. then i was looking through though some of my art and i realized that it would just look like my older art style from late 2015 to mid 2016. 

i noticed that the way i drew my noses didnt really give me enough “room” to put in a lot of details (but you can tell im trying tho heheh) and most of of the time my headshapes were very ,, “squished” and in a way to where i really didnt have enough room to do much of anything with the features. And at the time i didnt really know how to shade faces all that well so the way i would shade the nose would just make it look in-caved and awkward. 

now im gonna put my recent art here as a sort of comparison

(keep in mind i tried picking the art that clearly shows the details in the eyelids and the noses the most. i promise that not all of the people i draw look sleepy 24/7 …………. or at least i dont think they do…………. i tend to draw the sleepy look a lot…. idk)
because you mention the detail to the eyes and nose i started to realized that ive been adding more to those aspects because i now have room to do so. Cuz my faceshapes have become less squished and more realistic looking (and less baby like haha) 

thank you so much for the input! it really got my head gears turning!! 

“Zhou Youguang, known as the father of Pinyin for creating the system of Romanized Chinese writing that has become the international standard since its introduction some 60 years ago, died on Saturday in Beijing, Chinese state media reported. He was 111. In recent decades, with the comparative invincibility that he felt great age bestowed on him, Mr. Zhou was also an outspoken critic of the Chinese government.”

For more on Zhou Youguang’s life and work, see Margalit Fox, “Zhou Youguang, Who Made Writing Chinese as Simple as ABC, Dies at 111,” The New York Times (14 Jan 2017)

Image: Shiho Fukada / The New York Times

Submit one or two of your photos for our March InConversation PhotoCritique

Pete @tvoom and Fern @qbn-scholar are doing another round of anonymous photo critiques this coming Saturday. Please submit one or two photos here. 

Note that because of technical limitations and the attention needed to focus on exploring the submissions, the photo critiques are not live. They are recorded and will be posted on YouTube, @luxlit and @photosworthseeing sometime next week, by the beginning of March.

Also, after we do the critiques, the photographers whose photos were chosen for review will be notified once the video when the video will be posted. Some of the photographers may be asked for permission to reblog the photo in either @photosworthseeing or @luxlit.  

Again, please submit one or two photos here.