This process really struck a chord. Usually when I try to incorporate all my scratchy-hatching into a piece it turns into mud in the end. It was very fun to make this, it felt a lot more natural, and heck, it’s just nice to finally see it be something other than a really sketchy smudge in the corner of a process book. I have been wanting to draw Luna and her giant space dress for so long now, I was starting to think it’d never happen!
This tutorial is for advanced Photoshop users that bring up quite a lot free time and have The Sims 3 installed on
their computers. The skylines are being created by sticking screenshots
from Sims 3 worlds together and warping that into a globe. Because of
this, you could also use other games with cool landscapes or real life
photos, but it probably won’t fit to the Sims 2 artstyle.
This week I’ve ended a long period of my life. For the past +7 months I’ve been questioning. I was wondering who I was and what that meant to me. This week I’ve finally found out who I am. This is such a momentous occasion for me and I’m so happy to finally know that I’m Bi.
And I decided to come out to you guys in the only form I know. Shitty Photoshop Icons. I have finally found myself and I’m so happy to share the experience with you all!!!
Rosalie Favell | I awoke to find my spirit had returned. 1999
From the series Plain(s) Warrior Artist, Favell is seen here working with Louis Riel’s last words “My people will sleep for one hundred years and when they awake it will be the artist that gives them their spirit back…”
Early forms of photoshop are used
in this image, as Favell edits herself front and centre of the famous scene of
The Wizard of Oz. Favell places herself
in the role of the heroine of the film and while taking up the viewpoint
enforcing acknowledgement of her Metis heritage in doing so.
Favell lies in bed covered in a Hudson Bay Blanket while Louis Riel
seems to check in on her.
assertion of Favell’s Metis imagery into such a well-known piece of White Settler
‘culture’ be interpreted as a form of resistance via occupation. This assertion
of Metis identity is powerful with the addition of the Hudson Bay blanket,
thinking about what that blanket and pattern can mean for many Indigenous
people and specifically the Metis connection to the Fur trade and the HBC. Louis Riel too adds this persistence of
resistance as from all angles contemporary and historical Metis identity is
being inserted into the scene. Keeping Favell’s own image in colour brings forth her own identity as present
and rejects the notion of Indigenous people/culture being in the past.
Favell inserts herself and her heritage onto
the predominant oppressive culture and in doing so brings her own identity into
the foreground in an act of resistance to White Settler culture and oppression.