well really someone else did but i put the background image in and edited it

pwinsu  asked:

i dont mean to be rude but i dont get how you can draw so well at your age ~ i mean what i did mainly in my teen years instead of drawing was staring at a hopeless future

I don’t think you’re being rude at all! heck I also think that way about other artists. Haha it’s actually disheartening to me and stresses me out a lot, so I just try not to think about it and I tell myself to just realize that age doesn’t dictate the skill level an artist is at/will be at, it’s mostly making an effort to learn and improve, which anyone can do at any age :) Sure, it might be intimidating or annoying (I know how annoying it is, lemme tell you) but don’t get hung over it or beat yourself up about it like I did/still do. It gets in the way of drawing hahaha..

If it helps you, what I did to improve was to find artists who were exceptionally skilled and to learn from them, and by exceptional I mean dead, because back then in my opinion most artists were incredibly disciplined, i.e. Rockwell, academic painters, etc. and they learned from teachers who knew what they were doing (which, and I should say this here, should tell you to not take 100% of my tips as actual fact, lol, this just works for me). Of course, there are still great artists out there who are alive/on the web, but in my experience trying to learn from them made it harder for me to improve, since learning from a style is not as beneficial as learning from the basics. This is just my take on the issue though.

I don’t know you too well (sorry), but that just seems like the perfect choice to tell you my life story hah so around 2 yrs ago or so, when I was complete crap at drawing (I mean compared to now), and when I realized that my art was just, so bad, I practically panicked and freaked because heck, I thought I was working hard at what I was doing; I thought my art was “good enough” (let me just say now that good enough is never good at all) but seeing other artists who seemed like they were basically cruising through every artwork and having it turn out phenomenal without what it seemed to me like barely any effort at all just pissed me off, AND they were in my age group, made me get off my ass and stop wasting my time with non-challenging artwork. See, that’s the thing, if it wasn’t a challenge, it wouldn’t make you better, right? That’s what I had come to realize.

So yes, while I am a teenager now, bro lemme tell you I was desperate and scared af, I mean, this is all I have. Nothing much else interested me, nor was I good at any other subject in school (I’m what they call specialized a.k.a. good at one thing and suck at everything else ha ha). Other artists seemed to me like they were or were going to be more successful no matter what they do, and they could still paint something mind blowing. I had nothing, only drawing, and even then I wasn’t good at that. It fucked me up man… I was angry and sad; I made a list of all the things I didn’t know how to draw (it was long lmfao) it went a little like rocks, trees, plants, landscapes, metal, water, animals, backgrounds, stuff like that, and I incorporated whatever it was into the piece I was currently doing and just kept practicing it until I got the hang of it. 1st step here is to know what you’re bad at, don’t be soft on yourself (avoiding things isn’t going to make anyone better) tell yourself, that yeah, maybe I do suck at this, and I need to get better. Constructive criticism, right/  And I kept doing that. I still have a ton of things I’m not great at, but the gist of it is to just do it. So yeah, at the time my prime motivations were pretty negative, like anger and desperation and whatever, but it got me through that phase of drawing, where I had just been satisfied with idk, a pose or whatever and that was it, no background, narrative, or expression of feeling in it. I don’t recommend having that kind of motivation, it was a really rough period to go through for me, but I’m grateful I did. 

Also, I was never satisfied with my finished work. I don’t think I ever will be, and that drove me to just keep drawing. I tell myself, “don’t think you’re good.” Praise will often make someone slack off, and constructive criticism does the opposite. Get rid of those “what if’s” or “if only’s” or “I wish”. Just stop thinking and empty your mind of any negative thoughts, because it does seriously hinder your progress. Imagine that you’re pushing those annoying young artists out of the way, and just focus on the bettering of yourself/your own art. What went wrong with how I was thinking was that I cared way too much about those other artists, and I realized that obviously they wouldn’t give 2 shits about me, hell they don’t even know me, so why should I care so much about them? it was like an abusive relationship, tbh, so I just dropped it and stopped giving a fuck about them. I didn’t want any of that to affect my art, because it was my art, and it shouldn’t be turning out badly because of them. basically my thought process was “fuck them who gives a fuck if they’re a fetus and they paint better than me”, ( tl;dr of this article https://markmanson.net/not-giving-a-fuck ) sometimes you gotta be harsh with yourself to get rid of bitter thoughts. numbers never truly matter in art, and I always want to avoid any kind of math lol

And most of all, I love drawing, I couldn’t imagine doing anything else, and this might sound like some ridiculous silly dream thing a kid would say, but I wouldn’t know what else I could do/want to do. Lol I could’ve put this info more coherently, it seems kinda jumbled, but I hope you got something out of this, and of course I apologize if the long read bored you D: Work hard (and smart), enough so you can look back and admit that yeah, you worked your butt off and you’re glad you did. Whatever you’re doing, it shouldn’t be easy if you want to improve.

 If you still have any specific questions just go ahead and shoot, I’ll try my best to answer them well!!!!!!! :DD thanks for messaging me ^^

o yah, and sorry it took a while to get back to you, I had to go back and edit out the cuss lingo. trying to maintain my image, hahahahahahahahhahahahaaaaaaaaa

cohale  asked:

* hey, so someone's reblogged one of your many amazing edits (I did my self a favour and went through your page). I was just wondering how you achieve the still background on through the silhouette like in /post/120416727688/a-thousand-silhouettes-dancing-on-my-chest-no ? I've tried and thought of how to do it but yours looks absolutely amazing. Thanks and I hope you have a great day :)

Thank you so much cutie, that’s very nice of you to say. I’ve never made a tutorial or anything before so sorry if it’s not good.

This is a tutorial on how to make the background of your image a solid color.

You do need photoshop and basic knowledge of how to use it.

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FEM!READER + KISE SUBMISSION

Again, like my previous submission, they all have a song put on before that helped me write it. And because i suck at giving titles to things that aren’t even structural and concrete. 

I wanted to try different styles of POV for the GOM. I had intended to post this submission to you along with the Akashi and Aomine ones, but the rest I have in my drafts are…ugh… I just had to edit and try something else before turning it into you.

Keep in mind these snipets have no plot what so ever. Seriously. They random.

Anyways onwards!


Waaah, there is another hella cute scenario, this time with our favourite Kisechhi ~

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The advent of low-cost printing and the widespread use of the internet have radically democratized the publishing process and it’s now easier than ever to self-publish and find yourself an audience.

I’ve been self-publishing zines of my photography and writing for years and I’ve always found the process rewarding.

The DIY ethos of zine-making has translated into my other creative works and I’ve done a number of other projects in a similar way. I run a gallery called B Rad out of the hallway of my house and I’ve curated a number of shows in there and elsewhere.

Recently, in collaboration with Iklect, I curated the Grip Thumb show in London, which was an exhibition of art on grip; an often overlooked art within skate culture.

I also run a skate zine called Radulthood, which I started as a reaction to traditional skate media. Instead of having a magazine filled with images of the biggest, hardest new trick at a notorious spot, I wanted to create a zine which was tethered to the philosophy of skateboarding and in particular the relationship between the skater and his local skate park. All the collaborators, whether visual or written, had strong ties to skateboarding and instead of having glossy photos of tricks at the park, I chose to feature illustrations inspired by the skate park space instead.

As well as that, I’ve also recently released my first photography book, Second Adolescence, which launched at Doomed Gallery in April. I released the book through a publisher called Blue Monday Press that I set up. I’m hoping I can use it as a platform to publish mine and other artists work in the future. As I write this, I’m in a Blue Monday Press hosted pop up shop in Brighton which is selling a variety of zines, books, tees, and prints, and hopefully this will be the first of many more.

That’s enough background on me, back to the original question. Why self publish? Well, there’s a lot of reasons really.

Firstly, it’s easy. The hardest part of self publishing something is the actual content inside and making sure it’s something you’re happy with. The steps you take once you have your content are very simple.

Next, you’re able to work at your own pace and to your own schedule. There are no deadlines, except the ones you set yourself, and no-one is telling you this needs to be done by a certain time. You are free to release it when you are happy with your final product and it’s ready as soon as you say it is.

You don’t need any approval to self-publish something. You don’t have to wait around for a publisher to give you a green light or edit your work to someone else’s standards. It can look exactly how you want it and you can put whatever you want into it.

You set your own budget. This means you can decide how big your print run is and how much you think your project is worth. Not only that, if you’re fronting the money to get something made, you know you’re going to really have to be desperate to put it out and you won’t waste your time and money making a half-arsed project.

Also having a physical project makes you more likely to find your audience. A physical object is easier to appreciate and a much nicer way to experience a project than as a digital file on a computer screen. A physical product is much more memorable too, unlike the constant array of digital images we’re exposed to every day. An object is likelier to stick in the mind.

Moreover, you will learn how to create a body of work as opposed to a great single image. Often in art, the emphasis is placed on one singular great image but people are not taught how to construct a coherent body of work. If you’re working within the confines of the book structure, you will need to create a central theme or narrative that will run through-out and tie everything together.

Finally, and very importantly, self-publishing will make you into a do-er as opposed to a talker. There’s no point talking about that project you wish you could do if you had the money if you never plan to back it yourself. Figure out your budget and do it as best as you can within that. At least you’ll have done something.

Now, you’ve decided that you want to self-publish a project. What do you do? Well, there’s no limit to it.

You should make something you want to see that will combine your passion and your craft. My first zine was called Concrete Canvas and combined my passion for skateboarding with my craft, photography. I wanted to publish my skate photography with an essay setting the context for the images so they could be understood by a wider audience than only skateboarders. I wrote an essay laying out my theories on skateboarding in relationship to the urban environment, to explain my view of skateboarding as an art of movement in reaction to the urban space. Combine your craft with your passion to make something you would be excited to see. If you love poetry and nature, write yourself an anthology of nature poems.

You should make something difficult. I’m by no means a natural writer and I found it hard to write the essay in Concrete Canvas but it’s important that you earn your project. If you’re not excited by what you’ve made, why would anyone else be? Don’t just put out a zine of some drawings you did, set yourself a hard project that you will be proud to finish and share.

With regards to my photography, I have two rules for photo projects. I want each individual photo to have an implicit narrative and I want there to be a narrative built into the zine or book so you take the audience on some kind of journey from beginning to end.

The narrative implied in the photo is very important to me. I like photographs that have a mysterious past and future. The photo on this slide is of an almost gladitorial scene. The lone skater facing a huge crowd about to take his run. You don’t know how the scence arose and you don’t know what happened afterwards but your imagination can conjure up both. I like that in a photo.

Narrative within a project is important for me to. I dislike books or zines which are simply a ‘best of’ album of a photographer’s work. It’s much more exciting to see a photo book which reads like a book and you can see characters evolve from beginning to end, even if it’s simply the photographer’s journey from a to b. I find it also sticks with me more if I read a book with a narrative. I find it easier to describe it to someone else, as opposed to simply saying I liked a certain single picture.

So, you’ve decided to self-publish, you’ve got all your content ready, now what? There’s a few different ways to do it.

The traditional way to make a zine is to stick your text and images onto a piece of A4 paper, make as many pages as you like, then photocopy it, fold it, and staple it. There you go, you’ve got a zine.

I like to use Indesign to make mine because I like having the ability to easily change the structure and images within a zine. Indesign is a simple programme to learn and I’d recommend it for all prospective book or zine makers. I will lay all my images out in spreads, export as a pdf, then send that file to a printer.

Alot of people print their own zines and I respect that a lot. I’m not a very precise or patient person when it comes to doing repetitive tasks so I don’t mind paying a little extra to have someone print and fold my zines. When ready to print, always make sure you shop around. Email a number of printers with your details (20 pages, color, 160gsm stock) and see which ones give you a good price. I’d also always recommend getting a proof. You don’t want to order 50 copies of your zine only to find you spelt something wrong on the first page.

For your first zine or self-published project, I’d definitely recommend funding it all yourself. With a budget of £50 you can still get a bunch of nicely printed black and white zines. I used Kickstarter for my Second Adolescence project because I knew my budget, knew I could deliver a nice product to my deadline, it was a project I had worked on for a year and was proud of, and I knew I had an audience who would be willing to back me. Fund yourself and make things until you get to that big project that you’re excited to give to people, and consider crowdfunding then but don’t do it until you’re ready.

Then what? You’ve published your first zine, you’ve got a box full of copies by your bed, what do you do now?

Do some trades! Find people who are in the same boat as you, they’ve made a few things, but they’re at a similar level to you creatively. It’s awesome to swap your art for other people’s art and it’s lovely when someone who’s work you like is excited to exchange it for your work. Coming home to a trade in the post is a great feeling.

Set up an online shop for your creation. You might not sell much at first but it’ll give people an option to support your art financially. People can’t buy something that isn’t for sale so give them that option.

You also should contact lots of blogs and magazines. People won’t know that you’ve made something unless you tell them. You’ll build contacts, build an audience, and spread the word about your work. Be careful who you send your stuff to though and know their audience. There’s no point sending a gritty street photography project to a high end fashion magazine. Accept that your work isn’t for everywhere and find the places that you fit.

Lastly and most importantly, get rejected and get better. If you want to make things and keep making things, you’re going to need to learn to handle rejection. People will say no, simply not like your work, and there will be a lot of sent emails that never receive a response. If someone doesn’t like your project, find out why and grow from that. When I first started making zines I tried to get them in shops. The paper was low quality, the images weren’t great and they said no. I took that on board and I’ve been more considered with the stock of my zines and the images featured.

It’s a long and steep learning curve to get better at your art but appreciate the journey and your next project will be your best yet.

Good luck!

Ben

Thoughts on KENN’s photobook ‘Nu’

Since I haven’t seen anyone posting here on Tumblr about KENN’s photobook much yet, I thought I’d write up a post to share what’s inside and my personal fangirling thoughts and impressions, especially for those who might be thinking about buying it but haven’t just yet! I will be scanning it when I get the time, as well as translating the interviews, but that might have to wait a while because I’m currently drowning in uni work OTL

Anyway, first off the photobook itself is 3132 yen. There are no special tokutens or differences in price for different online stores which takes a lot of confusion out of buying it! If you live outside of Japan you’ll need a proxy to buy it (edit: or as someone pointed out, it is available on CDJapan!), and of course the shipping price will depend on where you live (my preferred proxy is FromJapan). It also comes with a DVD which is about 10 minutes long - more on that later. Personally, I think it’s a really decent price (minus the shipping orz)! The photobook is A4 size and 112 pages long so it’s actually quite thick, and all printed on really nice paper as you’d expect. When I heard there would be a DVD included I thought that that might make it really expensive, but it didn’t! ٩( ๑╹ ꇴ╹)۶ If there’s one thing which I wish was included I wish it had a tokuten bromide included so I could stick it up on my desk and state at Kenn’s pretty face whenever I’m studying lol

More on the different sections and some photos under the cut!

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Don’t Look Back (1--Sabine)

(For Women of Star Wars Week, Day 1.)


Sabine was clean.

Clad in a trill shirt and shorts, feet bare, she sat at the dejarik table, scribbling furiously, shading something in at the end of a sketch. No trace of the soot and smoke from the day’s mission remained on her. Hera was still a filthy mess, but she couldn’t resist peering over Sabine’s shoulder. “That’s the one from yesterday? What did it turn out to be?” If Sabine had wanted to keep the sketch private, she would have worked in her room, as she often did.

“Zeb wanted me to draw a landscape. Something with trees.”

“So I could hang it up and imagine,” Zeb put in. “I’m sick of all this flatland.”

“Oh, are you taking commissions, now?” This was interesting.

Sabine shrugged, a little embarrassed, a little amused. “Sure. I mean, I guess. I do owe you guys for the food, and the not being dead, and all. And I’m not swamped with a lot of other stuff right now. What did you have in mind? Zeb, the swimsuit edition?”

Zeb chuckled. He treated Sabine like a kitten who had come aboard already trained in endless amusing antics. Look at her chase the string. Look at her sharp little teeth. She is so smart and so funny. Last night he had actually said to Hera, “Can we really keep her?”

Hera smiled at the image. “No, someone else. Draw me a picture of…” she considered. “Draw me a picture of you as a child.”

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