Angry Artist Alley: Where ‘da Conventions at?

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So if you’re starting out at conventions, you’re probably wondering “uh….so where do I find conventions?” That’s a pretty legit question. I’ll tell you where I find mines: on the internet.

There’s a bunch of ways to find out when and where conventions are, but there’s no guarantee ever that you’ll know every single one. After you go to a few conventions, you’ll get used to it.

Because I only go to conventions in the SF Bay Area, not everything I say will apply to EVERYONE, but I hope it will help you decide how to look up and prepare for conventions.

Tips:

  • ‘convention season’ is when a lot of conventions happen back to back during the same time of the year. In the Bay Area, the busiest times is around December-January, and April-May. In So-Cal it’s more around the summer time.
  • Conventions often happen during holiday weekends.
  • Conventions often occur in bigger populated cities. One exception for this are the conventions that take place in colleges.
  • If someone already posts something saying ‘I’m going to be selling at ____ con’, the chances of buying a table there are slim. A lot of conventions sell out on their tables very quickly due to a first-come-first-serve basis!

One time I contacted Big Wow! a few months before the convention because I didn’t know tables were being sold, but apparently were quite some left even though tables opened up two months prior. So it never hurts to ask if tables are full or not ;)

So how do I find out where the conventions are?

 Look them up online. There are websites solely dedicated to comic and/or anime conventions, facebook pages, etc. Try this one for anime conventions. Or even this one for comic book conventions. You can even try sites that posts local events to see if anything else suits your taste.

Know the heads of the conventions. I don’t mean ‘know’ as in know them personally, but if you have facebook, you should watch their facebook pages for updates or anything of the like. People who run conventions or are affiliated in some way (such as guests or artists) will often post updates on the project when the time is coming up.

When you find the conventions you like, look for an email contact and ask them to be on their mailing list. The moment there’s any news about artist alley tables, they will start emailing people about the news. This is the most efficient way to keep track of conventions in which you’re interested in or have gone to.

Featured Artist: Toshio Maeda
He’s not an amateur artist, he’s pro. Author of La Blue Girl, he gave me a very powerful speech that has helped give me a drive to keep drawing when I first met him at Big Wow! Con. When he was giving me motivation, I started crying tears in front of him, it was nuts. Anyways, he’s a really great guy, and I recorded a panel at Sac Anime that he was in (warning, some adult language).
If you have known me long enough, and saw a giant leap of improvement at one year, it was because this guy told me to never give up :)
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Angry Artist Alley: What kind of experience will you face?

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This is a small series made from a powerpoint presentation back in Fanime 2013, where I did a lecture called “Artist Alley: Survival Guide”, in attempt to weed out the weak who were unprepared for conventions. Each one of these is a short article of one of the topics dealt with from that panel. In the panel, I tried to make it a ‘midevil’ theme, and tried to sound as mean and blunt as possible, trying to make artist alley seem impossible for the weak. Unfortunately, at the end of this panel a number of people were taking notes on paper, and I think I gave them hope. Well shit. Anyhow, anyone in artist alley should still be aware of this stuff, even if it sounds or feels awful. All the drawings were the same things I used for the powerpoint.

 

A lot of time, especially for people who just started or consider starting artist alley ask me “so what’s artist alley like?” I can answer with two words: awesome, and shit (but sometimes there’s no comma between them). Haha….okay nevermind. I’d say more than half the time it’s not the happiest thing in the world, but actually the part that’s really great, I never want to forget :)

I’ll start with the DOWNSIDE. Because this is often overlooked if you’ve never asked anyone about artist alley thoroughly, at the end of the day you’ll end up very sad, screwed, maybe worse. You have to get ready before you even sign up. Be prepared before you walk in.

One experience you’ll face is that it’s a lot harder to earn money than you think it is. Okay for some of you ridiculously talented and popular people, I’m pretty sure you aren’t even reading this blog anyways. But back to point–you will see a TON of people look at your work and walk away. it’s inevitable, don’t assume everyone who looks at your work will buy it! Most people just want to look but don’t want to buy. 

Another experience is conversation.  Both good and bad. Usually, if you have fanart of a series you like (instead of just drawing it because it’s just popular and you don’t give a crap but you know it will sell), you will have a fun conversation. But sometimes, they get to insane tangents. It starts from topics about anime to talking about really horrible sexist and racial crap and I dunno, animal penises or something (it’s happened), you just need to suck it up. There are ways to go around this, but figuring out patience is key. Eventually, all of this will give you a better personality. For some people though, that personality only shines when you’re at cons and nowhere else. But hey, this is a great skill you get from doing it for years.

EXTRAa

Another experience that happens DURING conventions, is you make friends. Good ones hopefully. It’s what I call ‘the crutch’. You help them, they help you. They can be more talented than you in sales and skills and whatever, you can learn from them. You bring connections. But for me, I really mean friends as in people who share the same interests as you, have as much enthusiasm as you do about what you love, and just keep you rolling. I think if I had table mates that hated me on all sides, I wouldn’t want to even sit at the table. Making friends keeps me going at cons, it’s a positive experience.

And lastly, the other experience that follows up on making friends is you build admirers. Not just people who admire your work, maybe you admire theirs. You begin to appreciate other people’s’ work. And you know, people will appreciate your work too. Well, for me, this doesn’t happen super often, but you know, when the people walk up to you and go ‘wow I’ve seen your work for so long, you’ve gone so far, and you’re so great!’ You know…fuzzy feeling that’s stronger than the comments on the internet. And just to tell you, this happens the least out of everything I just said. EXTRAb

Another experience is you learn to deal with money.  Hell I suck with a cash register, but I can count my earnings and taxes and stuff now. I don’t think I know anything past algebra anymore, but you know, keep doing this you’ll figure out how to give back change in exact combinations of fives, tens, ones, and change. And the last experience I’ll talk about is when YOU FAIL.

Just kidding. It’s not failing. If you didn’t earn any money, and you worked like shit and you felt like shit, don’t feel like you should kill yourself. Make it an EPIC failure. This is a good experience, it’s happened a ton of times for me. You learn to get back off the ground, and don’t give up. Actually I gave up for a year, and came back writing this blog, but aside from that, this experience will keep your head high even if you’re low on the ground. So you failed, you didn’t earn money, and you think everyone on the other side of the table is an asshole. Well guess what? It might actually be your own fault and you’re stubborn. FIGURE IT OUT. Why did you fail? How can you improve? Think positive after negative. And yes, you might really thing ‘I failed because my art sucks’ and it’s a completely reasonable answer. Hell, that’s what happened to me two years ago, and I practiced and practiced. Make it an epic failure.

And so there you have it. There’s all sorts of other experiences, like what the hell people ask you to draw for commissions, or what food you eat, awesome people you met, all sorts of stuff. If you have an experience about artist alley you want to share, go ahead and comment here. There’s always a ton of really hilarious or scarring events at cons. I love making conversation with people behind the table about these things.

And today’s featured artist is:

Murphy Milburn

facebook: www.facebook.com/murphymilburn

Deviantart: www.m-milburn.deviantart.com

This guy, I knew for a LONG time since my very early years at conventions. This dude never gives up. Independant comics on the table, working on his own comic while waiting for visitors. Very dedicated dude. Anyone who has gone to bay area conventions must have seen him at least once. OLYMPUS DIGITAL CAMERA

 …..and don’t forget, my online store has been updated with actual stuff I sell at cons!

.……and also, please support this cause, I’m trying to help a friend out: http://www.destinylimit.net/donate/

I drew two of the designs, I am working on this game, and we’re trying to help this guy. Just five bucks will get you a cool sticker and help him out!

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Angry Artist Alley: Unsatisfied Customers

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Crafekster: How is the tolerance? As in, if you do a bad picture, mess something up, have something someone finds provocative or straight up the costumer does not like that you did for them they paid for you to do. Do they accept, or come out lashing?

This concerns me way more in professional illustration than it does for alley. In illustration, if someone finds out that one slip of crappy art, it feels like a knife to the throat. And the only way to fix it is a few months of intense artwork to brighten up your reputation to the point people pay attention to that piece anymore.

But sitting behind Artist Alley? HA. No, don’t worry too much (okay maybe a little). If the customer thought it through, they’d figure out some reasons why the artwork didn’t look as cool as whatever they see on your deviantart. But they don’t. They pay you, they expect it to be so incredible that wings grow off their back and fly. BUT…first I’m going to let you know this stuff before I get back to the topic:

Here are some excuses to why it sucked. It’s not just you. It’s because–

1) You brought your tools, but not ALL of them. Not your desk, your drafting board, comfy chair, etc.

2) IT’S SO MUTHERF*CKIN LOUD. Well, the noise can range from a light cafe to having yourself pull towards the customer as we scream at each other’s ears. The quiet noise can build such anxiety though, since either no one is having customers, or no one is talking about anyone’s work.

3) Your back feels like shit on those chairs. If you bend forward and don’t draw on a tilt, it can make pictures look slightly off.

4) If you’re doing this outdoors, pray it’ll be a cloudy day with no wind. Sun burns and wind flies. It bothers you while you work.

5) Sitting behind someone who is taking all the business, even if they were a friend, you’d want to knock them unconscious, and drag their body to the nearby trash can. And this one pisses me off a lot, because one thing I will note is that you don’t have artistic talent to take in customers. Anyhow, people will compare your commission work to what they see at local tables.

This list can go on, but you kind of get it, right? It’s not your perfect environment, and so if you can’t deal with it, your art probably won’t look as great. Customers don’t always understand this, so don’t take it too harshly if they’re not satisfied. Just blame it on everything else happening to you. Just use this list as an excuse for yourself before you feel down because the customer was unsatisfied. Just don’t tell the customer. They probably won’t care.


Back to topic: What if they’re not satisfied?
I’m sure it’s bound to happen. But don’t ever get taken advantage of because of this. As a wise man once said to me “a lot of times, customers will say they’re not satisfied or pretend like it wasn’t to their expectation so that you will discount them or give them a bonus. ” Not always true, but it happens. If they’re not happy, you can ask them why. If you can fix it, you can. But if they want you to re-draw it, that’s quite impolite, and you should say something like ‘I’m sorry, I spent a lot of time and effort on that thing, and [insert whatever you want here’
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One thing to prepare is that if the person asking for the commission is a mother with kids, then of course you need to tone it down. If they obviously look religious, you may want to think of what NOT to draw.Concerning everyone else, you need to use your judgement.
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One way to understand what they want BEFORE you draw it is to make casual talk with them, hinting ideas while they think it’s a topic to respond. Also, it’s pretty impolite to not talk about it and just say ‘okay’ before you draw anyways. Try saying things like:
  1. ‘Oh? I think I heard of that series’ <–they will usually describe genre, series, and what they liked about it
  2. ‘OH YEA! THAT CHARACTER!’ <–they will tell you what they liked about them (as in if they were badass, or cute, etc. Helps with showing the emotion in the commission)
  3. ‘Dude, she had big boobs in that series [casual laugh]’ <–you know what to emphasize when you hear the answer to this
  4. ‘Wait, was that the sexy chick or the cutesy one? I forgot’ <–you need to take your chances on this. If you don’t know the series and don’t want to mention that, then your best bet is to pretend you watched it and forgot what it was about.
  5. ‘Man, that character was kinda freaky’ <–if they deny that, then don’t make them look angry and scary.

In the instance that they backlash at you when they see your work, you have to tell them something first: “You didn’t tell me not to do it, so I just did what I thought would make the picture more interesting. If I knew better, I would have not done this at all” (or something on that matter). If they say it’s not an excuse, ask them what they demand. This has never happened to me, nor have I seen it done in the first place, but if they demand a refund for the image, you should refuse to. They probably took out their wallet because they trusted you as an artist in the first place. You did the work, you get paid. I think if anyone would fall on either side, they would back up your side as an artist. It’s like getting your hair cut by a barber, and telling them you’re not going to pay them because your haircut sucked-you’d probably side with the barber who spent an hour on the hair.

extra note: I WILL tell you that some artists have amusing demands. Many guys who ask for commissions will sneak in a ‘hey can you make their boobs a little bigger though?’ And sometimes, people will ask ‘can you draw Yaoi?’ My tip? Read ‘Air Gear’ by OH! GREAT. And practice drawing scenes with more than one person interacting with each other.

Cost vs. Sanity?

First off, commissions at conventions are underpaid. ESPECIALLY at anime conventions. Just think about it–how much is minimum wage where you live? In San Francisco, it’s about 10 dollars. That is PER HOUR MINIMUM. Now imagine how long you’re spending to do the drawing–roughly 30-45 minutes, yes? What about a colored image? How much are you charging exactly, to sit there and draw a request? They’re not charging you by how long it takes to draw either. And if you walk around the table, here is the average price you’ll see at a convention as big as Fanime:

per character/drawing:

pencil: $1-$10  (ridiculous, but true, and i wish it wasn’t)

pen: $8-$20

color: $10-$35

I know comic conventions are slightly more reasonable and expensive, but at an anime convention, this is most common. Oh, what? you’re doing this for EXPERIENCE? PRACTICING TO GET BETTER AT DRAWING?  You idiot, if you were going to do that then get out of the convention and ask for free requests online. Let people who are actually trying to get their name out and get pocket cash to pay back for their convention ticket to sit there for an actual reason.

Extra: Anyone who charges less than ten dollars for a commission is not even worth buying, in my opinion. The artist that charges less than that are thinking too low of themselves. Support artists by paying a reasonable amount, not a lower amount! 

So, let’s think of this experience as a positive thing: You got the cash, you did the drawing. They didn’t like it even though you spent time drawing it for them. AND you did it for probably less than twenty five bucks.

As an artist, a customer must trust the person drawing to do what they can. If the customer doesn’t understand this concept, you should be wondering why they asked you to draw a pic in the first place. And if you KNEW the drawing was half assed and you did it, then it’s not the customer who is to blame though. You should get slapped in the face.

 How can you tell they loved the work and isn’t pretending to?

Let’s leave this for another blog entry ;)

 

As some artists, we sit behind artist alley to get pocket cash, exposure, you know the stuff. From budgets, to transportation/living, horrible customers, and well…if you never sat behind artist alley, you have no idea. And if you have…ever feel frustrated?

You’ve got stories? Concerns? Questions? Ask away!

I know there have been people who have sat behind cons before me, but I’ve started around 2004, and I walked in with absolutely no guidance (aka. i screwed up a LOT). So I learned through my mistakes, acquired more than just a handful of stories, and I’ve seen my peers and table mates go through it all too. I don’t mean a convention a year, I mean an average about six a year.

 

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Alternative Press Expo Part 2: Comic Creator’s Connection

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This will be a three part blog entry, each highlighting a different topic. This one focuses on the  Comic Creator’s Connection event.

PART ONE: http://jackieloart.com/blog/alternative-press-expo-part-1-overall/

So, what exactly is “Comic Creator’s Connection?”

CCC is an event in the San Francisco’s Alternative Press Expo; it’s like speed dating for individual artist and scriptwriters looking for a collaboration. You get 5 minutes with a different person to talk to. Every five minutes you switch. If you’re an artist, you get to talk to about 10-20 scripters. If you’re a scripter, then you get to talk to 10-20 artists. That’s the gist. Give em your business card, a sample piece of art/script, etc as a memoir.

Above: On Sunday, it was much quieter than Saturday. I’m glad I bought a two day pass because the people who were in charge of this let us do it on both days :3

I shouldn’t be surprised, but when I was at the tables the gender difference was overwhelming. I believe on Saturday there were only three females sitting behind the artist side of the tables (me included).

My three main reasons as why I went in the first place:

1)see what people are interested in (get to know the trend)

2) it was free, and hoping one out of those few might actually be paying (need some pocket money)

3) find out how to throw my pitch (learn to socialize about the topic)

SO. Here are the CONS of CCC:

NOISY: I can’t just single handedly blame this on the group of people across from our table doing a demonstration, nor can I blame it entirely on the floor below us at the artist alley. We were also trying to talk over each other’s voices across our tables too.

WATER: After about three talks I needed to drink water constantly. Even had to refill the bottle at one point. My throat hurt so much after that thing. Next time I do this I should bring a gallon of water.

DO YOU HAVE YOUR PITCH?: I am not going to name anyone in general since there were more than just a few, but CCC was most likely meant for more serious people who have already stuck to an idea for a script. I wish APE would have mentioned this a little more on the site or something, because I know some people walked in with nothing but an idea for work on the top of their head. Or a synopsis of an idea on a piece of paper and no script. Even artists with no work is not a good idea. Actually the guy who sat next to me on Saturday just decided to bump in to check out CCC, but at least he was smart enough to hook his work up to his smartphone and show it like that.

BLAH BLAH BLAH BLAH BLAH: I am an ass here, but some people just talked too much about their idea without me being able to say much about my own interests. It wasn’t that ‘I wish I had more time to talk to you about this’ it was more like ‘okay can I PLEASE talk to you right now about this?’ But still, all of us tried to be considerate, and seeing as we only had five minutes, I needed to quickly interrupt a few people just to make sure we’re both on the same track.

WHERE IS YOUR CONTACT?: Okay, I’m very sure APE specifically said to ‘bring your contact information with a sample of your work’. I don’t know how much more concise that can be. For anyone who has ever written any contact on a piece of scrap paper, I’m going to tell you it’s probably in the paper recycle trash bin in my room. BUT if anyone who was smart enough to pick up a piece of paper on the main table (that said APE COMIC CREATORS CONNECTION) for artists/scripter contacts to write on, then I’ll take a peek.

ONE PIECE OF PAPER: Just to point it out to anyone who works at APE–I think only five of us or something followed this rule. The script writers usually stapled several pages, but some gave me a few papers that weren’t serialized so it got confusing whose scripts were whose in the end. For me I used a single piece of paper–I made a tri-fold brochure with a business card inserted. BOO YAH suckas.  But still, APE people are right to tell people to limit their samples, and I think this was incredibly mis-interpreted on the site.

I PLAN TO MAKE IT THIS LONG: Wishful thinking can be nice, yes, but wishful thinking without even knowing what your proposal is…that’s another thing. It’s great to think your idea is going to go somewhere, but as an artist one of the things I learned was ‘don’t get your hopes up’. Some proposals could be a year long. Some longer. Some a month. But as I’ve noticed, many people here scripted movies instead of comics (just reading their scripts with a glance to tell you if they knew what they were doing or not). They aren’t quite aware of the time, effort, and planning it takes to make a single page. Many scripters had a full plan as to how long their comic is (with a synopsis), but their ‘guess’ on how long it would be on a comic is very, very, very off.

Above: Another person checking out my portfolio. Imagine more than 15 people checking out that binder for the whole day, giving your a pass/fail chance to collaborate with a project. Nervous, anyone? I know I wasn’t the only one. 

AND. Here are the PROS of CCC:

I DON’T KNOW YOU: Awesome. Many strangers to talk to, friends to make, people you may never ever see again in your life. Some you’ll meet on the internet again. If I hated you and I hated your work, it’s completely O-K because it’s likely you won’t remember me ever again in your life. Or will you? *gulp* But being serious again, everyone was at a different level and we all respected each other for that (well, for me and my tablemates, yes)

WAIT, SO YOU DRAW AND SCRIPT?: Yes, there are people who are capable of both, and more. Congrats. I was kind of amused when people asked me if I wrote the stories that I drew in my portfolio. And of course, I saw some ideas tossed around in CCC and I thought ‘hey man this guy should just draw the comic himself–his art looks totally rad!’ Some of us conversed on being both artist and scripters…stuff like that.

IT’S NOT TWILIGHT: Lol i just had to make that phrase. From my memory, I don’t think I heard a single story about vampires, and only a few about romance. Well, not sure if it’s a pro, and I’m spoiling something, but there was a lot of  pitches about zombies and post apocalypse…..and post apocalypse zombies.  Haha, let’s see what next year’s comics cough out XD

HI, WE MET AT CCC: Well, I guess CCC is pretty fun, efficient, and I finally met someone who wants to collaborate. Congratulations on those who emailed me, but I was overwhelmed with the emails and now I have to sort it out. Thank you all whom I’ve talked to at the con–scripters and artists alike, I’ve learned a lot reading/looking/talking with all of you, and it was a great experience. I’m sure we’ve all made friends here. Even if none of us hooked up.

I LOVE THAT TOO!: Seriously, I found TWO other people who loved Tsutomu Nihei, and I was totally psyched! I wish I had the contact with the guy I sat next to on Saturday, he was soo cool since he was the first ever person who liked BLAME! as much as I did. And lol I’m so glad I added those simple doodles of the Darkstalker chicks in the back of my brochure. Seems like a LOT of people love Darkstalkers :D

And to EVERYONE who went to Comic Creators Connection, the best PRO of it all was….

You were all a brave soldier to be here.

You (and I) were all brave souls to sit in front of people whom you’ve never seen or met before. We put our game faces on, tried to impress the other person who was trying to impress us in five minutes. [Almost] all of us were noobies who have never done this in our life before. We all learned something from it, it was a two hour gamble in APE to find someone…someone in this world that might have similar interests as you. If you found someone, good. If not, now you know that this event….is just the beginning.

Above: At the end of the event, all of us were pooped.

 

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A Show I’ll Never Forget (my thesis show)

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Wow, that was probably the biggest ‘gallery show’ that has happened to me. It was really enjoyable and nerve wracking because I never actually spoke to an official art director. I’d imagine them to be much older (coz of experience and my teacher being old and a great art director), but they were all surprisingly young and asked a lot of really important questions I could barely answer. One guy said I should go to Hollywood, and I was like “wait..what?” LOL. That put this dumb smile on my face. But what was MOST scary about this is how they acted when they talked to me. They give you this small smile, but you can never tell if they’re being honest, or genuinely being really nice to you;  you can’t even tell if what they’re saying or reacting is good or bad because well…they really don’t give out any sort of obvious gesture to you about if they’re interested or not. Then every once in a while, an art director would just spout out a giggle, followed by “hmmm”–I really can’t say if any of them liked my work or not, which is the scariest part of this experience :(

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

We are also judged by our teachers from illustration. I was REALLY looking forward for three of my teachers to come by and talk to me: Robert Hunt, Caitlin Kuhwald, and Alexis Marhus, the three teachers that I had the hardest time with in class, because my work  just wasn’t good/satisfying enough back then. I really wanted to show Dugald, the head of the illustration department the most, but there was a sad story behind all of that (read previous blog post). I was really happy of the teachers that DID come to my gallery, Chris Koehler, Owen Smith, and Randy Chavez, and Bob Ciano who were really surprised at how much summer break did to my work. However, the most disappointing thing about this show was that none of the teachers I really REALLY wanted to show (Robert, Caitlin, and Alexix)  actually walked and check out my show at ALL!. None of them came and talked to me face-to-face in the show (although one of the teachers just walked by me in the hallway and told me she liked my work), but it saddened me the most about this show. I worked so hard to impress the teachers that didn’t seemed impressed with my work the most, and none of them came to talk to me about it….. T^T

What really motivated me to do such a great job the most on my thesis was not just that I had a sweet ass idea, and that I practiced a lot, but I really REALLY wanted to impress Robert, Caitlin, and Alexis the MOST in the entire show! Especially Robert, when I was in his class it didn’t seem like he was quite satisfied enough (although he explained to me why he acted ‘sort of” like that for another reason a week ago), so all summer break I kept practicing and working on extra projects to pump up my motivation and skills and I kept thinking “Damn! I’m gonna push this thesis to the limit and shove it up their faces! Especially Robert! I’M GONNA MAKE HIM SAY HE THINKS IT’S GOOD! BWAHAHAHA!”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

*you know those anime/mangas where ppl lose or get in a super hard fight, but like they come back 2 years later all pumped up with super new skills and kick some ass? Well, I was just like that yesterday XD*

 

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Whu-Whu-WHATT?! A SHOW?!

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Once more, I cannot stress that if you wanna know what the hell I did for four months and almost ignored the rest of what little social life I had to concentrate on this, please check this out:

 

1111 8th St. San Francisco, 6:00pm. Recommended: BART and BUS. Free food, and lots of promotional goodies ^_^

I’ll be giving out–wait–come to my show and check it out!

 

 

 

 

 

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Started a Livestream

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I’ve been getting more confidence that I might be getting better with my digital work, ever since I started looking at tutorials. Especially one of them, which is in Japanese, but I can pretty much decipher everything based off my current knowledge of Photoshop and painting. Anyhow, I downloaded the livestream program, and I started it up this morning to test it out…hey! It’s really really fun! One thing though, I was surprised people didn’t hate my music, because most of my music is upbeat and my brother hates my music (also I’ve had some bad rep before trying to play some music in art school). If I have a special livestream one night, I’ll definitely schedule it on this blog so everyone can check it out!

here’s my link:
http://www.livestream.com/pineapplepocky
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ALSO MINDLESS ADVERTISING OF OTHER ARTISTS–GO CHECK THEM OUT!! (AND COMMISSION THEM, ARTISTS NEED MONEY AND FAME, YOU KNOW?!)
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Tricia Peterson–artist of ‘Ratgirl Productions‘, specializes in…well I’d consider her as a jack-of-all-trades, she can do all sorts! And cute animals :3
Site: http://www.ratgirlproductions.com
Facebook page: https://www.facebook.com/ratgirlproductions
deviantart: http://ratcabob.deviantart.com/
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Josh Finney and Kat Rocha, tag team duo Josh specializes in digital, and Kat traditional. As a tag team, they can do all sorts of crazy shit too….yet another jack-of-all-trades, when they combine their superpowers together :P They made some kickass full colored and rendered hardcover comic book you should check out called ‘Titanium Rain
Tagteam site: http://www.glitchwerk.com/about.htm
Josh Finney’s deviantart: http://josh-finney.deviantart.com/
Kat Rocha’s deviantart: http://kat-a-pult.deviantart.com/
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Hate Haters on Livestream

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This is one of those rants about how I hate ppl who hate stuff because I like it and they don’t. :D

First off, there’s this AWESOME site called ‘Livestream‘ where you can check out people’s drawings ‘live’ while they’re doing it on their computer. If you want more info, check out the site, look up the art section, and figure out what kind of cool stuff you can see. There’s comic artists, digital artists, painters, etc and you can watch them work. Sometimes they’ll even have a music playlist open and you can listen to the same music they’re listening to!

So I mention “oh, how did you do that?” and they were like ‘it’s masking, duh, you don’t know how to use sai?’ And I was like ‘um, not really’. And one person was like ‘you know what you should do? PLAY WITH IT MORE’ and okay, yea I knew that, and I was like ‘I had it for a couple months, but I’m not very good with it’ and then, I was really put down, because they were all kind of confused/ticked off that I still couldn’t use Sai by now (well…because i can’t figure it out? And I’m on a Sai livestream to learn?)

I told them I use Photoshop, and then this is where I was really offended. Almost everyone in the chat was kind of steaming/trolling at how I can’t use Sai and it’s way better than Photoshop, which is a photomanipulation program so it’s useless for coloring and blah blah. One person asked about what Photoshop can do that Sai can’t, and I tried to explain, and then someone just told me to stop because no one cares. They just kept talking on and on about how Sai was much superior than Photoshop in every single way because it’s a painting program and Photoshop is not, blah blah–okay I barely remember the details but it went on for a while. I tried to be polite, but in the inside, I was really sad, and offended.

Why?

I really don’t care what program is superior, because I really don’t give a rat’s ass about it–it’s not the program that makes a beautiful drawing what it is, it’s the artist and their skills and ideas and love they put into it. I’m already aware that Photoshop can do things Sai can’t and Sai can do things Photoshop can’t. But just because Sai is a cheaper alternative drawing program that can do a more unique painterly effect than Photoshop can, doesn’t mean it’s IMPOSSIBLE!. I wish they understood that it’s the artist that makes good art and not a program. The artist tried to show some Photoshop artists, but I don’t think any of those people in the chat checked it out or gave a fuck because they were all busy trying to tell me how uncapable Photoshop is to Sai.

Am I the incompetent person because I spent several months trying to figure out how to use a program and can’t figure out how to take advantage of the coloring, or am I wrong to say that a good artist can make any drawing good no matter what the program/medium is?

[article taken from my deviantart site]

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