/fa/ - Fashion

>>13340572
The style is /fa/ af and would look good on both Asian and Black character. Did you drew this senpai?

>>13340580
Describe what's good about it, if you could. I find the outfit clashes, and particularly I dislike the shoes.

>>13340572
I'm glad why peep holes can't wear sports, besides they b no good at it.
>>13340580
waddabout brown tho?

>>13340581
The shoe thing is completely subjective, but we are still on the fashion period where big cartoony-looking sneakers are king. The colors contrast pretty well within the outfit if you know your color theory. Not best combo, but a good one indeed. The skin color gives contrast to the outfit as well. That’s why I mentioned Asians too. Asian skin = more blend. Black skin = more contrast. Making it able to pull it off. As an artist I like to play a lot with the fashion of my characters and had to learn a lot of fashion in order to dress them accordingly.

>>13340572
It's just a few noteworthy designer items that've been recolored or whatever without altering the silhouette. What bothers ME about it is how it's emblematic of the way SJWs appropriate whatever the fuck they feel like taking.

This was an originally all black fit. A Black Varsity jacket not unlike the one I just posted. and geobasket sneakers, which are the same shape build as the yellows on the character, but in black.

The extended shirt length is also from that look, and the tights too, depending on who you ask. I've even seen that outfit I just described being worn by a model who posed with a bat. Go figure.

>>13340599
Ramona Flowers core.

>>13340587
I guess I must be out of style, because I can't seem to justify the skirt over those leggings, and the shoes just clash with both entirely. The coloring is fine enough yellow has been the character's color since the eighties. The hairstyle and glasses are subjective, but I don't like either personally, so I admit to bias there.

>>13340572
How'd you manage to be called out on your casual racism anon? Gotta admit she looks like somebody used the brown crayon to color a redhead cartoon character

>>13340629
Basically tumblr.

>>13340629
Just a friendly discussion on another board. It's funny, because I never brought up race at all, and really don't care what color the character's skin is, largely because I'm not racist. I'm just genuinely curious as to the opinions of other more fashion-minded people on the outfit, since I am rather plain in that regard.

>>13340599
So you would say the colors are the main issue? Or more that you feel the outfit is somehow appropriated in a negative context?

>>13340640
I think it's just unoriginal, but it was copied from a niche fashion trend that is in all likelihood COMPLETELY unknown to the demographic this character is aimed at capturing. Clever.

I've been actually reading a lot about SJW cartooning style all last week, and this checks a lot of those boxes while maintaining (to ints target audience at least) and certain edginess and self empowerment in the form of both its slothing choices and the open display of the only true equalizer.... A weapon.

Classic.

It's like a mary sue recolor a la brianna wu wherein the hack grabs shit to trace or just imitate from sources disconnect from the target demographic.

>>13340667
How about now?

>>13340667
Ah, I understand now. While I sort of agree with the sentiment, I'm not the type to get too upset by the whole thing. I guess my main beef is that the character would be just fine if they didn't try to use the name of the original, and just made her a new character in her series. That and I an just surprised to see this is the style these days.

>>13340672
Hush now, we don't need any of that.

>>13340672
I'm not qualified to comment, honestly. Icanonly point out patterns I've noticed in a certain sphere of comic art.

Your technique is fine, But you need to add clearer outer lines and perhaps a bit of shading. In my opinion. Adding outlines will make the character's pose much easier to recognize and a bit of shading will make it pop in a nice way.

See Edna Krabappel for examples of what I mean. Good cartoons are processed very smoothly and quickly by our brains. Specificity in facial features and such takes a back seat to form, pose, silhouettes and so on, because our brains embellish all that shit with out us even think about it.

Certain graphic novels have this quality - they just slip through your fingers and the story is so bright in your mind.... Because you can process the visuals without any possible suspension of your engagement.

I'm a long time artist, myself, so I'm not JUST talkin out my ass

>>13340687
Post art. Legit interested!

>>13340587
>>13340687
Post art senpaitachi.

>>13340701
It's street art wheatpaste shit type shit you may find weird, and I only have a few scans on my compy. Like this 11x24 pencil sketch/ I should scan the rest of this shit.

I vectorized this one so it can be resized a LOT, looks great when it's like 4-6 feet tall. I have printing done at a kinkos, because fuck it.

>>13340709
Your lines are hesitant af. Don't go over them again and again; try instead to make it from beginning to end point in one smooth go.

>>13340711
Woah!

Here’s mine. A really old one but I’m more of a comic-focused kinda artist I guess.

>>13340720
No bully plz

>>13340711
>>13340720

>>13340718
It's all done in one pass with a sharpie mostly, but I wanted to challenge myself to draw every strand of hair consistently enough to trace it to its root.

Usually my stuff is more specific - a byproduct of coming up with spray paint, IMHO.

I did a thousand or so of pic related. Just portraiture of people I know or assembled piece by piece from one person's mouth, another's nose or eyes.
This one was a portrait of that legit insane but entertaining ex-criminal I was dating for a few years.
I put the up all over new york for a few years, the idea being to spend a lot of effort on something and throw it away, give it away.... by putting ot somewhere in public that won't get buffed. Wheatpaste lite, if you will.

>>13340729
See you totally got that modern retro influence down pat. That style of cartooning draws strength from the visual simplicity of its characters.
It's easier for us to identify with visually streamlined characters.
Instead of dividing this character into two disparate halves, why not illustrate its duality with 2 characters that switch places or undergo periodic changes based on mood or environment or whatevs.
That way, you can take advantage of Visual Symmetry - making each character symmetrical to increase the speed at which your audience collates the myriad cultural references and influences going on in your character. I can pick out a lot of potential influences, roots and evolution/improvement in older ideas that were explored in things like the animation of Craig. McCracken and Genny Tardokovsky.

Definitely mirror the boots first if you do change it up, and you'll notice the lines your eyes are following are now easier to digest.

As a piece, it speaks to me of your subcultural influences and I see what were then these new potential realities and choices for young women. Not overly feminized, but not desexualized, and the demonic parts fit into that sort of meta narrative.

I'm serious though, this should be 2 characters doing a tyler durden on the world around them.

>>13340736
>>13340720
>>13340706
>>13340701
>>13340718

And Thank all of you guys for the feedback, I appreciate that greatly.

>>13340741
I think you miss-understood me; take this >>13340709 drawing and have another look at the upper lines on the eye right side of the portrait, look at its brow, the front of the nose, the left side of the lips; all those lines stop for no other reason than your hesitant hands. You're not pulling the men on your piece of paper, you're rubbing it on there, and it shows.
Go over them with a thick sharpie if you like, do some agressive contouring or hide it with some shading all you like, if you cant make a smooth line, no amount of misdirection will hide it.
To fight that, my first teacher would have us make complete drawings in 30 second sessions... you waste a lot of paper at first and it's frustrating to stop a drawing that's not even close to being half done, but after a while and some practice, it helps a lot figuring out how how light translates on paper.
Your drawings are very illustrative, you'll get beter results if you tried to train you eye for a bit and really looked at things around you, instead if drawing things how you think they look (that is, don't look too much at your piece of paper while you draw, and pay more attention to your subject instead)

>>13340788
I did the same learning to piece and tag, believe it or not. I dabble in sketchwork style from time to time but it's often a crutch - I wasn't capable of doing that pic in one pass with pen, and eventually just... settled. For what you see.
I couldn't yet fully draw faces at that angle with that level of detail and size.
i'm a graffiti artist first, these designs are made of the shapes and curves and angles that would dominate a traditional lettered piece. On graff, you're gonna be stunted in your growth unless you spend a solid 8-12 months mastering handstyles - a highly intricate form of modern calligraphy you've probably seen from guy like Faust and Sure (RIP).
Here's what that skillset looks like at top levels:

https://www.youtube.com/watch?v=7CDgBapxR_Y

From there, you have the curves and sweeps ground into your muscle memory and you can execute them very quickly and under pressure if you need to. The stuff I posted above is me taking all those shapes and assembling something human out of them by playing around with combinations of technique.

I understand what you're getting at 100% - I was just never used to using pencils for anything other than the Times' crossword. In my introduction to the nyc scene we just ALWAYS worked with pens, so we could be simultaneously practicing the concept of making every line deliberate. This was vital when you were actually out painting. No room for slip ups.

Make no mistake, tho - I'm not an artist in the sense you are. I'm mostly self taught and I'm pretty sure I've failed every drawing class I ever took, even in college.
That's partly why a lot of graff artists will INSIST they are not artists - because they're chasing an aesthetic paradigm that doesn't blend all that well with traditional education.

>>13340762
This is a more recent one. I definitely never thought of making it a switching-personality two-styled kind of character, since it’s supposed to be a chimera, I wanted it to show all of its characteristics merged at once, trying to find a good point somewhere between asymmetric aesthetics and a more centralized shape. I do like the idea of making it two thought. Now that I look back at the old drawing, It would’ve been interesting to see how two different styles played there. This is really the kind of criticism I look for instead of a “lmao it’s sucks” or a “wow I love it”. Thanks.

>>13340830
Thank you. I don't get to chat with actual visual arts ppl all that much, and I really enjoyed just... shootin the shit and talking about lines of sight and whatnot.

Are you planing on an extended story involving this character?

>>13340823
What do you mean by “not capable of doing it in one pass”? We’re talking about one inch lines here, how many passes should it take? I’ve made a quick drawing to better illustrate what I mean, so there’s no confusion- I exaggerated what your technique looks like so you can see what I mean when i say you “rub” the pen instead of pulling it... all I’m saying is pull your pen (or pencil or crayon or chalk or rattle can, it makes no difference) in one smooth and controlled stroke instead of what you’re doing.
I’ve make a quick sketch to better illustrate what I mean. I really don’t think it’s out of your reach because you already have practice and a sense of techniques - but if you don’t pay attention the areas that need improvement, you’ll def make up excuses and use tracing/shading/contouring as crutches.

>>13340870
I am, I mostly draw comics, so this character is part of one I’ve been working on but haven’t been able to publish it because I currently lack the time to draw. But yeah, it’s basically the main character of a manga-inspired comic I’m working on.

>>13340871
I can't trace because that's really.. that's a no-no.
What I'm trying to tell you is that the approach to crating the visual is vastly different. One pass means you're practiced in every line and curve you employ - so much so that you can assemble the image fast, in permanent ink and with no mistakes.

Graffiti is not art as you know it. It's not even art in the western sense. It has more in common with those zen monks who spend years just mastering the ability to draw a perfect circle in one line, one pass, with indelible ink.

Graff artists do the same. They focus on technique to the point where they're drawing the same image literally thousands of times. Lord knows I've done a lot of that shit - you just keep drawing whatever it is over and over and over. For months. Eventually you can pull of the cleanest and truest version of your original concept, thanks to muscle memory and devotion. After ten-40 times attempting the same thing, you understand it on an almost cellular level. Which is important for a vandal.

Make no mistake, tho - we're not artists with educations or standardized techniques. We're people who force our vision on a world swamped with advertisements and galleries usually hate us. Part of the performance of this art is the transgression of law. Always will be. It's nigh impossible to hold ourselves to traditional aesthetic principles in shit like this. At least it is where I came up, because you want shit to pop and grab minds much more than you want it to be "correct".
Personally, I use visual maximism a lot with stuff because it's that graff history, always there.

>>13340762
>modern retro
what the fuck is that supposed to mean?

it just looks like cartoon network bullshit

>>13340904
This image went through a lot of further incarnations until the shapes really clicked together for me.

Here's a later versoion.

>>13340897
hey, never listen to that guy again alright?
your character designs are obnoxious as shit

>>13340672
remove the 60s glasses
stop making the face so wide
reduce the ears
REDUCE THE SIZE OF THE SHOES
REMOVE THE CHOKER

>>13340910
>Don’t listen to the guy that seems to be giving logical and sensible advice.
Gee, idk

>>13340906
Yeah, all that odd parents / dexter's lab shit that rides ye olde Hanna Barberra dick

It's deliberately simple to cheapen animation costs but stylized enough to look like an intentional callback to 1950's cereal commercials.

>>13340909
Those eyes

>>13340904
Idk man I've been hanging out with graphers for 20+ years and those that took it seriously eventually went to art school where they stopped saying shit like what you're spewing and admitted that they rationalized their shitty techniques because they had this massive inferiority complex for feeling like outsiders.
A line is a line; if you seriously think you're not making deliberate lines because "Graffiti is not art as in the western sense" that's your prerogative, but it's not fooling anyone.

>>13340909
wow it looks like the trash I doodled when I was 17 and desperately trying to find a "unique" style. deviantart as fuck

>>13340913
the only sensible advice he should follow is to stop drawing altogether

>>13340904
>>13340909
>>13340711
The urban tribalism / indigenous sensibility is embarrassing

>>13340913
Yeah, and if something is tough to get perfect, you should give up. That's what anon does.


If you're going to tell a story with your character, why not remember than with identity politics being the issue of the day, and with the ever present need for a conflict in any good story, consider working out a plotline wherein you heroine is literally at war with the inhuman part of herself and its tendency to show up at the wrong moment - like on a date, or at party where the drinks are strong? We all battle a part of ourselves and the whole notion of self-actualization is dependent upon us either winning or resolving these conflicts we have with our inner selves.
With this in mind, perhaps the creature inside her embodies the opposite of the disaffected and socially independent human form, whose tee shirt says loser, should have a mirrored instance of that in her second form. A visual symbol for how the size of their personal disparity alone necessitates some degree of conflict.
You can avoid Mary Sue bullshit and feature and endearing and flawed protagonist who can't help but struggle to hide her inner self.

Perhaps she makes peace with it at the end. What would be the catalyst for that?

Jus ideas.

>>13340914
Well yeah, that was a very early stage of my drawing style. Probably 4 years ago but it’s the only one I had on my phone. Pic related is fairly newer. I’ll try to get some of the latest stuff if I find some on (((google)))Drive.

>>13340957
Is that vape connected to her fart box?

>>13340943
Why is that? you don't like it ideologically / aesthetically?
The whole lot of you have told me nothing abput why shit is bad, just that it is and I am doing it wrong.
After being published a times, i stopped caring about the "right way" to do this shit as long I like the end result, which is for me alone at the end of the day, even if I hit up downtown with it like a movie poster.
I got the same line of shit about technique being "wrong" when I was learning to use samplers and scratch. I'm grateful I paid it no mind - if I had tried to force myself into something, I'd never have discovered and created countless recordings.

The nice thing about graffiti is that it CAN be wrong, it's outsider art from a violent and troubling community. To get Art School with this shit, you'd end up with something that's just not you. Art school graff writers are even targeted for robbery and violence because of this.

It's a lot like how many good hip hop tracks break music theory left and right, and are being composed "wrong" according to traditionally trained composers.
But those traditionalists hardly ever get 4 hundred heads nodding in time with their musical output.
They never dodge trains, paint in the dark or rack up millions in damages because they NEED their art out their, where it can be insulted, crossed out, shat on,,, and eventually.? Perfected.
Sorry dude. Tried the art school thing. Not me.

>>13340962
It is

>>13340957
It's been the dominant style since the mid 90's and I'd be wondering if it hadnt influenced you.
Besides, there are some many ways to up the complexity and impact of it, which you are presently doing.

>>13340983


>>13340932
addressed to you, as well.

>>13340945
Ah, that’s a really good idea dess. Seems appealing to the reader, but would be hard to incorporate, since what I want to do is some goofy slice-of-life kind of manga where the reader can both feel somewhat related and have a good laugh.

>>13341010
Death note provided an effective model for comic relief within the frame of morbid shit. Just thinking out loud.

>>13340933
Post your art. Just do it, so at least your words have weight.

>>13340925
a cheers!

When did I switched to /ic/ ?

>>13340983
You seem to have this uninformed opinion about school in general, and art school in particular, being a sort of conformity factory, where in reality it's a place where you get structure and tools to explore your true identity.

If you ever bothered to learn about art history, you'd realize that you're just paraphrasing what the impressionists said about le Salon de l'academie when they started their own Salon des refuses more than 100 years ago.

You're so busy trying to break the rules you dont even realize you have no idea what they are in the first place. Stop being complacent already and get out of your comfort zone.

>>13341038
We're definitely not in /ic/ territory yet, because if we were then everyone would be shitting on the OP pic, yelling LOOMIS and posting merc_wip when asked to post their art.

>>13341040
My friend wasn’t accepted on art school because his art wasn’t “good enough” an had an homicide rampage.

>>13341064
Did your friend also happened to be Austrian?

>>13341066

>>13340711
>>13340729
>>13340741
>>13340823
>>13340830
>>13340897
>>13340904
>>13340909
>>13340957
>>13340987
>>13341010
All of these artworks are fucking beautiful, everything I draw looks like fuckin stickmans and make me want to kms

>>13340983
You sound like you've heard about cultural relativism and think it will excuse your lack of technique.
Hesitating lines aren't intuitive and deliberate strokes aren't oppressive, you have room to learn and better yourself, IDK why you're so vehemently opposed to the idea that you can do better.

>>13341040
No nononono, I went to a first tier art school myself, I know exactly what you're getting at, I've heard it from teachers and students alike.
But here's the thing - I was drawn to this art form as it is, as it stands, largely untouched by the educational arm of the institutions that gatekeep the galleries and museums - until I got published by Martha Cooper, I couldn't get a gallery showing. Friends who followed more established approaches to their own graf and street art had the same problem.
Once I'd made that first book? there were galleries finding me. Small shit, obviously, but it left me with a lot of distaste for the gallery system and art dealers and all that shit.
I'm not trying to break rules. I simply am - that's kind of a big part of graffiti.

The kids who showed me how to hold a decent handstyle and explained the fundamentals of racking paint, switching out caps and exercising proper can control didn't care about salons, or matisse, or established standards. That was the whole point, when I started.
I don't take visual art all THAT seriously I just have moments here and there. I know my understanding of the image may be incorrect to you, and maybe to others as well. That's okay. because I took the time, I practiced what well established writers told me to, and then I took risks which eventually paid off .

To inflict western art theory into this shit is only viable up to a point. Come to the walls 'too correct' - in my circles - is really really not a good look and will probably get you written off by older soldiers or if you don't have rep and some respect? You'll eventually get robbed.

Now I guess this is gonna come off as a rationalization or something like an excuse, but if I can just leave with one thing - it's about uilding something, a style, an approach, that works for you because you designed it for you.
If you've worked for years on something YOU find beautiful, then it's a success. Picasso could come up and shit on it. IDGAF.

>>13341090
Oh, sorry, I didn't realize people had tried to help you out already but you didn't need no guidance because everybody else is wrong and you were an exceptional individual. It's so rare to find people that are just blessed with intrinsic knowledge, most of us have to learn things.
>didn't care about salons, or matisse, or established standards.
They did, and it scares them to death; it hard to admit, but it's liberating.
>this is gonna come off as a rationalization or something like an excuse
It does, and you really would benefit from a long hard look in the mirror.
Nobody is trying to rob you of your agency or your creative essence. Stop being childish and try to see how you have much to learn instead. It's hard being humble, it's easier being defensive.

Bump

>>13341106
I took their on my music. I took it well. But I don't want to change the wheatpaste work or the portrait styles. I just don't.
I learned all the synthesis shit, the wiring, the math, the scales, and some of it serves me.
A lot of it does. I can converse with professionals, with other producers. It's great.

Graff is my act of petty rebellion. I wish there was some way I could prove to you that I like it that way. I'm not selling anything.

And the people who helped me at the start were past masters in a mode of expression they'd been told was an eyesore, incorrect, etc..... for upwards of 20+ years in some cases. Graff writers get a lot of hate. The important thing about graff for lots of folks is not the finished product. It's the doing, and the risk.
So I could very well ask you if you've ever ran a live tunnel, dropped a 2 color fill on a busy street, or risked your life simply to paint, unfettered. Have you? Because there's an opposing school of thought for everything, and in my experience, without the risk as proof of your devotion, your opinions are that of a dilettante in a world that is not his own.

>>13341135
I have; I've also pasted cruisers, dragged and hid friends who broke their ankle while we were running away from cops.
You gotta understand I'm not hating on the form of expression, I'm just saying you've got poor technique. Your self-assurance is vapid, my man. I'm saying be better, not different, ffs. Do you ever listen to people or do you always respond the the ongoing monologue in your head?

so is this just a free for all post your art thread?
here you go https://imgur.com/a/l8aU5

>>13340672
omg it's even worse somehow

>>13341297
You mean culturally poorer? Yeah it obviously is

>>13341268
you're style is cool what's your inspiration

>>13341311
Adding color doesn’t mean adding culture you big nig nog

>>13340672
el goblino

>>13341326
If spicy exoticism isn't culture, than what is it? that's what I thought.

>>13341325
mainly the warriors (1979) and UPA (United Productions of America, the best goddamn animators)
there's a lot of inspirations I couldn't even name, it's a subconscious thing a lot of the time

>>13341330
This

>>13341152
I get what you're saying. I do.
I think we'll always disagree on this. I respect your opinion as an active writer, however. It does make stop and think harder.
I never said what I can do was intrinsic, and pissing on your POV wasn't really ever imy objective.
I guess I've gone as far as I want to go with visuals. I made some things I'm proud of. Got to see the underground in detail. Hell, I even got published.
But at this stage in my life? Dude, I'm old. I've been focusing on composing and scratching for ages and there's a lot more promise and general positivity in, say - scoring short films and commercials - than there is in getting up.

My skills with sound design and synthesis far surpass my abilities in every other creative field by a considerable margin. I'll always be into urbex and ups, but not as a full time pursuit. I'd like to simply have output & work in the field that's something I'd enjoy seeing . A slightly different style. In the long term, I don't see myself being a hyper dedicated visual artist - Not by the same standards with which I'm assuming you measure your own work.

Music is a different story, for me. I'm more qualified, educated & far more prolific. Something in me always wants to see what's further down that road.
If I encountered the same mindset that you're pointing out in me regarding visual art within another producer, I'd be frustrated. I get that.

I'll TLDR it - I don't take visuals as seriously as I used too. I'm probably about as good as I'm gonna get and I'm fine with that. If i'm merely adequate with ink and paint, that's enough.

The central focus of my life from 1997 up until now has always been instrumentals, synths, sampling, skratching and live performance. Pic Related.