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Like last year (
My favorites from this year:
That's over half the total number of entries so it's been a pretty good month.
I just went over the things I learned last year and I followed them pretty well - all my discoveries from then still check out in the new drawings. I did fall in the trap of constructing images too much, but I'm not really sorry about that. As a cartoonist, constructing is a big part of what I do, or it should be, because using reference for every single panel just bogs you down.
New things I learned:
1) Nostrils are negative space; draw the flesh around them and the shape of the nostrils takes care of itself.
2) On a prone torso, breasts behave like blancmanges
3) Plus-size models are more fun to draw; and
4) You know, drawing these images may well make me a better person. I approached drawing the nude body of a bodypainted trans woman with some trepidation, because while I have trans friends and support trans causes, I was still uncomfortable with the idea of looking at a woman with a penis especially while she's exposed like that. But as I went on drawing her, I realized that I could get used to drawing bodies that were a step away from the normal expectations society has imprinted on me as it has on most other (cisgender, heterosexual and otherwise privileged) people. And also that this woman was awesome! Confident, beautiful, charismatic - someone I'd very much like to get to know. Also, she's out there doing a body paint event and I'm not, so that alone makes her a lot cooler than me.
That last one, that's pretty fundamental. It gets to a big part of why I do art and why art exists. It's one thing to push back against mediocre talent and lack of ongoing practice to develop your skills, but given how time-consuming and often frustrating it can be, it's well worth for me to consider what I do it for.
I did 5 drawings that were based on selfies or showed people taking a selfie. I think selfie culture is actually very beneficial for the same reason: you appreciate your own body as it is and show it to the world. Individual selfies show how people want to present themselves; collectively they show the world who people really are. Having said that, drawing from people's selfies is a lot harder than drawing from professional model photos or even journalistic photograps (go back to the full gallery and ask yourself which is which).
Decemboobs, final evaluationWhen the call for participation in a drawing challenge focused on breasts arrived on my dash, I thought, "sure, I can do that easily" and so I joined. Turns out I was wrong about that: I missed 8 days out of 31 and the quality of the work I produced was very uneven. I still had fun most of the time, and it's allowed me to chip away at problems in my art and hopefully helped me become, like, a 0.1% better artist.), I am collecting the best artworks of this year's Decemboobs challenge. I was surprised to find I'd made fewer entries than in 2015; however, I'm happy about the quality compared to last year. Most entries were better than the best entries from last year, and the ones that were bad, I at least got some useful practice out of it. This is good, because practice results in incremental improvements in how I draw, e.g. folds in clothing, eyes hands, noses and so on.
My favorite pieces from the project:
Decemboobs Day 29: Olivia Campbell by ReinderDecemboobs Day 30: Silhouette by Reinder
These are the ones where I think I was "on" on the day I drew them. The other ones, meh. I think the fact that my quality is so inconsistent is as big a problem a
My favorites from this year:
Mature Content
Mature Content
Mature Content
Mature Content
Mature Content
Mature Content
Mature Content
Mature Content
Mature Content
Mature Content
That's over half the total number of entries so it's been a pretty good month.
I just went over the things I learned last year and I followed them pretty well - all my discoveries from then still check out in the new drawings. I did fall in the trap of constructing images too much, but I'm not really sorry about that. As a cartoonist, constructing is a big part of what I do, or it should be, because using reference for every single panel just bogs you down.
New things I learned:
1) Nostrils are negative space; draw the flesh around them and the shape of the nostrils takes care of itself.
2) On a prone torso, breasts behave like blancmanges
3) Plus-size models are more fun to draw; and
4) You know, drawing these images may well make me a better person. I approached drawing the nude body of a bodypainted trans woman with some trepidation, because while I have trans friends and support trans causes, I was still uncomfortable with the idea of looking at a woman with a penis especially while she's exposed like that. But as I went on drawing her, I realized that I could get used to drawing bodies that were a step away from the normal expectations society has imprinted on me as it has on most other (cisgender, heterosexual and otherwise privileged) people. And also that this woman was awesome! Confident, beautiful, charismatic - someone I'd very much like to get to know. Also, she's out there doing a body paint event and I'm not, so that alone makes her a lot cooler than me.
That last one, that's pretty fundamental. It gets to a big part of why I do art and why art exists. It's one thing to push back against mediocre talent and lack of ongoing practice to develop your skills, but given how time-consuming and often frustrating it can be, it's well worth for me to consider what I do it for.
I did 5 drawings that were based on selfies or showed people taking a selfie. I think selfie culture is actually very beneficial for the same reason: you appreciate your own body as it is and show it to the world. Individual selfies show how people want to present themselves; collectively they show the world who people really are. Having said that, drawing from people's selfies is a lot harder than drawing from professional model photos or even journalistic photograps (go back to the full gallery and ask yourself which is which).
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Commissions, continued
I have now delivered all but one of the latest batch of commissions. Well done, me! I will have room to do more commissioned work in April. Please check the Commissions Price Sheet for more information and terms:
FAWM over, back to drawing
I've successfully completed February Album Writing Month and will now focus on drawing again. I'll be traveling to Portugal without my laptop and without any musical instruments but with my iPad and Apple Pencil. First priorities will be a new Greyfriar's Isle story and unblocking myself from what is holding me back with the ongoing Tess Durban story. I wrote two punk-ish songs during FAWM and by coincidence, my brother posted the only punk song from my The Hooded Crow days, written by me and recorded for our first demo in 1994. As with many of these songs, there was a long time when I didn't want to listen to it. But it turns out that writing new songs is not just a way to express myself, create new things and be part of a community, it's also an ongoing dialog with myself. So writing "Enshittified" last summer, and "In the face of the Eschaton" and "The Planet Spins" this February, has made me listen to my older writing with different ears. The Reinder Dijkhuis Punk Album would
Glaze, and things that AI can't do
The other day, I ran a number of old drawings through Glaze and found that my pencil art from several years ago takes it amazingly well. The header image conveniently focuses on a section of the image where you can see the Glaze artefacts, but only just. Compared to black-and-white and flat-colored images, where the artefacts are painfully obvious, these scanned traditional works with random greyscale tones and paper textures are good at hiding the tell-tale signs that the image has been processed through anti-AI technology. So I'm going to experiment a little more, with watercolors as well as more pencil artworks, and if the results are consistent, I will just go back to traditional art full-time. I know that DeviantArt has an opt-out for AI training on images posted here, and I expect them to respect that opt-out, at least for the time being. But it's easier for me to have one canonical version of every image that I post everywhere, so that's why I've only been posting Glazed
The Hooded Crow - Ravine, and FAWM
It's that time of the year again. I'm doing February Album Writing Month! You can follow my progress via https://write.fawm.org/@reinderd until the FAWM website goes into hibernation again. So far, I'm at three songs written, which means I'm on track but can't afford to slack off (yesterday, I slacked off, a bit). Meanwhile, my brother continues his regular releases of demo tracks, studio recordings and outtakes of our former band The Hooded Crow with one of my favorites and one of the tracks I'd selected as a model for the songwriting project I'd chosen for this year's FAWM: Michel Bouma's composition "Ravine" from 1994, featured on our second demo. Here it is: The Hooded Crow - Ravine It was about time we got to rock out again! Sometimes, a guy just wants a big dumb riffy rocker, and "Ravine" delivers that, but it also has enough movement in it to keep things interesting beyond that. And it's a joy to play! I should know because I still play it frequently.
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