Cloud-Clipped Yew Hedges located at Powys Castle in Wales
NASA
cherry valley forever

Kaledo Art
d e v o n
sheepfilms
trying on a metaphor

ellievsbear
YOU ARE THE REASON

JVL
Keni

Product Placement

❣ Chile in a Photography ❣
🪼
let's talk about Bridgerton tea, my ask is open
Monterey Bay Aquarium
Stranger Things
wallacepolsom
TVSTRANGERTHINGS
Mike Driver

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@chrismouse
Cloud-Clipped Yew Hedges located at Powys Castle in Wales

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HEY ARTISTS!
Do you design a lot of characters living in not-modern eras and you’re tired of combing through google for the perfect outfit references? Well I got good news for you kiddo, this website has you covered! Originally @modmad made a post about it, but her link stopped working and I managed to fix it, so here’s a new post. Basically, this is a costume rental website for plays and stage shows and what not, they have outfits for several different decades from medieval to the 1980s. LOOK AT THIS SELECTION:
OPEN ANY CATEGORY AND OH LORDY–
There’s a lot of really specific stuff in here, I design a lot of 1930s characters for my ask blog and with more chapters on the way for the game it belongs to I’m gonna be designing more, and this website is going to be an invaluable reference. I hope this can be useful to my other fellow artists as well! :)
😱🤩 I'll see you in five years, I'll be down in the studio drawing...
The Potters are a powerful couple and they were on the front page more than once!
Yes, badass Ginny is inspired by the wonderfull @blvnk-art
I absolutely love Constance's art!! Her figures and their expressions; her jewel-tone colors; so beautiful! And I am constantly impressed with her ability to capture her characters' likenesses every time--for example, her Harry always looks like her Harry. I'm still aspiring to that goal in my own art. It is *not* easy to do! Constance is inspiring!
art block, writer’s block, “art funk”, “burnout”, yada yada… it’s all the same thing, being a creator and wanting to create but having some kind of a wall preventing you from doing this.
this wall can take a lot of different forms, and i’m going to approach this post from the perspective of a visual artist, but no matter the medium, we all have a skill we’ve trained ourselves in and what I’m talking about will apply regardless.
Anyway as I said there’s a few different forms this wall can take. Here’s a few of them that I can think of:
Disillusionment with your current skill level
A loss of direction
Fatigue
Lack of drive
It’s really important to identify exactly what your wall is if you want to be able to dismantle it. This isn’t every way it can manifest either, just the most common ways that I see it manifesting, and you might have multiple at once!
Take some time to really self reflect on what the problem is if none of these are resonating after you’ve read the post, whatever it is you can find a way to manage it.
The most common advice I see for “defeating [creator’s] block” is committing to spending like five minutes a day working on something, anything at all. And that’s good advice! but not really for creator’s block, I think.
It’s GREAT advice if you’re lacking in discipline though, like I can easily get distracted and not work on things for months. So committing to work on comic related things for at least 30 minutes a day (and having this commitment be to other people that I’m checking in with each day, i think thats an important part) has worked really well for me, personally.
But I wasn’t dealing with any kind of a block, I just lacked discipline. I don’t think it’s very useful if for example, you hate how your art looks so you don’t want to draw anything anymore lmao
With that in mind, lets go through that list and I’ll try give you some advice from my experiences, and hopefully it’ll help give you the means to identify the problems you’re struggling with and find solutions to them if my advice isn’t quite what you need.
—
1. Disillusionment with your current skill level
So! it’s time to pull out everyone’s favourite graphic! this version was created by shattered-earth on deviantart, though the original is by Marc Dalessio
obviously this says art, but again this is applicable to all mediums. It’s an important concept to understand, the idea of a creator’s high vs a creator’s low depending on how developed your critical eye has become compared to your skill level.
If you’re not aware of it and don’t understand what’s happening, it’s REALLY easy to lose all motivation to create anything. Because why bother, if everything sucks? Definitely one of the most dangerous blocks you can run into, I think.
The solution, as with all of these walls, is to be kind to yourself.
Your critical eye improving is emotionally taxing, but it’s also an opportunity for great growth! It’s not easy, though. To get through it, you have to really confront what you don’t like about your work and target your weaknesses, and then you have to put in the time to try and improve them. That’s tough.
But self study doesn’t have to be a solo activity. Talk with your friends, seek out communities of creators, and follow resource blogs, channels, etc. I really think the best thing you can do is surround yourself with other creators, I’m in a few discords and hang out in the creative section of various forums etc
But this is really important: The act of targetting your weaknesses in order to improve them is going to make it REALLY easy for you to lose track of what you like about your work, and can in fact compound the issue and make you only focus on your flaws.
So, be kind to yourself. If you’re not happy with what you create, take the time to critically analyse your work. What don’t you like? What do you like? Don’t lose track of what you like while you study the things you’re less confident about, and with some patience and work your skill will catch up with your eye again.
I really can’t emphasise enough how important it is to not lose track of what it is you like about your work. The biggest motivation killer is always going to be falling out of love with your work, so do everything you can to prevent yourself losing the joy of creating.
Like, sure, a work might be technically perfect, but did you enjoy yourself while creating it? If you always ensure the answer to that is yes, the mismatch between your critical eye and your skills will be easier to handle because at least you’re still enjoying yourself, you know?
Keep reading
I'm going to take the time to do this exercise!
The concept of our "seeing" skill varying alongside our "creating" skill is super interesting, and will help me be more patient with myself in the future, I think.
And absolutely, love needs to be a component in the work, or else the work becomes a chore or even a punishment. I know I often struggle with feeling like someone is forcing me to work on a project against my will, yet it's MY PROJECT, I came up with it, and no one else is around to legitimately blame! Yet when I'm in love with the project - either my own or a commissioned idea - I can work on it till I fall over exhausted, and still feel joyful and inspired to create more.
The hardest-hitting wisdom, for me, was:
Targeting your weaknesses in order to improve them can make it easy to lose track of what you like about your work, and can make you focus on your flaws.
I recently went back through my art files from over a decade ago, to print out bunches of images that my mom could use in a creative journal project. I sat there as the printer spit out these colorful images, and felt amazement rolling through me. That art is good! It was good art! I clearly remembered all the flaws I saw in those drawings when I first made them - there were hardly any that I had been content with, even out of the many that had sold. Of course they weren't perfect! But I was too critical of my own flaws, and I missed a lot of joy because of it.
And I still do that!
I'm never going to stop trying to improve; but I think, going forward, I'm going to try picking one thing that I really love about each project I'm working on - one quirk of a fairy eyebrow, one turn of phrase in a novel draft.
I'm going to try to focus on the joy, and see if that can help me get past my obstacles!
Amazing Nature Phenomenons
ᴋᴀᴡᴀʜ ɪᴊᴇɴ (ʙʟᴜᴇ ᴠᴏʟᴄᴀɴᴏ) ɪɴᴅᴏɴᴇsɪᴀ
ᴛᴜʀǫᴜᴏɪsᴇ ɪᴄᴇ: ʟᴀᴋᴇ ʙᴀɪᴋᴀʟ-ʀᴜssɪᴀ
sᴜᴘᴇʀᴄᴇʟʟ sᴛᴏʀᴍ
ɢʀᴇᴇɴ ғʟᴀsʜ sᴜɴsᴇᴛ
sɴᴏᴡ ᴄʜɪᴍɴᴇʏ: ᴍᴏᴜɴᴛ ᴇʀʙᴜs-ᴀɴᴛᴀʀᴛɪᴄᴀ
sᴋʏ ᴘᴜɴᴄʜ
sᴛʀɪᴘᴇᴅ ɪᴄᴇʙᴇʀɢs:ᴀɴᴛᴀʀᴛɪᴄᴀ
ʟɪɢʜᴛ ᴘɪʟʟᴀʀs
sᴀʟᴀʀ ᴅᴇ ᴜʏᴜɴɪ (ʀᴇғʟᴇᴄᴛɪɴɢ ᴅᴇsᴇʀᴛ) ʙᴏʟɪᴠɪᴀ
ᴍᴀᴇʟsᴛʀᴏᴍ
ᴇʏᴇ ᴏғ sᴀʜᴀʀᴀ:ᴍᴀᴜʀɪᴛᴀɴɪᴀ
ғɪʀᴇ ʀᴀɪɴʙᴏᴡ
ᴘᴏʀᴏʀᴏᴄᴀ (ɴᴇᴠᴇʀ ᴇɴᴅɪɴɢ ᴡᴀᴠᴇ) ᴀᴍᴀᴢᴏɴ ʀɪᴠᴇʀ-ʙʀᴀᴢɪʟ
ᴀᴜʀᴏʀᴀ ʙᴏʀᴇᴀʟɪs
ɢʀᴇᴀᴛ ʙʟᴜᴇ ʜᴏʟᴇ:ʙᴇʟɪᴢᴇ
ʀᴀɪɴʙᴏᴡ ᴇᴜᴄᴀʟʏᴘᴛᴜs ᴛʀᴇᴇs
sᴛᴏɴᴇ ғᴏʀᴇsᴛ:ᴍᴀᴅᴀɢᴀsᴄᴀʀ
ᴄᴀᴛᴀᴛᴜᴍʙᴏ ʟɪɢʜᴛɴɪɴɢ (ɴᴇᴠᴇʀᴇɴᴅɪɴɢ sᴛᴏʀᴍ) ᴠᴇɴᴇᴢᴜᴇʟᴀ
ᴍᴀᴍᴍᴀᴛᴜs ᴄʟᴏᴜᴅs
ᴡʜɪᴛᴇ ʀᴀɪɴʙᴏᴡ
ᴜɴᴅᴇʀᴡᴀᴛᴇʀ ᴄʀᴏᴘ ᴄɪʀᴄʟᴇs
ʙɪᴏʟᴜᴍɪɴᴇsᴄᴇɴᴛ ᴡᴀᴠᴇs
ᴍᴏʀɴɪɴɢ ɢʟᴏʀʏ ᴄʟᴏᴜᴅs
ᴠᴏʟᴄᴀɴɪᴄ ʟɪɢʜᴛɪɴɢ
ɴᴀᴄʀᴇᴏᴜs ᴄʟᴏᴜᴅs
ʀᴀɪɴʙᴏᴡ ᴍᴏᴜɴᴛᴀɪɴs:ᴄʜɪɴᴀ
ʟᴇɴᴛɪᴄᴜʟᴀʀ ᴄʟᴏᴜᴅ
Judgement:
The realms of mortals are more magically than you thought
I keep saying it but seriously *dramatically waves hands* GOD IS A FLIPPIN ARTIST PEOPLE!!!

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My morning in Los Angeles: Sweltering hot. Totally awesome.
I'm at the Kimbell Art Museum in Fort Worth, TEXAS!, and I am overwhelmed with wonder!
Ralph McQuarrie - Yavin 4 Concept Art
I randomly picked this book off the shelf and then couldn’t out it back. I love the end sheets inside the unassuming blue cloth binding! The artwork for the end sheets and frontispiece were done by Warwick Goble (1862-1943). Goble was a British children’s book illustrator. His style should look familiar. In 1909, he became the chief gift book illustrator for MacMillian illustrating The Water Babies, The Fairy Book, Green Willow and Other Japanese Fairy Tales, etc.
Printed in 1908 by Cassel and Co., Letters from an Ocean Tramp was William McFee’s (1881-1966) first published work. McFee was born at sea and spent the first part of his adult life as a marine engineer before becoming a writer. This first work is structured as a series of letters from a sailor monotonously working in the engine room of a ship.
-Jilian
PR6025.A225 L4 1908
The Signal by John William Godward
Though painted in 1899, this scene is meant to suggest antiquity.
Yet, the theme is timeless: waiting to hear from a loved one. This moment is both still and full of tension; a moment of isolation, uncertainty, and hope.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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It’s kind of a funny thing, the personal sense of satisfaction that you get from being invisible. When I’m around animation people, they know who I am. But, among normal people, they don’t know who the heck I am. I learned about that in a hard way – the value of being invisible. I was trying to get into Disneyland with some friends who were visiting. I was going to impress them by going up to the front of the line and getting in with my Silver Pass. I get to the front of the line and went, “Shoot, I don’t have my pass!” I figured, I’ll just talk my way in. I said, “Hey, look. I don’t have my silver pass. Here’s my Disney ID. I work at the studio in animation. Can we come in?” The guard said, “No, I can’t do that.” I said to him, “Well, you got a computer there. You know who I am. You can check to see that I have a Silver Pass.” He said, “Naw, I can’t do that.” I said to myself, “No, don’t do this” but I had to do it; I said, “Look, did you see The Little Mermaid? Did you see Beauty and the Beast? Aladdin? I did those.” He looked at me and said, “I don’t care who you are. You’re going to get back into the line like everyone else!” So now I’m embarrassed in front of my friends. I went to the back of the line, waited in line, bought tickets and by the time I got into the park, I was angry. My friends went on a ride and I sat down on a bench, just trying to cool off. And sure enough, here comes The Beast walking over. He sits down on the bench next to me. I thought, “Isn’t this ironic.” I looked over at him and said, “Hi Beast.” Then this little girl comes running over, jumps up and gives The Beast great big hug and a kiss. And I immediately remembered when I was designing him, I thought, “He’s too ugly. Nobody is going to believe Belle could love him. This movie isn’t going to work.” And here is this little girl, completely embracing and believing in this character. I have never felt so wonderfully invisible as I did at that moment. To that little girl, The Beast was real. I realized, that’s what this is all about. It’s not about me at all.
Glen Keane on why he is satisfied with being invisible (via indigospecs)
‘Woman with Dasies in her Hair.’ Postcard.
Image and text courtesy MFA Boston.
Pascal Flammer designed this Swiss house with ground level windows, to make it seem as if the nature outside flows continuously into the home.
Having that many windows feels unsafe to me from a security perspective, but ohhh myyyyy, how beautiful!
This hat and I are going to join forces one day. If I wasn't budgeting for travel, we'd be a team at Comic-Con in July. But Disneybounding this fall...done deal. :)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Collection’s Highlight: 1880′s Silk Dress
Happened upon this beauty the other day. Could not button the bodice all the way up for fear of losing a button. Museums frown on breaking collections. Many, many more pictures to come. Stay tuned!
Bodice, ca. 1880s, silk, L 31.5in. The Fenimore Art Museum, Cooperstown, New York, Gift of Mrs. John Veach, N0204.1940a.
Skirt, ca. 1880, silk, L: 43in. The Fenimore Art Museum, Cooperstown, New York, Gift of Mrs. John Veach, N0204.1940b.