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Mynydd Drumau, Wales

morpho books

figure drawing for all it's worth (+ creative illustration)

framed ink

will eisner comics and sequential art

will eisner graphic storytelling and visual narrative

understanding comics (+ making comics)

folder of various animation production art

burne hogarth drawing dynamic hands

perspective for comic book artists

michael mattesi force drawing

the animator's survival kit

color and light james gurney

Obviously, the goal of this experiment is to grow the lobsters until they’re big enough to settle to the seabed and then release them, because they have a much higher likelihood of surviving to adulthood when they’re able to hide. Ideally, captive lobster hatcheries can boost the wild population and keep things stable, so we don’t have a major crash in a decade or two.

The first year we tried this was pretty bad. We had a lot of eggs, but very few babies. It turned out that the CO2 levels in the building spiked as more guests visited throughout the summer, and that settled into the water and threw off the pH and caused a chemical reaction that prevented a lot of the eggs from hatching. I think we ended up releasing three baby lobsters (which is still better than their wild survival rate but not great).

The second year was a little better. We added a de-gasser to the aquarium and got a ton of larval lobsters, but right as they were settling to the bottom we had a disease outbreak that killed most of them. We ended up releasing four babies at the end of the season.

But this year? Oh boy. We have so many lobsters that we had to release the first round early (usually we wait till September or October so guests can see them). We just released a total of FIVE HUNDRED AND TWENTY FIVE baby lobsters, and we still have over a hundred who haven’t settled to the bottom yet. I genuinely don’t even have words to explain how cool this is. OVER FIVE HUNDRED. We just added hundreds of lobsters to the wild population that wouldn’t have been there otherwise.

Fatalistic sarcasm is a thing, however, it usually hides deep feelings of insecurity, and whether you consciously recognize this or not, it validates them. Seriously, I used to constantly make jokes about how other people’s work was better than mine, and it did nothing for my self-esteem, it was a tool to deflect from my own feelings of inferiority and it actively worked against me thinking critically about my own and other people’s work. If it was a joke I could put myself down instead of analyzing why someone’s work was better and trying to incorporate that into my own

As someone who took creative writing courses I was constantly surrounded by other brilliant people, if I hung my head in shame every time I read something as good or better than mine I never would have lifted it. 

As someone who has watched a lot of writers with very good idea’s crash and burn I mean it when I say you either develop a healthy sense of respect for your own work or you stop writing. 

There’s three things I really wish more people consider

1. Do you think their work is better because it’s a different style, one that you like? There’s an element to ‘the grass is greener on the other side’, I have seen people work in some amazing styles that I wished to god I could replicate, some I managed, some I never did, but there’s nothing wrong with either. having a different style Is Not the same as having a bad style, each has their own strengths and you can admire one without putting yours down

2. Knowing someone who is a better writer is a blessing and if they knew you were using their work to bring yourself down they would not be happy, mooch off that friend, analyze their work, ask them to edit your shit, as long as you’re not annoying them be shameless about it. the best thing creative writing did for me was give me the confidence to ask people to critic my work and shamelessly better each other for that sharing