orciny

Starting from pople tending to turn every story about siblings who are not besties into this huge tragedy instead of awknowledging that maybe, sometimes, people are not close with their siblings. Or that people are so weird about mothers.

But what irks me even more is the tendency to decide that two people who are close in canon have a "sibling coded relationship" which suddenly also means that shipping them together is wrong. Or if a character has an older person in their life whom they look up to - well that is their parent now!!!! They can't fuck their parent!!!!

There is this underlying idea that elevating characters into a familial bond is above such concepts as romantic love or sex. Which sucks because that is not what the concept found family means - it was meant to describe the queer experience of finding your people and community from outside of your blood relatives, and it was never meant to say that there can't also be romantic relationships within that community.

And it is not even always about the fact that I want to ship my blorbo with everyone who comes near him (although I absolutely do), but I think that sometimes there can be meaningful dynamics that are not about family. I want my blorbo to have friends, lovers, partners, mentors, neighbours, a trusted older person who they can call to but is not their parent.

Hhhhhh the idea of the nuclear family as the platonic ideal of all relationships that all types of relationships must mimic is killing me I hate it so much...

Sibling-coded.. sorry please tell me how you replicate growing up right beside someone who you both love and loathe and can never escape and your entire relationship as an adult haunted by your childhood.

For portraiture you have the unique challenge of capturing the distinctive features while flattering them. There’s a tension of “what makes the person look like themselves?” against what they WANT people to see.

Acknowledging and respecting that, reflecting a View of the Self instead of a simple photograph, has always been an ephemeral and noble challenge of portraiture. It’s a rare skill, and while I’m not claiming to be a brilliant practitioner, here’s how I go about it. You want the person to feel SEEN - on a level and in a way that only a portrait artist could.

If someone in a novel were to spend a paragraph studying the portrait, they ought to be able to say something plot-relevant, like “the artist had faithfully captured the FAMILY RESEMBLANCE in the notable features and the PLOT POINT in the shape of her eyes… but no photograph could have captured the wistful turn of the mouth. Across a hundred years of distance, her soul was clear, speaking to Protagonist as if she were merely in another room…”

That’s the skill of portraiture, really, and it’s rarer than the ability to do good lineart (which I can’t do either; note that I’m not claiming to be GOOD.)

The immediate outstanding features of the “fan” are

Dark, hooded, distinctive eyes - she’s probably proud of them

Challenging, knowing expression

Long dark hair is a feature she’s proud of; because it’s well-cultivated

A sweet beauty of youth, but I can see what she’ll look like when she’s older

Notes on her features:

Roman nose that’s unusually short for the bridge type. Doesn’t have the space to be “hooked” but has the shape.

Natural brow with natural arch - fuzzing in to a shapely tapered form

Rounded face but with an interesting composition of flat slabby cheekbones and a high flat forehead. I’d love to look at it from other angles but she could model for a LOT of time periods and a LOT of artistic traditions.

Cool olive skin - very tricky!!! Especially with that pink lip. Frankly beyond me to depict fairly tbh… but at least I tried

Dark pigmented undereye and eyelid, which I chose to handle in the sense of “flattering eye makeup”rather than true depiction of her colouring.

Full mouth with NO CUPID’S BOW - fullness in lower lip

I’d elide the faint double chin out of gracious recognition of the angle and acknowledgement of the fact that the sitter would PROBABLY prefer it not to be noticed. I ultimately alluded to it, but elided it.

Even without the double chin, her determined yet rounded chin is another charming and forceful contradiction that lends what we call “character” to the face

💯 keep the moles

Presumably a fan of Instagram anime art is familiar with conventions and is therefore hoping for a portrait with glow brushes and SHEEN and TEXTURE and anime petals and veils barfed all over it - so I did a final version with those things - presuming it would make the “customer” happy

Obviously you can see that I’m quite humbly and realistically not an ARTIST but I thought it was interesting to contrast what skills are valued in a party trick of portraiture (breaking down and flattering features, playing a delicate game of flattery/pleasure and clear-eyed recognisability) vs a much more skilled and stylish render that is based on replicating anime aesthetics and thus - despite being better which I acknowledge! - didn’t engage so much with the goals of portraiture. Returning to the goals of portraiture - likeness, gesture, expression, picking out features, affection for the subject - is so,so good for the soul. For one thing, it reminds you of your ability to fall in love with faces…

Crowley and Aziraphale are doggedly, determinedly materialistic. that's not a bad thing! and it's not just a part they're playing, like Gabriel in his off-the-rack suits. they're able to understand each other--to love each other--because they love the world: selfishly, joyously, materially.

glory, victory, all that jazz? they're abstracts. but love is a thing made of atoms.

The defeat of the wizard who made people choose how they’d be to be executed

The woman who raised the changeling alongside her biological child

Cinderella finding Araura (and falling in love)

The God of Arepo (graphic novel 1 / 2 / 3) (ebook)

The Monster of Sentan

The Witch’s Cat

Raise Both Children

Stabby the Roomba (honorable mention)

Cinderella Marries the Prince (comic)

My Arch Nemesis Cynthia

Pirates and Mermaid

Eindred and the Witch

The Demon King

The Cornerwitch

Grandmother Beetroot

Apocalypse Daycare Worker

Grandmother Accidentally Summons a Demon

New Year Saga

A Story About Changelings

Ranger in the King’s Forest

The Difference Between a Hare and a Rabbit

24. The Queen with Three Cursed Children

25. Tiny Dragon with one coin hoard

26. Haunted house

27. Shark hero was about to go rogue

28. Grandma lives in the woods comic

29. A Different Aftermath comic

30. Battery (microstory but I love it so much)

31. It’s A Date comic

32. Supervillian kidnaps rival’s kid and they want to stay

33. Narrative Town

34. I have been hired to clean the wizard tower comic

35. Robot Apocalypse

36. The Statues That Do Not Weather

37. Kushiel

38. Tooth Fairy

39. Alien abduction

40. Felonious wish-granting

41. When humans met actual space orcs

I ask my students every week to write 10 observations of the actual world. It’s very hard for them.

Ms. Tippett:

Really?

Ms. Howe:

They really find it hard.

Ms. Tippett:

What do you mean? What is the assignment? 10 observations of their actual world?

Ms. Howe:

Just tell me what you saw this morning like in two lines. I saw a water glass on a brown tablecloth, and the light came through it in three places. No metaphor. And to resist metaphor is very difficult because you have to actually endure the thing itself, which hurts us for some reason.

Ms. Tippett:

It does.

Ms. Howe:

It hurts us.

Ms. Tippett:

You naming something.

Ms. Howe:

We want to say, “It was like this; it was like that.” We want to look away. And to be with a glass of water or to be with anything — and then they say, “Well, there’s nothing important enough.” And that’s whole thing. It’s the point.

Ms. Howe:

It’s the this, right?

Ms. Howe:

Right, the this, whatever. And then they say, “Oh, I saw a lot of people who really want” — and, “No, no, no. No abstractions, no interpretations.” But then this amazing thing happens, Krista. The fourth week or so, they come in and clinkety, clank, clank, clank, onto the table pours all this stuff. And it so thrilling. I mean, it is thrilling. Everybody can feel it. Everyone is just like, “Wow.” The slice of apple, and then that gleam of the knife, and the sound of the trashcan closing, and the maple tree outside, and the blue jay. I mean, it almost comes clanking into the room. And it’s just amazing.

Ms. Tippett:

In some basic level, what they’ve done is just engage with their senses.

Ms. Howe:

Yeah, and have been present out of their minds and just noticing what’s around them, which is — we don’t do. And again, not to compare it to anything. They’re not allowed. And that’s very hard for them. And then on the fifth or sixth week, I say, “OK, use metaphors.” And they don’t want to. They don’t know how. They’re like, “Why would I? Why would I compare that to anything when it’s itself?” Exactly. Good question.

So then you think, why the necessity of a metaphor? Why do you have to use a metaphor now? Not just to do it to avoid it, but to do it to make it more there. And it’s very interesting.