sources (cited)

A place to keep all of my art, craft, and costuming related sources.

howtobeaconartist:

heidiblack:

CATPRINTS!

I recently made an order with Catprint as I was looking for a cheaper and nicer alternative to getting prints done at office depot.  

I included the order (minus my address, of course) so you can see how much I paid, the stock, and the size.

They actually arrived a day before schedule (they were scheduled for monday but I got them friday).  Here you can see they were super nicely packaged with biodegradable peanuts (and I’m re purposing the box to put all my prints in) and double shrink-wrapped to keep the prints from getting damaged.  The quality is super nice and the price is fantastic!  I also got them less than 10 days from when I ordered (though I did pay for the one shipping level above the cheapest).

Would I recommend catprint?  Absolutely.  Please, give them your business!  the quality is fantastic, the user interface on their site is easy and makes setting up your prints a breeze, and the price is just absolutely unbeatable.  

Here’s a great site I had heard about and just had the opportunity to try. I completely recommend them.

cowbuttcrunchies:

Anonymous asked:

Hi Hhhhammy and Gothichamlet! I just started sewing, and am attempting Rumminov’s fancystuck Jade design (with some changes, of course) and wondering if you could help me with some minor pattern changes. I’m working with Simplicity Costume Pattern 2827 design C. I bought sizes 6-12, but the bodice seems a little snug on 12. I was hoping you had some tips on adding fabric for larger arm-holes and more fabric around the upper chest. Thank you!!

Slash and Spread is a great technique to use any time you need to selectively increase/decrease the volume in a commercial pattern!  Traditionally it’s used for adding gathers and changing the silhouette, but it can also be used to tailor standard patterns to better fit your body.  As always, be sure to experiment with muslin first before cutting into your nice fabric, in order to determine how deep and wide to spread your new pattern piece.

ETA: Updated a lot of the images to reflect a full bust adjustment!

maxkirin:

Hello, writerly friends~ ♥︎

You asked for a Writing Advice Masterpost, so here it is! Below you will find a collection of the best questions and answers from the last two years. Not only that, but they are also organized so you can find the answers to your questions quickly and get on with writing.

But wait, there is more!

This post is more than just a collection of advice, it’s a nexus for writing advice, resources, and information! That’s right, this post is going to grow over time. I will be updating this masterpost WEEKLY with new answers, writing advice videos, playlists, and more! So, make sure to bookmark this page and follow my blog (maxkirin.tumblr.com) so you don’t miss a thing~ ♥︎

Prompts

Virtual Writing Academy

Motivation & Inspiration

Planning, Outlining, and Getting Started

Dialogue

Editing & Revision

Hot Button Issues

General Advice

Publishing

Writing Music & Playlists

Last Updated: 07-11-14. Click HERE to see the latest update.

razillyn asked: I am new artist to the ring and will be attending my first AA this January. As I am building up my inventory, I am having a difficult time trying to give everything a fair price. I do a lot of small ceramic sculptures, rather than prints I see more often, so I do not have a lot to compare myself to. Any suggestions? How do you guys determine your prices?

aatoast:

howtobeaconartist:

I remember you from the LouisiANIME panel! Welcome!

Since your art isn’t about creating once and then mass producing for sale, I highly recommend you set an hourly rate and then add in price of materials when pricing your sculptures. You may find that attendees at anime cons aren’t willing to pay for more expensive items (this has been an issue for myself and Heidi Black in the past with originals), so as you do conventions, you may find it beneficial to introduce smaller items that can be produced quickly. Those will tend to be your constant sellers, but it’s always really heartwarming and validating when someone opts to buy the more expensive, time consuming pieces. You might also want to consider opening up an online shop to sell pieces through, since it’ll have lower overhead than tabling at anime conventions, and will allow you to constantly offer your pieces to interested customers all over the country.

I’ve found that (at least for my table), $20 a piece is the most most customers are willing to spend on something that’s ready-made. Some people are willing to spend a lot more when it comes to commissions, so you may want to offer that as an option as well. Depending on your customer base, you can expect more or less. At many small cons, the vast majority of my customers are broke teenagers with $5 to spend, so my $5 sketches are a huge seller. At conventions with an older crowd, like Mechacon and Anime Weekend Atlanta, my watercolors are a big seller.

I hope that helps, and I’d love if some of the other members of the group chimed in with their experiences and advice!

howtobeaconartist already made a lot of great points!

Figuring out pricing is kind of like figuring out what would be the most profitable stuff to sell, or how many of an item to create/bring - basically, art mixed with science and a healthy dose of guessing game. In general, common themes seem to be (as howtobeaconartist has already touched on in many cases above):

  • Take into consideration your own fixed (overhead, if you are looking to do this seriously versus “just” a hobby) and variable costs (time, materials etc.) as well as the profit you want to be making.
  • A combination of looking at what other people are doing at similar events in your area + your own trial and error. You mentioned you don’t have much to compare to locally in terms of the same type of product, so check online as well.
  • Having a variety of items (smaller and bigger, simpler/easier to make and more complex) at different price points to be able to capture interest from various audience groups (e.g., art appreciators, impulse buyers, etc.)

It also depends on where you are and what kind of event you are doing - even separate areas of the same event may be slightly different. For example, at Anime North in Canada, there are multiple venues for artists and crafters. For example, things that sell in Gallery Momiji (more of an art show setting) don’t necessarily sell in the Comic Market/Crafter’s Corner (more of the conventional artist alley), and vice versa, due to various factors (the displays/setting, the audience, etc.).

We’ve talked a bit/shared various thoughts and resources about pricing and selling and profitability in the past. Off the top of my head, here are a few posts that may be most relevant for your situation (individual handcrafted works):

How to Price Like a Pro (from the Etsy blog)

http://aatoast.tumblr.com/post/80725897182/how-to-price-like-a-pro-the-etsy-blog

Considerations for increasing sales/profits

http://aatoast.tumblr.com/post/55741463822/here-it-is-rebloggable-version-of-this-original

AAbiscuit commissions app http://aatoast.tumblr.com/post/77330628542/aatoast-is-super-duper-excited-to-release-our

Does a simple calculation with an hourly wage, your time and materials, fixed costs and markup

You can find more in our tags:

http://aatoast.tumblr.com/tagged/pricing

http://aatoast.tumblr.com/tagged/selling

Some posts in the commissions tag may also be useful.

http://aatoast.tumblr.com/tagged/commissions

Good luck! :D

projectcosplay:

These were made with mirror vinyl (bought from a Chinese seller) over craft foam held together with various glues.

This is the process / tutorial used.

Use the following chart when adhering materials so they stick well:

  • Vinyl front to vinyl front: Super Glue / Krazy Glue
  • Foam to vinyl front: Coat the foam in a very thin layer of hot glue, let it dry, then use Super Glue / Krazy Glue
  • Foam to vinyl backing: Contact Cement / Contact Spray
  • Foam to foam: Hot Glue (or your favorite method…this is my preferred)

Others have used contact cement to hold the foam to the vinyl backing but because contact cement smells like death to me, I prefer the contact spray adhesive instead.

Really love using this method as it’s fast, easy, and light. Luckily, my armor did not have any complex curves because if it did, I would have used Worbla instead.

eyecaging:

celesse:

BPelt’s Multifill and Flatten Pro tools can automatically add flat colors to your illustration with but a few clicks.

I whipped this up real quick because I’ve tried to share this tool with several artists and most of them don’t seem to comprehend how awesome it is. Seriously, it’s really awesome. Especially if you’re paying people to flat stuff for you.

Of course, there are ways to make these tools most effective, so I’ve detailed what I’ve learned so far. I hope this helps!

You can get Multifill and/or Flatten Pro here!

Showed my frand the thing, she liked the thing. Then made a cool tutorial about it!

Have an awesome tutorial that you want to get more notes?

Send an ask or reply here with a direct link and I may reblog it! I reblog mostly art tutorials and resources but I’ll also accept cosplay, craft, comic, and writing materials. I have over 700 followers now so you’ll be getting it out to tons of people! 

Thanks!

-Your friendly neighborhood resource monger, Faust

18 tips for comics artists by Moebius "brief manual for cartoonist "

  • My 8house collaborator and impressive dude, Xurxo g Penalta translated this Spanish Moebius list of advice for artists. I thought would be cool to post. (Thanks Xurxo)
  • http: //www.jornada.unam.mx/1996/08/18/sem-moebius.html
  • 1. when you draw you must clean yourself of deep feelings (hate, happiness, ambition, etc)
  • 2 it's important to educate the hand, attain obedience, to full fill ideas. but careful with perfection, to much, as well as too much speed, as well as their opposites are dangerous. to much looseness, instant drawings,aside from mistakes, there's no will of the spirit, only the bodies.
  • 3. perspective is of sum importance, it;s a law of manipulation in the good sense, to hypnotise the reader. it;s good to work in real spaces, more that with photos, to exercise our reading of perspective.
  • 4.another thing to learn with affection is the study of the human body, the positions, the types, the expressions, the arquitecture of bodies, the difference between people. the drawing is very different when it come to a male or a female, because in the male you can change a little the lines, it supports to have some impressions. but with the female precision must be perfect, if not she may turn ugly or upset. then no one buys our book! so for the reader believes the story, the characters must have life and personality of their own, gestures that come from character, from their diseases; the body transforms with life and there's a message in the structure, in the distribution of fat, in every muscle, in every fold of the face and body. it;s a study of life.
  • 5. when you make a story you can start with out knowing everything, but making notes (in the actual story) about the particular world of that story. that way the reader recognizes and becomes interested. when a character dies in a story, and that character has no story drawn in his face in his body, in his dress, the reader does not care, there's no emotion. and then the editors say: "your story is worthless, there's only one dead guys and I need 2) or 30 dead guys for it to work" but that is not true, if the dead guy, or wounded guy or sick guys or whomever is in trouble has a real personality that comes from study, from the artists capacity for observation, emotion will emerge (empathy). In the study you develop an attention for others, a compassion, and a love for humanity.
  • it's very important for the development of an artist, if he wants to be a mirror, it must contain inside it;s consciousness the whole world, a mirror that sees everything.
  • 6. jodorwosky says I don't like drawing dead horses. it;s very difficult. it's very difficult to draw a body that sleeps, that's abandoned, because in comics you're always studying action. it;s easier to draw people fighting thats way Americans always draw superheroes. it;s more difficult to draw people talking, because there are a series of movements, very small, but that have a significance, and that accounts for more, because it need love, attention to the other, to the little things that speak of personality, of life. the superheores have no personality, all of them have the same gestures and movements (pantomimes ferocity, running and fighting)
  • 7. equally important is the clothing of the characters, the state they;re in, the materials, the textures are a vision of their experiences, of their lives, their situation in the adventure, that can say a lot with out words. In a drew there's a million folds, you must chose 2 or 3, but the good ones.
  • 8. the style, the stylistically continuity of an artist is symbolical, it can be read like the tarot. I chose as a joke the name Moebius, when I was 22, but in truth there's a meaning to that. if you bring a t shirt with Don Quixote, that speaks to me of who you are. in my case, I give importance to a drawing of relative simplicity, that way subtle indications can be made.
  • 9. when an artist, a drawing artist goes out on the street, he does not see the same things other people see. what he sees is documentation about a way of life, about people.
  • 10. another important element is composition. the composition on our stories must be studied, because a page, or a painting, is a face that looks towards (faces) the reader and that speaks to him. it's not a succession of panels with out meaning. there's panels that are full and some that are empty, others that have a vertical dynamic or a horizontal one, and on that there is intention. the vertical excites (cheers), the horizontal calms, an oblique to the right , for us westerners, represents the action heads towards the future, and oblique to the left directs action toward the past. points (points of attention) represent a dispersion of energy. something places in the middle focalises energy and attention, it concentrates.
  • these are basic symbols for reading, that exercise a fascination, a hypnosis. you must have a consciousness about rhythm, set traps for the reader to fall on to, and if he falls, and gets lost and may move inside them with pleasure because there's life. you must study the great painters, the ones that speak with their paintings, of any school or period, that does not matter, and they must be seen with that preoccupation for physical composition, but also emotional. in what way the combination of lines on that artist touches us directly in the heart.
  • 11. narration must harmonize with the drawing. there must be a visual rhythm from the placement of words, plot must correctly maneuver cadence, to compress or expand time. must weary of the election and direction of characters. use them as a film director and study all different takes.
  • 12. careful with the devastating influence of north american comics in mexico, they only study a little anatomy, dynamic composition, the monsters, the fights, the screaming and teeth (grin). I like them as well, but there are many other possibilities that must be explored.
  • 13. there's a connection between music and drawing. but that depends also on the personality and the moment. for perhaps 10 years I've been working in silence, and for me the music is rhythm of the lines (the music he listens to).
  • to draw is sometimes to hunt for findings, an exact (fair, just) line is an orgasm!
  • 14. color is a language that the artist (drawing artist) uses to manipulate the readers attention and to create beauty. there's objective and subjective color, the emotional states of the character influence the coloring and lighting can change from one panel to the next, depending on the space represented and the time of the day. the language of color must be studied with attention.
  • 15. especially at the beginning of a career, one should work on short stories but of a very high quality. there's a better chance to finish them successfully and place them on a book or with editors.
  • 16. there are times when we are headed to failure knowingly, we choose a theme, an existence, a technique that does not suit (convene) us. you must not complain afterwards.
  • 17. when new pages are sent to editors and see rejection, we should ask for the reasons. we must study the reasons for failure and learn. it's not about struggle with our limitations or with public or the publishers. it's more about treating it like in aikido; the strength (power) of the attack is used to defeat him with the same effort.
  • 18. now it is possible to find reader in any part of the planet. we must have this present. to begin with, drawing is a way of personal communication, but this does not imply that the artist must envelop himself in a bubble; it' communication with the beings near us, with oneself, but also with unknown people. Drawing is a medium to communicate with the great family we have not met, the public, the world.
  • august 18th 1996 compiled by Perez Ruiz

mikururu:

Everyone keeps asking what kind of marker I use to colour, but I actually digitally colour it! So I made this simple process/tutorial(?) to show what I do. Honestly all you need is steps 1-5 to get the “colour-under” lines…!

If you have questions about this please feel free to ask me! But I will most likely only reply if you are off anon (I’ll reply privately ^o^)