Oof I'm kinda scared to ask... Why do you not want to be an artist professionally?
Its just like, incredibly miserable in my experience.
Everyone wants their dream job of being paid to draw whatever the hell they want but 99% of the time you are hired and tasked to draw things that you don't have a lot of interest in, professionally speaking, and constantly getting your artistic efforts undermined by the rest of the team (this is esp. true in the videogame industry) artists always try to push for better designs and get their takes watered down for the sake of general public pleasing. Also you don't have a security blanket unless you're under long term contract. Most freelancers live gig to gig with the fear of not being able to support themselves if they don't take a job to take a break. Videogame and movie jobs arent stable because companies never keep the art teams, they are laid off and rehired whenever there is a new project
During my major, I drew nonstop for 4 years for class. Not always things I enjoyed, but also not always things I didnt like. In fact I enjoyed my major immensely! It was so fun. But the burnout is very, very real, and the workload was similar (even inferior to) regular art jobs.
What happens if you like to draw in your off time? You spend your days making and pumping out art nonstop for hours, and then on your free time breaks you draw some more? I personally couldn't do it. I just wanted to do other things
And like.... I spent the first three years being told by teachers (people with stable, contract based jobs) how cool of a job it is to do art, and then the last year getting grilled on how insanely hard it is to make it out there. If you don't have connections, money, an audience, a studio, it's actually impossible. You need to be your own lawyer, abide by the very strict self employment rules that take a severe chunk out of your earnings. Do all of your finance/schedule/marketing etc while on top of that constantly producing work (I know there's people who can do it but, personally, I cannot)
I really admire the people who were able to build themselves up as artists from the ground like this (because its definitely possible, just insanely hard)
Also, making something you love into your job ends up being miserable too. I experienced this with patreon, which I posted to as like a chill thing and it just got increasingly hard to make content for it or just post in general, even drawing my own ocs and sharing stuff about them started to feel like a chore.
Maybe it's just me though, this has just been my personal experience but yeah in general I realized I am immensely happier just keeping art as a hobby or its gonna suck my soul out (Since I already experienced it)
I don't mean to discourage anyone, I think the world in general needs more artists. But for that we would need to actually be taken seriously and valued, which sadly we are not, at all. And if there's anyone reading that is considering art as a job: it is absolutely grueling. It's not an easy job. Even if you desperately love art it can suck the life out of you and the joy for what you do
(As an extra sidenote. Artists are usually exploited using this mentality as well. That they are supposed to love their job. So they expect you to work your wrists off "For the passion". Dont fall victim to it)
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Something about Mollymauk and what he as a character represents, how he once felt so Empty and hollow and alone, struggling to find his voice. Gradually learning to express himself and open up, rediscovering his identity. Exploring gender and sexuality. Finding what makes him happy in the moment and just chasing after it with no regrets. The thought that you can always start over, do better--it's never too late to save yourself and save others. Never. You deserve a second chance.
Being so unapologetically himself, his whole personality vibrantly colorful and loud and radiant. Refusing to be defined by his scars and haunting past. Covering himself in his own art, taking back his body and sense of autonomy with every new tattoo. Letting himself be truly free and so full of joy. Being loved so much it made him so compassionate and loving in turn, fiercely loyal and protective. Quietly taking care of others, refusing to leave anyone behind.
Knowing so much heartache and cruelty and loss in this world, and yet--yet. He still walks through life with so much warmth and joy, still holds his hand out to others. Holding onto the ones he loves until he no longer feels the numb ache of Empty--
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Have you ever wanted to draw something but you fought due to your skill level at the time you decide not to do it
Hmm, thank you for your question! I am often plagued by visions of illustrations and projects that seem outside of the reach of my ability; however, I approach them anyway!! Sometimes, something can be done in an easier way and then you can apply what you've learned to the bigger picture (like making thumbnail sketches or drawing in a sketchier or more simplistic style). In recent days, it takes me about three attempts before I am satisfied with the line art. Some days, I get it in one!
Also, I think the mindset of "Do it Scared" can push you further than you ever really thought possible. I can think all day long about something I want to draw, but it's not gonna get made until I sit down and do it, you know? Drawing is what I was made for, though. I wouldn't be myself, I wouldn't be human, if I didn't draw. So that's a big motivator for me too. Now, if only I could be so passionate about getting the laundry done. ¯\_(ツ)_/¯
But yeah! I think a big part of advancing your art skills is to stop thinking about art and creation as a job or a thing to suffer through to get what you want and instead have fun with it. We live in a society (joker voice) where we feel compelled to commodify ourselves and the stuff we make for the benefit of everyone around us. If you have the ability, make stuff for you (and for the people who are close to you) and make stupid cringe ugly first drafts and lame things that no one else will understand and come back to them. The biggest joy of creation is making something that only you could have. Be free!
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Something I find interesting as I delve deeper into different mediums of The Sandman is the way that Dream's appearance is used as a literary device. I don't remember whether I've discussed it here or not, but throughout the comics, his outfits serve as an indicator of his outward emotions and attitude while the style of the artist is often used to depict some aspect of his internal, unspoken emotional turmoil/peace. This carries over to the audiobook, though without the graphic aspect inherent to the original medium, it manifests in an interesting way through narration and further solidifies this interpretation of significance.
I had to start on Volume II for *cough* reasons, and the usage of detail is quite similar to other works by Gaiman, in that they are only included where it is important. He doesn't hit you over the head with scenery at every chance, it's carefully slotted into the scene at the points where it is most necessary and poignant, with the depth of these descriptions being directly tied to the importance that you, the listener, understand. We only hear that the random park is peaceful in the soundscaping because the park itself serves no purpose beyond that, but we get a couple paragraphs of description of Hell because it is vitally important we understand the scale and intensity of the horrors found there; setting is only acknowledged when it contributes to the narrative. This is echoed in The Sandman: Annotated, where we get some notes in the script regarding artistic choices—many of which are gestural, some of which are very detailed so that the artist may understand from this where their (and by extension the reader's) attentions must be drawn, which provides a sort of visual pacing.
To draw my point in a bit, Dream's castle follows this rule as an extension of his will and selfhood. It changes often to reflect what facet of himself he wants to convey outward most directly; appearing first as a rather low set, art nouveau affair with perhaps a silly bit of phallic imagery, then a gothic castle atop a mountain, most clearly establishing things when he puts it at the needlepoint top of a physically impossible peak covered in turrets and rooflines which jab into the air forbiddingly during Season of Mists as he contemplates the Key. When Dream is settled, the Dreaming is as well, when he is tumultuous, such follows. We don't get blow by blow descriptions, only when it is necessary.
Now that the visual language has been established and connected (insofar as I really can with the allotted mental energy for a tumblr post, however much of a passion project this may be, I am tired), it can be connected to Dream himself. His character design is very intentional, it reflects the post-punk, modernist take on its themes through his incredibly goth Look—he has the big, messy hair and impossibly white skin, dark clothes and dramatic fashion sensibilities—but beyond that, it reflects what feeling we are supposed to get from him. Morpheus' sense of self is ridiculously deeply tied to expectaction and perception of others, his entire personhood is based on what they expect. Despite this, to his infinite chagrin it seems, he has a personal identity sitting at his core that we see in his "natural" versus "put on" appearance (for lack of better terms): he's quiet and withdrawn but highly passionate and caring with all of the expected emotional regulation issues we would expect of someone with these temperaments they desperately repress; What he can control (clothes and hair) are utilized similarly to the castle, conveying his outward intention—think his driving outfit in Brief Lives versus his family dinner outfit in Season of Mists versus his final outfit in the Kindly Ones—where the things he cannot consciously seem to control are disguised by him, but utilized by art or narration to make a statement on his surroundings and feelings—think again of those outfits, of what his behavior means through that lens, what is conveyed through detail and silhouette.
What these more consistent physical attributes say is quite interesting, and quite revealing: Dream is not that scary. Sure his eyes will make you feel like you've stared down the cosmos and felt god touch your soul, but beyond that? Really? He's just a dude. A beautiful and strange one, but really nothing especially imposing. He's tall, but that effect is sort of diminished by his slight build. His face is angular and ethereal, but often careworn or haggard as well in a way I would compare to a very old and very poorly maintained stone statue. What this means to me is that Dream was never meant to be this frightening and imposing figure, that this was a choice made by the active individual we know exists because he is the one telling us about this all! A choice against his own nature that is concealed as often, swiftly, and mistakenly as his internal nature. This is, to conclude my point, supported by where these aspect of his appearance are given weight through art and narration. We only hear about his stature when he's sad or scared, only hear about his inhumanly pale skin when faced against the more beautiful aspects of personhood or mortality, only hear about his eyes when he uses them to scare or comfort.
These details of appearance are as woven into the narrative as any plot point, and used as any theme; which makes sense, he is the Prince of Stories afterall.
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