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Meme-y
Because apparently I think I haven't had enough to post about lately, I did an art meme. My answers are for drawing/painting, because they'd be quite different for writing.
1. What do YOU think of your art as a whole?
It's okay. I'm not particularly good at drawing or painting, but I'm good enough to get the general look I have in mind across, which is sometimes handy. Some of my art I enjoy looking at. Often I'm disappointed by one aspect or another of what I've created; at least as often, I am blind to its faults.
2. What do you think others think of it?
Pretty much the same as above, except that I think I like my favorite pieces more than anyone else does.
3. How would you describe your inking methods?
Appalling. I don't love inking nearly enough to get any good at it.
4. What body type/anatomy do you draw the most, and why?
Women and furries. Out of habit, mostly. I like how women look, and I have a ready model for a woman at hand, so I have more practice with that than anything else. Twenty years ago I was infected with a delusion that furry art was a good way to make money, and I like drawing furries and animals too, so I wound up with some practice at that as well. When I doodle, I doodle what I'm good at: thus, women and furries. Oh, and on whitespace and alone, because backgrounds and groups are hard.
5. How has your muse changed over the years?
The classic pinup -- single figure with no background -- kinda bores me now. My muse wants to do compositions. I have no skill at composing. So mostly I (a) do pinups I'm kinda bored with or (b) do compositions that I don't think are very good or (c) don't do art at all. It'd probably be more accurate to say "my muse mostly wants to tell stories, and my consciousness has decided that drawing is not an effective way for me to tell stories."
6. What inspires you most, currently?
Drawing for someone else. I like it when someone else will enjoy what I've made.
7. What do you think you should work on to improve your art?
Study composition and anatomy, and use references.
8. Have you received any kind of negativity towards your art? If so, what?
Not to speak of. I'm sure someone somewhere has said bad things about it when I could hear, but not enough to make an impression on me.
9. If you work for commission or sell your art, what is the most you've ever made on one piece?
Selling art doesn't make economic sense for me, as a rule: at a price where I'd be adequately compensated for the time it takes me to draw a picture, it'd make more sense for the buyer to hire someone with more talent. So the few times I've done commissions or sold art, it was mostly for friends and because I wanted to do the picture anyway. The most I've been paid was $100, for an 18x24" commission done in pastels. I like working large.
10. What big art projects and/or ideas do you have going right now?
Um. None. What creativity I have is directed at writing lately.
1. What do YOU think of your art as a whole?
It's okay. I'm not particularly good at drawing or painting, but I'm good enough to get the general look I have in mind across, which is sometimes handy. Some of my art I enjoy looking at. Often I'm disappointed by one aspect or another of what I've created; at least as often, I am blind to its faults.
2. What do you think others think of it?
Pretty much the same as above, except that I think I like my favorite pieces more than anyone else does.
3. How would you describe your inking methods?
Appalling. I don't love inking nearly enough to get any good at it.
4. What body type/anatomy do you draw the most, and why?
Women and furries. Out of habit, mostly. I like how women look, and I have a ready model for a woman at hand, so I have more practice with that than anything else. Twenty years ago I was infected with a delusion that furry art was a good way to make money, and I like drawing furries and animals too, so I wound up with some practice at that as well. When I doodle, I doodle what I'm good at: thus, women and furries. Oh, and on whitespace and alone, because backgrounds and groups are hard.
5. How has your muse changed over the years?
The classic pinup -- single figure with no background -- kinda bores me now. My muse wants to do compositions. I have no skill at composing. So mostly I (a) do pinups I'm kinda bored with or (b) do compositions that I don't think are very good or (c) don't do art at all. It'd probably be more accurate to say "my muse mostly wants to tell stories, and my consciousness has decided that drawing is not an effective way for me to tell stories."
6. What inspires you most, currently?
Drawing for someone else. I like it when someone else will enjoy what I've made.
7. What do you think you should work on to improve your art?
Study composition and anatomy, and use references.
8. Have you received any kind of negativity towards your art? If so, what?
Not to speak of. I'm sure someone somewhere has said bad things about it when I could hear, but not enough to make an impression on me.
9. If you work for commission or sell your art, what is the most you've ever made on one piece?
Selling art doesn't make economic sense for me, as a rule: at a price where I'd be adequately compensated for the time it takes me to draw a picture, it'd make more sense for the buyer to hire someone with more talent. So the few times I've done commissions or sold art, it was mostly for friends and because I wanted to do the picture anyway. The most I've been paid was $100, for an 18x24" commission done in pastels. I like working large.
10. What big art projects and/or ideas do you have going right now?
Um. None. What creativity I have is directed at writing lately.
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I have to admit, that sounds like more fun than my usual work with inking. >:)
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You can also do things like leaving a white line where both sides are black, rather than having a white under-edge as many artists do (because they didn't plan ahead), and using hatching and cross-hatching (many parallel lines, and criss-crossing lines to suggest shading) to suggest the texture of cloth or fur.
Another fun inking bit to try is shiny metal: a white area for the highlight or sun-catching edge bordered by absolute black, then hatch or stipple (lots of dots) the black fading away to the edge of the metal.