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Artwork (Digital) / Fat Furs
Species Hyena
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Uhm. I don't think Drip is talking about what you think she is talking about, Zebra Guy.
Sigh, I didn't know if I should upload this because of how sketchy and awful it looks. ;o; I have to keep doing doodles like this though because otherwise I'm afraid I'll completely lose the swing of art! Something about having commissioners again must make me nervous, nothing I draw looks good to me. I have to loosen up.
Anyway, enjoy this while I try to work on actual paid work! 8I I'll scrap this later.
DripDry is © to
herro.
P.S. If you like this doodle, you should see the much cleverer and better pic that inspired it ---> http://www.furaffinity.net/view/4472023/
Sigh, I didn't know if I should upload this because of how sketchy and awful it looks. ;o; I have to keep doing doodles like this though because otherwise I'm afraid I'll completely lose the swing of art! Something about having commissioners again must make me nervous, nothing I draw looks good to me. I have to loosen up.
Anyway, enjoy this while I try to work on actual paid work! 8I I'll scrap this later.
DripDry is © to
herro.P.S. If you like this doodle, you should see the much cleverer and better pic that inspired it ---> http://www.furaffinity.net/view/4472023/
Category Artwork (Digital) / Fat Furs
Species Hyena
Size 871 x 758px
File Size 339.5 kB
https://www.etap.org/demo/biology_f.....ion6tutor.html I think of it this way XD There's more actual "energy" in vegetation, something that gets its lifeforce from simple things like sunlight, water and minerals. They're kind of the building blocks of fat, all the elements are present to make lipids and such.
This also explains it pretty well, although the question is kind of hysterically worded: http://answers.yahoo.com/question/i.....4165642AAZB2CK
THIS GOES AGAINST EVERYTHING I WAS EVER TAUGHT OF COURSE, I hope eating celery doesn't make me fat or something. Then again I'm pretty sure straight-up herbivores have different biology than humans, so maybe they can harness plant energy better than we can. /tl;dr
And aw, I love that noise. WOOP WOOP, SCORE
This also explains it pretty well, although the question is kind of hysterically worded: http://answers.yahoo.com/question/i.....4165642AAZB2CK
THIS GOES AGAINST EVERYTHING I WAS EVER TAUGHT OF COURSE, I hope eating celery doesn't make me fat or something. Then again I'm pretty sure straight-up herbivores have different biology than humans, so maybe they can harness plant energy better than we can. /tl;dr
And aw, I love that noise. WOOP WOOP, SCORE
You style keeps a consistent record of providing the visual equivalent of eating a strawberry cheesecake for my perception. The alleged sketchiness doesn't detract from the picture in the slightest, since the centerpiece characters hold up splendidly even without the background details to distract the viewer. Your style exudes confidence, and I tend to find myself hard-pressed to find fault with any given drawing of your authorship, both because your work generally strikes a ringing equilibrium of plausible proportions and artistic whims, and because your characters and the emotion they exhibit are so tangible. The comic-like vibe of your style helps a lot with the expressiveness, as seen here with the half-flattered, half-embarrassed zebra's look, and the sultry and cunning Drip's countenance - which, I should notice, varies from Olivander's respective expression. The way zebra holds up his hoof, and the concise way the hoof is rendered, is deserving of merry praise, as it is quite neat and serves its purpose well. You truly have an unorthodox way of depicting anthropomorphic animals, probably courtesy of that fairy-tale about a gentleman with sandy-coloured whiskers.
For too long had Herro's hyena incarnation been deprived of the elusive zebra company - thank you for bringing these two complementary entities together !
For too long had Herro's hyena incarnation been deprived of the elusive zebra company - thank you for bringing these two complementary entities together !
It is safe to assume that you replied to my comment and not the picture itself by mistake, and your praise was destined for 
delectable 's rendition of the characters' expressions - as it well should be.
On the diminutive off-chance that you actually meant the expressions in my comment, however - thank you !
delectable 's rendition of the characters' expressions - as it well should be.On the diminutive off-chance that you actually meant the expressions in my comment, however - thank you !
Thank youuu Astronommyyyy. You are way too kind. XD It makes me feel a lot better though to know people can find my unfinished work interesting as well -- although I almost always have to quickly outline my sketches because under those black lines, the actual sketch is a fantastic mess, even moreso than the improv lines themselves.
And I'm glad that Drip's expression looks different than Olivander's. For some reason I try to draw EVERY predator with their tongue slurping up over their face... I worry someone will call me out on my repetition. It seems to be the gesture that every predator I imagine in my art wants to do, though. Slurp slurp.
If I had my way, Herro's characters would always be with roly-poly, tasty-looking company.
And I'm glad that Drip's expression looks different than Olivander's. For some reason I try to draw EVERY predator with their tongue slurping up over their face... I worry someone will call me out on my repetition. It seems to be the gesture that every predator I imagine in my art wants to do, though. Slurp slurp.
If I had my way, Herro's characters would always be with roly-poly, tasty-looking company.
Tongue roaming the oral outskirts is a useful visual designator for all hungry characters, so its prominence in gastronomically-inclined artwork is only natural. Even though I rarely find myself reaching any semblance of completeness in my own drawing, whenever I place together two characters belonging to the interlocked links of the food chain, I make my predators emote the same way.
On numerous occasions have I expressed my approval of your sketchy works, and their merit separate from the prospect of being made more complete in the future, and I stand by it.
The last sentence of your reply launched an odd searching venture of mine, and I stumbled upon an article about the story called "The Tale of Samuel Whiskers of The Roly-Poly Pudding" by the author who wrote "The Tale of Jemima Puddle-Duck". Interesting tendencies can be recognized in the children's writing of old ! Not to mention the more adult-oriented works, like "The String Of Pearls".
Closer to the last sentence's gist, portraying characters known for their ravenous propensity in the company of characters whose most distinguishing trait is the high amount of calories they represent is akin to building up the potential energy by compressing a spring: the discharge itself is unnecessary to present, as the tension itself presents the thrill required of such work.
On numerous occasions have I expressed my approval of your sketchy works, and their merit separate from the prospect of being made more complete in the future, and I stand by it.
The last sentence of your reply launched an odd searching venture of mine, and I stumbled upon an article about the story called "The Tale of Samuel Whiskers of The Roly-Poly Pudding" by the author who wrote "The Tale of Jemima Puddle-Duck". Interesting tendencies can be recognized in the children's writing of old ! Not to mention the more adult-oriented works, like "The String Of Pearls".
Closer to the last sentence's gist, portraying characters known for their ravenous propensity in the company of characters whose most distinguishing trait is the high amount of calories they represent is akin to building up the potential energy by compressing a spring: the discharge itself is unnecessary to present, as the tension itself presents the thrill required of such work.
I appreciate your support in my sketch work -- I suppose I have simply encountered a great many people who find merit only in fully finished pieces, and I simply can't work that way. For whatever reason, I know artists who will not display their sketch work because they feel it is inferior and represents them poorly -- I think perhaps I've absorbed some of that general fear by proxy, rather than actually feeling that way myself. Any artist probably worries about looking incompetent with any piece they display, and I am absolutely no exception, but I also find great value in displaying all stages of work as long as something about it is pleasing. I figure if I enjoyed it, someone else will, too.
!!! I have not read that Beatrix Potter story! Oh my goodness. I'll have to look it up right away. I am quite intrigued. And I have yet to read The String of Pearls but I can only imagine it is an absolutely dark delight.
That is a beautiful way to put it! Once again, your way of putting the intangible into words is spot-on and quite wonderful.
!!! I have not read that Beatrix Potter story! Oh my goodness. I'll have to look it up right away. I am quite intrigued. And I have yet to read The String of Pearls but I can only imagine it is an absolutely dark delight.
That is a beautiful way to put it! Once again, your way of putting the intangible into words is spot-on and quite wonderful.
Thank you kindly, but basic physics lends itself splendidly to all sorts of analogies ranging from drama to sex, so little credit is due to me.
As for my high regard for sketchy works, it well may be that some self-serving sympathy for the devil of my own consistent inability to complete drawings has worked itself into this, but over time, I've been seeing a number of artists and art appreciators who mentioned finding as much or even more value in the sketches than in the finished work, so it may be assumed to be a legitimate preference. For one, works like that leave some of the picture-genesis to the viewer's imagination, thus introducing the audience participation element, whereas the immaculately finalized piece is too precious to allow any outsider creative effort.
It's nice to bring something new to your attention, especially since you are familiar with the author. Personally, I haven't touched "The String Of Pearls", either, having just rummaged through the Wiki for the literary origin of Sweeney Todd's character, my own introduction to whom had been that Johnny Depp movie.
Confound me for my lack of observation, but I haven't noticed the picture's title until recently. In continuation of answering your questionnaire on fetishes, I should confess that this particular psychological transition - referring to or addressing a prospective prey as the dish they are to become, or the type of meat associated with their species - is a particularly exciting element in thematic fiction. It has something to do with the aforementioned wound up spring analogy: the predator makes her or his intentions clear, whether surreptitiously or explicitly, to the audience and prey, intensifying the suspense further. In addition to that, there is a dehumanizing aspect, revealing that the mental gap between perceiving someone as a sentient being when they are alive and an inert arrangements of chemicals when they pass away, has already been forded by the predator. It includes all the comic cartoon gags with impatient wolves and foxes sprinkling their still very much alive and protesting victims-to-be-but-probably-not-because-it-must-stay-family-friendly with salt and pepper, tying a napkin behind their neck or brandishing utensils, but mostly the speaking lines that dub the piglet characters 'pork' and lambs 'mutton'.
As for my high regard for sketchy works, it well may be that some self-serving sympathy for the devil of my own consistent inability to complete drawings has worked itself into this, but over time, I've been seeing a number of artists and art appreciators who mentioned finding as much or even more value in the sketches than in the finished work, so it may be assumed to be a legitimate preference. For one, works like that leave some of the picture-genesis to the viewer's imagination, thus introducing the audience participation element, whereas the immaculately finalized piece is too precious to allow any outsider creative effort.
It's nice to bring something new to your attention, especially since you are familiar with the author. Personally, I haven't touched "The String Of Pearls", either, having just rummaged through the Wiki for the literary origin of Sweeney Todd's character, my own introduction to whom had been that Johnny Depp movie.
Confound me for my lack of observation, but I haven't noticed the picture's title until recently. In continuation of answering your questionnaire on fetishes, I should confess that this particular psychological transition - referring to or addressing a prospective prey as the dish they are to become, or the type of meat associated with their species - is a particularly exciting element in thematic fiction. It has something to do with the aforementioned wound up spring analogy: the predator makes her or his intentions clear, whether surreptitiously or explicitly, to the audience and prey, intensifying the suspense further. In addition to that, there is a dehumanizing aspect, revealing that the mental gap between perceiving someone as a sentient being when they are alive and an inert arrangements of chemicals when they pass away, has already been forded by the predator. It includes all the comic cartoon gags with impatient wolves and foxes sprinkling their still very much alive and protesting victims-to-be-but-probably-not-because-it-must-stay-family-friendly with salt and pepper, tying a napkin behind their neck or brandishing utensils, but mostly the speaking lines that dub the piglet characters 'pork' and lambs 'mutton'.
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