Mein Ruin

He aquí una nueva práctica hecha con Krita en Linux.

"Casi siempre está fuera debido a su trabajo; no me quejo, al fin y al cabo es su departamento, pero a veces ocurre algo raro cuando regresa de la calle. Puedo estar leyendo, en el baño o sencillamente estar distraído, realmente eso no importa, el asunto es que de un momento a otro esas… cosas, aparecen cerca de la puerta, el primero es el casi siempre me arruina el día, o por lo menos la cena, porque tiene la maña de sentarse sobre la cafetera". 


Here’s a new practicing work made with Krita in Linux

"She’s not at home most of the time, because of her job; I’m not complaining, this department is hers, but strange things happen sometimes when she comes back home. It might happen when I’m reading, in the bathroom, or simply when I’m distracted, it doesn’t really matter,  the problem is those… things  suddenly appear by the door. The first one of them is the one that most of the time ruins my day, or the dinner time at least, cause it has the habit of sitting on the coffee machine".

When I was about to hit lvl 60 with my slayer in Tera, I was afraid I would need to go through a lot of dungeon grinding to get my endgame gear, fortunately the reaper patch arrived and I quickly got the occulus set, the only problem is that it looks fugly, so this fashion coupon event was a breath of fresh air. This was always my favorite suit among all the leather armors, it worths those 400 coupons XD.

- Will this technology allow us to change the history? The past itself?
- The past can be modified, but the present will remain untouched.
- What can we use it for, then?
- For the same purpose as history books: not to change the past, even the present, but to shape the future as we wish.


- ¿Esta tecnología nos permitirá cambiar la historia? ¿el pasado? ¿podemos desaparecer al enemigo?
- No, el pasado puede modificarse, pero lo que vemos en el presente es el resultado directo de eventos que ya ocurrieron, no se puede cambiar.
- ¿Para qué nos sirve entonces?
-Para lo mismo que los libros de historia, no para alterar el pasado o siquiera el presente, sino para moldear el futuro a nuestro favor.

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)
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

A little practice made with Krita on Linux.

A quick illustration project. It was made with Krita on Linux. Come by and say hi! : D


Una ilustración rápida hecha con Krita en Linux. ¡Pasen a saludar! : D

El otro día -la otra noche, más bien- dibujaba en la computadora mientras escuchaba videos de creepypastas en Internet (esas historias de horror anónimas que corren en la web). Llegó, previsiblemente, el punto de la madrugada en el que el cansancio, los nervios y el silencio en la casa y la calle se sumaron a la habitual paranoia de la que suelo caer presa, y por ratos me quedaba mirando unos segundos a la entrada de mi cuarto, esperando el momento en que alguna de las docenas de abominaciones que mencionaban en esos cuentos de horror se comenzara a asomar lentamente en la habitación, devolviéndome la mirada desde la penumbra mientras yo me debatía entre gritar o simplemente irme a dormir, pensando que todo era producto del desvelo.
En el clímax de esa sensación de inquietud, cuando en automático ya estaba pensando en un plan de emergencia para huir o enfrentarme a lo que fuera que intentara agarrarme, cuando mi respiración se hacía cada vez más profunda y podía sentir el sudor corriéndome por la frente… el vecino puso música duranguense en el estereo de su auto.
Ya sacudida la paranoia, el señor aquel tuvo la “amabilidad” de amenizar el resto de la madrugada con música de banda, reggaeton y otras abominaciones sonoras. De repente caí en cuenta de lo ridículo de la situación: en un segundo temía por mi existencia ante la posible llegada de una entidad desconocida y execrable, y al siguiente estaba de vuelta en mi casa, en la periferia de la capital de uno de los estados más violentos de la República Mexicana.
De pronto recordé a qué cosas realmente le tenemos miedo la gente de mi ciudad cuando salimos por la noche. Aquí las víctimas de Slenderman seguramente le serían achacadas a las bandas de secuestradores; los terribles asesinatos cometidos por The Rake y B.O.B. ya habrían sido catalogadas como ajustes de cuentas entre narcotraficantes; es más, seguramente ya alguno de estos seres habría sido abatido en un enfrentamiento entre el Ejército y el narco en alguna lejana hacienda metida en lo profundo de la sierra. El mismo Jeff the Killer habría quedado horrorizado por los videos de ejecuciones y tal vez se habría dedicado mejor a trabajar en una carnicería en un mercado. El Inexpresivo, un ser que causó la muerte de varios doctores y enfermeras en Estados Unidos, aquí en México no habría podido hacer de las suyas, pues el personal del IMSS no la habría dejado entrar al nosocomio bajo el pretexto de que no hay camas ni medicinas.
Mas aún, si por alguna desafortunada circunstancia del destino una de estas entidades hubiera sido acorralada y atrapada por el Ejército o la policía, ni tardos ni perezosos el gobernador y el secretario de Seguridad ya lo habrían presentado -con evidentes signos de tortura- ante los medios de comunicación como el cabecilla de una célula de la delincuencia organizada, y de paso le habrían echado la culpa de asesinatos, secuestros, balaceras y, si se deja, hasta del desempleo y el aumento en la gasolina…
En fin, así transcurren a veces mis noches aquí, en esta tierra donde hasta los mutantes y los espectros le tienen miedo a las camionetas con vidrios polarizados.

In past days -past nights, actually- I was drawing in my computer while listening creepypasta videos in the Internet (you know, those anonymous horror stories). Predictively, came the time of the night when tiredness, nerves  and the deep silence in the house and the street summed up with the usual paranoia that normaly strikes me, and  from time to time I would look at my dorm’s entrance, with the feeling that, at any moment, one of those monsters from creepypastas would slowly enter my room, looking back at me from the shadows while I try to decide if I should screm or just go to bed, convinced it was all a hallucination caused by sleep deprivation.
In the climax of that uneasyness feeling, when I already was thinking of a plan to fight or run away from whatever monster showed up, as my breathing started to get heavier while the cold sweat ran through my forehead… my neighbor started to play “duranguense” music in his car, all out loud (think of it as bad -and i mean BAD- country music).
That guy was “kind” enough to play “banda”, “reggaeton” and other acoustic abominations all night long. Suddenly I realized how ridiculous was this situation: at some moment I feared for my life because of the probable arrival of an unknown horror, and at the next that awful music brought me back to my house, in the surroundings of the capital city of one of the most violent states in Mexico.
Then I rememberred which things the people in my town is really afraid of when they walk in the streets at night. Here, all Slenderman’s victims would surely be attributed to local kidnappers bands; the terrible assassinations commited by The Rake and B.O.B. would’ve been classified as vendettas between druglords; morevoer, surely some of these beings would’ve been murdered in a shootout between the mexican army and “narcos” in some far away farm, in the deep of the woods.
 Jeff the killer himself would be horrorified after watching those videos in which narcotraffic henchmen slaughtered members of rival bands. The Expressionless, who caused the death of several doctors and nurses in a hospital in the USA, would never do any harm in Mexico, as the medic personel in any public hospital would tell her there were no medicines or beds left, and that they could not give her medical attention.
Even worse, if by any unfortunate circumstance one of these paranormal entities was cornered and captured by the Army or the police, the governor and the Public Security secretary would call to a press conference, in which the said entity would be presented as the leader of a drug-trafficking group and be blamed for all the murders, kidnaps and shootouts…
Anyway, this is how I sometimes pass my nights, in this land where even mutants and spectres are afraid of cars with polaryzed windows…

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