ip031-Feral

Greetings, fellow futa lovers!

So, it’s been a couple of weeks since I’ve heard, from a few different academic and non-academic art teachers, some variation of the idea that, ultimately, there’s no such thing as drawing and painting. By this, they mean that – in a sense – everything boils down to drawing, and some even suggest that we should practice with brushes pretty much the same way we do it with pencils.

I don’t entirely agree with this point of view, although I do realize that paintings created through this mindset tend to be more straightforward. Is this a good thing? Well, it depends on what we’re making (e.g., AI-generated images can look boring exactly because they're too straightforward, too descriptive, everywhere you look). Although this approach benefits good anatomical descriptions (especially when fantastic anatomies are on the canvas), it could also lead to images in which finding satisfying suggestions (such as the suggested texture of the lizard lady’s scales) or even intentionally abstract regions (so that the eyes can rest) would be harder to achieve.

Also, I've found myself drawn to taking greater risks with feral-looking characters lately, embracing the wild and unsettling aspects of their presence amongst humans. This feels both liberating and challenging, but I’m willing to learn more as I do it (a new series of sketches of feral busts could be interesting to some of you, maybe?). It's exciting to see how these figures can shift the narrative energy of a piece. For instance, the owl lady had a human face in the original sketch, but having Shola enjoy—and trust—this new feral friend (she doesn't even look back) creates an exciting effect.

So, what do you think? Do images such as this one appeal to you?

Thank you so much for the love and support! I’ll send the links for the Carmine and Cyan packs in a few minutes.

Enjoy! =^_____^=

Q.