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Closed: YCH with my snake boy Liam :3
General | Posted 9 years ago
Lunalei with my snake bottom character Liam in the picture:http://www.furaffinity.net/view/22450884/
http://www.furaffinity.net/view/22450884/
Due to some complications the other commissioner has dropped out, meaning this is your chance to be a picture with mah boi. It's going to be a fully rendered, finished piece from a true pro, so help out
Lunalei and myself by claiming the top spot.Thanks everybody for your interest! The slot has been claimed.
Do it right, FurryNetwerk me
General | Posted 10 years agoSigned up for an FN account and will be logging on more there. I really like how they're actively improving the site. Mobile experience could be better, but the user experience has real potential. (HTTPS on the entire site? Using CloudFront as a CDN? On a furry site? What alternate universe is this? đ)
I'm at https://furrynetwork.com/hextra with all the other #firstworldanarchists.
I'm at https://furrynetwork.com/hextra with all the other #firstworldanarchists.
Basic properties of furry art
General | Posted 12 years agoRecently thereâs been a lot of hating on certain furry art pricing models. Yes, such drama, much ado about nothing. Wow. Everyone has an opinion about âyour character hereâ pictures and auctions and adoptables, etc. The furor started months and months ago. The more I saw complaints, the more my curiosity grew--curiosity about how to characterize the argument. Think about it. The whole issue isnât just a matter of, âOh, so-and-so is charging too much,â or, âThis artist doesnât deserve to treat customers like that,â even if thatâs what people are writing. No, thereâs a deeper conversation taking place and we donât even realize it.
It would be nice to get people on the same page in terms of definitions. As Thomas Hobbes wrote, the most basic building block of any intellectual conversation is the definition of terms. The furry fandom is not using common terms to describe concerns over art pricing. Accusations of âprice gougingâ or âmaking a quick buckâ are not constructive criticism. We can do a better job of defining terms relating to furry art in a way that people can think critically about what artists are advertising.
The artist-client-audience system is an interesting ecosystem. The artistâs career starts with posting a portfolio which attracts an audience. Some individuals in the audience become clients of the artist, who grow the artistâs portfolio, adding to non-commissioned works the artist posts. As the artistâs work improves in quality or fills a niche (or both), the artistâs audience grows, and the cycle increases until the artistâs output is restrained not by demand but by the time it takes to work on art. More simply put, the first goal of an artist on FA is to gain access to clients. When that demand is met, the burden of access is shifted from the artist to the client. For example, an artist who receives 30 commission requests but can only take 15 clients has no problem finding work; it is the fan making the request who seeks access to the artist.
When an artistâs goal shifts from gaining access to satisfying demand, that artist gains more control over their choice of business methods. In the first stage of their career the artist may have made concessions in pricing or creative license to gain access to clients. In the second stage, that need has diminished, so the artist has more freedom to choose the rules of how they will work, negotiate more favorable prices, or choose clients more selectively, for example. Some business methods become more feasible to employ: namely, anything involving fan participation.
For building block purposes I will refer to business methods--ways in which an artist makes money--using the concept of project archetypes. We can say here that a project archetype is a type of process by which an artist produces a single work. For instance, commission slots are a project archetype. âYour character hereâ auctions are a project archetype. These are what I really want to dive into. As a community we need to better understand how these processes work before we can critically evaluate them. What is the qualitative difference between each model? Itâs time to analyze.
Several characteristics define each model. Foremost, furry art is based heavily on imagined characters, and âfursonasâ. When we are talking about the artist-client-audience ecosystem, weâre talking about the system by which characters are rendered from thought and into some visual, written, or heard form. A few key aspects of this process vary between project archetypes. For instance, the property of art by which it revolves around a specific character is what I will call âexclusivityâ. Exclusivity is of paramount importance in the furry fandom. Characters in art (and the owners of said characters) have much more presence in the community than those never seen. I call this property exclusivity because of the way that a characterâs owner âborrowsâ the artists talents for a project that relates exclusively to the client; the artist accepts the opportunity cost of working on a project for a different client.
Of course, fan exclusivity in art is just one component of a project archetype. For instance, how do we account for the presence of characters in appear in situations designed by the artist, rather than the client? Do we really say that a character has exclusivity in a âyour character hereâ auction, where the artist controls the direction of the picture? The answer is stakeholdership, an important part of an artistâs project archetype. Defining who gets creative control in a project is a vital determination.
Once a project is actually completed, we must also consider who gets to see the outcome--this is known as distribution. Artists distribute work publicly when the goal is to get as many eyeballs/customers as possible on a piece. Sometimes the client or artist wants only a few âwhitelistedâ people see the completed work, in which cause the piece is said to be privately distributed. In the case of porn sites or membership sites, art is privately distributed, as artists want as few outsiders as possible to see their work as an incentive to apply for membership.
So how do customers discover an artist or their work? This is where advertising comes in. For the sake of argument, Iâm going to group advertising with marketing. Advertising is the process of acquiring new customers, and marketing is the process of getting customers to come back again. Where marketing money is spent, how much is spent, and the effectiveness of a mareting campaign all vary with the kind of work an artist does. For instance, if an artist has so much organic demand for work that their waiting list for commissions will span months, there is no need to spend money growing that list; an organically growing audience will keep that artist busy.
The purchasers of art can be divided into two camps: those who agree to pay before the project is complete, and those who agree to pay after. The first group is made up of clients (commissioners), who concentrate the cost of art and make it possible for some art to be released free of charge to the public. When people buy art after it is created (e.g. buying a CD), the cost is distributed among the many customers who purchase the work. This aspect of art is straightforward, but nonetheless significant.
What remains to be seen is exactly how the properties I have listed interact with each other. When I continue writing again, I will show how the above variables (exclusivity, stakeholdership, release, customer concentration, and advertising/marketing) combine differently as the project archetypes we see today in the furry community.
It would be nice to get people on the same page in terms of definitions. As Thomas Hobbes wrote, the most basic building block of any intellectual conversation is the definition of terms. The furry fandom is not using common terms to describe concerns over art pricing. Accusations of âprice gougingâ or âmaking a quick buckâ are not constructive criticism. We can do a better job of defining terms relating to furry art in a way that people can think critically about what artists are advertising.
The artist-client-audience system is an interesting ecosystem. The artistâs career starts with posting a portfolio which attracts an audience. Some individuals in the audience become clients of the artist, who grow the artistâs portfolio, adding to non-commissioned works the artist posts. As the artistâs work improves in quality or fills a niche (or both), the artistâs audience grows, and the cycle increases until the artistâs output is restrained not by demand but by the time it takes to work on art. More simply put, the first goal of an artist on FA is to gain access to clients. When that demand is met, the burden of access is shifted from the artist to the client. For example, an artist who receives 30 commission requests but can only take 15 clients has no problem finding work; it is the fan making the request who seeks access to the artist.
When an artistâs goal shifts from gaining access to satisfying demand, that artist gains more control over their choice of business methods. In the first stage of their career the artist may have made concessions in pricing or creative license to gain access to clients. In the second stage, that need has diminished, so the artist has more freedom to choose the rules of how they will work, negotiate more favorable prices, or choose clients more selectively, for example. Some business methods become more feasible to employ: namely, anything involving fan participation.
For building block purposes I will refer to business methods--ways in which an artist makes money--using the concept of project archetypes. We can say here that a project archetype is a type of process by which an artist produces a single work. For instance, commission slots are a project archetype. âYour character hereâ auctions are a project archetype. These are what I really want to dive into. As a community we need to better understand how these processes work before we can critically evaluate them. What is the qualitative difference between each model? Itâs time to analyze.
Several characteristics define each model. Foremost, furry art is based heavily on imagined characters, and âfursonasâ. When we are talking about the artist-client-audience ecosystem, weâre talking about the system by which characters are rendered from thought and into some visual, written, or heard form. A few key aspects of this process vary between project archetypes. For instance, the property of art by which it revolves around a specific character is what I will call âexclusivityâ. Exclusivity is of paramount importance in the furry fandom. Characters in art (and the owners of said characters) have much more presence in the community than those never seen. I call this property exclusivity because of the way that a characterâs owner âborrowsâ the artists talents for a project that relates exclusively to the client; the artist accepts the opportunity cost of working on a project for a different client.
Of course, fan exclusivity in art is just one component of a project archetype. For instance, how do we account for the presence of characters in appear in situations designed by the artist, rather than the client? Do we really say that a character has exclusivity in a âyour character hereâ auction, where the artist controls the direction of the picture? The answer is stakeholdership, an important part of an artistâs project archetype. Defining who gets creative control in a project is a vital determination.
Once a project is actually completed, we must also consider who gets to see the outcome--this is known as distribution. Artists distribute work publicly when the goal is to get as many eyeballs/customers as possible on a piece. Sometimes the client or artist wants only a few âwhitelistedâ people see the completed work, in which cause the piece is said to be privately distributed. In the case of porn sites or membership sites, art is privately distributed, as artists want as few outsiders as possible to see their work as an incentive to apply for membership.
So how do customers discover an artist or their work? This is where advertising comes in. For the sake of argument, Iâm going to group advertising with marketing. Advertising is the process of acquiring new customers, and marketing is the process of getting customers to come back again. Where marketing money is spent, how much is spent, and the effectiveness of a mareting campaign all vary with the kind of work an artist does. For instance, if an artist has so much organic demand for work that their waiting list for commissions will span months, there is no need to spend money growing that list; an organically growing audience will keep that artist busy.
The purchasers of art can be divided into two camps: those who agree to pay before the project is complete, and those who agree to pay after. The first group is made up of clients (commissioners), who concentrate the cost of art and make it possible for some art to be released free of charge to the public. When people buy art after it is created (e.g. buying a CD), the cost is distributed among the many customers who purchase the work. This aspect of art is straightforward, but nonetheless significant.
What remains to be seen is exactly how the properties I have listed interact with each other. When I continue writing again, I will show how the above variables (exclusivity, stakeholdership, release, customer concentration, and advertising/marketing) combine differently as the project archetypes we see today in the furry community.
How furry art gets made (a perspective)
General | Posted 13 years agoI don't talk about myself much here, mainly because I don't really consider myself part of the furry community. I don't participate much, nor am I inclined to do so (for various reasons). I've noticed some things about the community that I feel compelled to write down, because, shit, uh, YOLO? YOLOSWAG? But seriously, some things just strike me as odd.
First are the artists. There are a lot of artists here (duh). This is only to be expected, given how much of the fandom exists because of the work artists do. What surprises me is the way so many people misunderstand what artists do. I've purchased the services of many on this site, so I know how the process works. Many people on this site operate under the illusion that artists offer products, rather than services. I've seen complaints here and there about the price an artist will charge for a picture; reflexively, artists sometimes complain that people do not often enough think highly of the field they work on. Content creators have not helped this perception by offering commissions at set prices. Pricing schedules for different types of work reinforce this way of thinking by presenting services as static, unchanging levels of service, rather than revealing the complexities of working in different mediums.
A more accurate way to charge for services rendered would be to offer work at hourly rates. Doing so would mean that artists are compensated for every hour of work performed. For flat pricing, artists lose money when their estimate of the time for a piece is underestimated; consumers lose money when they overpay for work that takes less time to render than what the artist charges for. Under an hourly rate, the guesswork is eliminated, and this benefits both the client and the illustrator. The pricing scheme is transparent to all, eliminating the misperception that artists overcharge for their work. Given that a fully colored and rendered work takes anywhere five to ten hours to create in some cases, it is not a difficult matter to determine which artists are working for roughly the minimum wage when you consult the price schedule published by the artist. I consider this a great shame. Furry artists achieve success by cultivating a combination of technical, creative, and business related skills. And yet, all too often I see that illustrators sometimes do this highly skilled work with such great passion and such little respect.
I am also inclined to note that artists receive much scorn for auctioning off their work with preposed bodies. In economics, auctions are in one of the more accurate ways of determining the worth of an item--here, the subject being an artist's time. Preposing images is a way to lower the barrier of entry for clients, who may want the services of an artist but are too busy or not sufficiently creative to contribute constructively to the development of a piece. The same amount of work is done by the artist in the end for a fully rendered work--sketching, inking, coloring, shading, effects, text, etc.--but for ineffable reasons, large swaths of people consider the combination of such services to be offered in the pursuit of lazy profit. Indeed, look at the mere mention of a your-character-here auction and you're bound to see comments opining that the illustrators who offer them are lazy or out to make a quick buck. I see nothing lazy about the exercise of skills needed to create an illustration, none of which are diminished by merely preposing its subjects. Rather, artists are being paid at rates typically not seen outside of auctioned services, leading to the misconception that maybe artists are being overpayed for the rare auction, when in reality they may be underpaid for most of the work they do.
Ultimately I think the furry art ecosystem has failed to cultivate a respectful relationship between clients and artists. As the situation stands, prices are obtusely set for work, many artists are underpaid relative to the value of their skills, and efforts to make more money are scorned. At least, that is my interpretation of the situation. As I am not an artist, I do not have a full view of the situation; I can only lend my opinions as a client. Nevertheless, I note down my thoughts not to castigate the furry fandom (as I am in no position cast judgment on anyone), but to encourage the reform of a broken system.
First are the artists. There are a lot of artists here (duh). This is only to be expected, given how much of the fandom exists because of the work artists do. What surprises me is the way so many people misunderstand what artists do. I've purchased the services of many on this site, so I know how the process works. Many people on this site operate under the illusion that artists offer products, rather than services. I've seen complaints here and there about the price an artist will charge for a picture; reflexively, artists sometimes complain that people do not often enough think highly of the field they work on. Content creators have not helped this perception by offering commissions at set prices. Pricing schedules for different types of work reinforce this way of thinking by presenting services as static, unchanging levels of service, rather than revealing the complexities of working in different mediums.
A more accurate way to charge for services rendered would be to offer work at hourly rates. Doing so would mean that artists are compensated for every hour of work performed. For flat pricing, artists lose money when their estimate of the time for a piece is underestimated; consumers lose money when they overpay for work that takes less time to render than what the artist charges for. Under an hourly rate, the guesswork is eliminated, and this benefits both the client and the illustrator. The pricing scheme is transparent to all, eliminating the misperception that artists overcharge for their work. Given that a fully colored and rendered work takes anywhere five to ten hours to create in some cases, it is not a difficult matter to determine which artists are working for roughly the minimum wage when you consult the price schedule published by the artist. I consider this a great shame. Furry artists achieve success by cultivating a combination of technical, creative, and business related skills. And yet, all too often I see that illustrators sometimes do this highly skilled work with such great passion and such little respect.
I am also inclined to note that artists receive much scorn for auctioning off their work with preposed bodies. In economics, auctions are in one of the more accurate ways of determining the worth of an item--here, the subject being an artist's time. Preposing images is a way to lower the barrier of entry for clients, who may want the services of an artist but are too busy or not sufficiently creative to contribute constructively to the development of a piece. The same amount of work is done by the artist in the end for a fully rendered work--sketching, inking, coloring, shading, effects, text, etc.--but for ineffable reasons, large swaths of people consider the combination of such services to be offered in the pursuit of lazy profit. Indeed, look at the mere mention of a your-character-here auction and you're bound to see comments opining that the illustrators who offer them are lazy or out to make a quick buck. I see nothing lazy about the exercise of skills needed to create an illustration, none of which are diminished by merely preposing its subjects. Rather, artists are being paid at rates typically not seen outside of auctioned services, leading to the misconception that maybe artists are being overpayed for the rare auction, when in reality they may be underpaid for most of the work they do.
Ultimately I think the furry art ecosystem has failed to cultivate a respectful relationship between clients and artists. As the situation stands, prices are obtusely set for work, many artists are underpaid relative to the value of their skills, and efforts to make more money are scorned. At least, that is my interpretation of the situation. As I am not an artist, I do not have a full view of the situation; I can only lend my opinions as a client. Nevertheless, I note down my thoughts not to castigate the furry fandom (as I am in no position cast judgment on anyone), but to encourage the reform of a broken system.
Situation defused
General | Posted 13 years agohttp://www.facebook.com/jay.thedragoon?fref=ts
Using a crop of an
onta picture for your profile is not classy; it's art theft. While I have reported this guy on Facebook, they haven't done anything about it yet. Please report this guy so they will take down his profile. It only takes a minute.I do not have a furry Facebook profile, and anyone claiming my character there is impersonating me.
YCH Auction OPENING IMMEDIATELY
General | Posted 13 years agoBased on recent trends in commissions opened by artists on this site, I am opening a YCH auction, beginning immediately. This is an orgy commission, so I know there will be a lot of demand for it; there are 1000 slots available. I will have a template image available soon. Just as a side note, any unfilled slots will be have the relevant body replaced with a rendering of Nicolas Cage, because of his obvious sex appeal. If your character is a straight male and you don't like Nicolas Cage, I will add breasts upon request.
Bidding will start at $5. Since I am an artist with absolutely no patience, and I know every fag on this website wants a piece of me, this auction will last 5 seconds from the time I post this journal. I figure that will be enough time to rack up over $500.
Because auction websites are a waste of time, I will hold the auction in this journal. I have heard the complaints of others on this topic, and I am here to assuage your fears. Although auctions held here are imprecise, FA cannot keep up quickly with real-time demands, and timestamps of comments only go down to the minute resolution, none of that matters. I only want the money of people who are not working at full-time jobs where they can monitor FA constantly, a.k.a. REAL members of the furry community. I don't care how much you are able to bid if you cannot be bothered to show up before the auction ends. This will also prevent people in other time zones from bidding, an added bonus. As a xenophobic American, I am still surprised people bother to live in other countries.
Like I said, I am super impatient.
So, with that in mind, the auction will end at 5:20:23 PM GMT (-0 UTC). And.... GO.
Bidding will start at $5. Since I am an artist with absolutely no patience, and I know every fag on this website wants a piece of me, this auction will last 5 seconds from the time I post this journal. I figure that will be enough time to rack up over $500.
Because auction websites are a waste of time, I will hold the auction in this journal. I have heard the complaints of others on this topic, and I am here to assuage your fears. Although auctions held here are imprecise, FA cannot keep up quickly with real-time demands, and timestamps of comments only go down to the minute resolution, none of that matters. I only want the money of people who are not working at full-time jobs where they can monitor FA constantly, a.k.a. REAL members of the furry community. I don't care how much you are able to bid if you cannot be bothered to show up before the auction ends. This will also prevent people in other time zones from bidding, an added bonus. As a xenophobic American, I am still surprised people bother to live in other countries.
Like I said, I am super impatient.
So, with that in mind, the auction will end at 5:20:23 PM GMT (-0 UTC). And.... GO.
Downtime doesn't need to happen
General | Posted 13 years agoWhy does the furry community rely so much on a site with no vision, no technical expertise, and no plan to sustain itself?
It's 2012. How long has FA been around? Seven years? At this point, it's laughable that the site should go down for 5 days not just because of a server failure, but because there was no contingency plan for such a failure. If you're FA and your single point of failure is your RAID cluster, why do you not have backup hard drives in case one goes down? The RAID controller bug could not have been foreseen--the one that caused so much trouble--but having no backup hard drives is quite silly.
Speaking of technical failures, the site has stagnated for years. Whatever happened to all the announced redesigns? Whatever happened to moving the site forward? Remember when the commission information pages were pulled from profiles due to cross-site scripting vulnerabilities? They haven't been put back. I'd say the coding people involved are asleep at the wheel, but then again there is only one coder in a sea of admins. How on Earth is that viable for a community of thousands online at a given moment?
And not to mention that FA has no plan to sustain itself--donations and ads aren't viable in the long term, especially when all the ads are furry related. How about taking the dA route and introducing premium features worth paying for? How about doing something to move the site forward?
Frankly, FA's whole setup can be thrown away. Here's how the site should be structured: FA is rewritten in Ruby or Python and hosted on a cloud platform like Heroku or Amazon Web Services. Pictures are stored in a cloud file store like Amazon S3. Amazon CloudFront provides a suitable content distribution network.
And before you tell me I'm crazy, this model has been done before. It's called Instagram. Oh, a picture-sharing website that uses cloud technology? Yup. And FA can sure use it, too... if they ever got their act together. Until a site like that comes out, everybody should migrate to SoFurry or InkBunny.
It's 2012. How long has FA been around? Seven years? At this point, it's laughable that the site should go down for 5 days not just because of a server failure, but because there was no contingency plan for such a failure. If you're FA and your single point of failure is your RAID cluster, why do you not have backup hard drives in case one goes down? The RAID controller bug could not have been foreseen--the one that caused so much trouble--but having no backup hard drives is quite silly.
Speaking of technical failures, the site has stagnated for years. Whatever happened to all the announced redesigns? Whatever happened to moving the site forward? Remember when the commission information pages were pulled from profiles due to cross-site scripting vulnerabilities? They haven't been put back. I'd say the coding people involved are asleep at the wheel, but then again there is only one coder in a sea of admins. How on Earth is that viable for a community of thousands online at a given moment?
And not to mention that FA has no plan to sustain itself--donations and ads aren't viable in the long term, especially when all the ads are furry related. How about taking the dA route and introducing premium features worth paying for? How about doing something to move the site forward?
Frankly, FA's whole setup can be thrown away. Here's how the site should be structured: FA is rewritten in Ruby or Python and hosted on a cloud platform like Heroku or Amazon Web Services. Pictures are stored in a cloud file store like Amazon S3. Amazon CloudFront provides a suitable content distribution network.
And before you tell me I'm crazy, this model has been done before. It's called Instagram. Oh, a picture-sharing website that uses cloud technology? Yup. And FA can sure use it, too... if they ever got their act together. Until a site like that comes out, everybody should migrate to SoFurry or InkBunny.
Unigan Caravan
General | Posted 13 years agohttp://offbeatr.com/project/unigan-.....ve-29020714697
Pay some money and get a digital/physical porn comics compilation organized by Onta! It's met its initial goal, so there's practically 0% risk of losing your money. :O
Pay some money and get a digital/physical porn comics compilation organized by Onta! It's met its initial goal, so there's practically 0% risk of losing your money. :O
No RP
General | Posted 13 years agoPlease don't ask me to RP if you have never talked to me before. I have no plans to vote for Ron Paul.
I guess I have 1000 watchers now
General | Posted 13 years agoSo I checked just now and I do have 1K+ watches now. Thanks for watching! I plan on converting my watches to US dollars for a retirement fund, so every bit helps.
Spring break
General | Posted 14 years agoWooooo, back to work.
Merry Christmas, bros
General | Posted 14 years agoI uploaded porn.
Happy Halloween
General | Posted 14 years agoI just want to have a new journal up. Also, Halloween is cool. I don't really have much else to say, except that college is tough.
Three Months
General | Posted 14 years agoSo, three months ago I basically disappeared off the face of FA. This journal is to explain where I went.
Nothing exciting really happened while I was gone. There's no dramatic build-up. In fact, I'm not really proud of leaving without notice and not being on IM or anything at all.
It starts with a summer internship I took starting in June. It was out of state, and it was a big hassle to move everything. After starting my internship, I became occupied nearly 24/7, since I was going to work full time and spending a lot of time with my fellow interns outside work. I didn't go online much, since I didn't have much time to spend. But within the first few weeks I managed to carve out a little time before I went to sleep where I talked to Stripes about sharing a commission. But besides that, I didn't have time to browse much.
Things started to settle down after that, and I had a bit more time. But after that I felt a mental block about getting back on, since it had been a few weeks. I avoided getting on to talk, since I was embarrassed about not saying anything and disappearing. I hadn't indicated I was going to disappear.
So I didn't get back on after a month. And then two months. And then three. I logged on occasionally for a few minutes at a time, but I felt weird about coming back online.
I finally decided that this reasoning was dumb, and I'm admitting my mistake. I regret my decision to disappear, but I'm done with ignoring that decision. I am embarrassed to admit I stayed off the radar for a reason like that, but so it goes.
Nothing exciting really happened while I was gone. There's no dramatic build-up. In fact, I'm not really proud of leaving without notice and not being on IM or anything at all.
It starts with a summer internship I took starting in June. It was out of state, and it was a big hassle to move everything. After starting my internship, I became occupied nearly 24/7, since I was going to work full time and spending a lot of time with my fellow interns outside work. I didn't go online much, since I didn't have much time to spend. But within the first few weeks I managed to carve out a little time before I went to sleep where I talked to Stripes about sharing a commission. But besides that, I didn't have time to browse much.
Things started to settle down after that, and I had a bit more time. But after that I felt a mental block about getting back on, since it had been a few weeks. I avoided getting on to talk, since I was embarrassed about not saying anything and disappearing. I hadn't indicated I was going to disappear.
So I didn't get back on after a month. And then two months. And then three. I logged on occasionally for a few minutes at a time, but I felt weird about coming back online.
I finally decided that this reasoning was dumb, and I'm admitting my mistake. I regret my decision to disappear, but I'm done with ignoring that decision. I am embarrassed to admit I stayed off the radar for a reason like that, but so it goes.
I'm not dead
General | Posted 14 years agoNot dead, not in trouble, not in drama, not blackmailed, just kind of embarrassed. Will explain later. I'm sorry if anyone was wondering where I went.
Recent absence
General | Posted 15 years agoBleh, I've been absent for the past few days (well, closer to a week) while trying to get shit together for my new job that starts next week. I'm still alive!
400 favorites
General | Posted 15 years agoSo apparently I've received 400 favorites on commissions I've posted (more than that actually)! Thanks for sharing your love of scalies! Fur is fine, but I definitely prefer scales by far. There's now more artists than ever that draw scalies now, and that makes me happy.
In Before Bel-Air
General | Posted 18 years agoYou heard it first from me.
