u/heirkulun7746

I have been working on a book project, and have decided that I would like one important scene from each chapter to be illustrated, perhaps acting as a header before the chapter begins.

I have already ironed out a lot of the character designs and environmental work with other artists, so I have good references to provide, which I will once I have chosen an artist.

Style: I would prefer a painterly style, but feel free to throw your work out there, because while I do have an idea of what I want, it is entirely possible that I may consider your style for the illustrations instead.

Scope: We will start with a few illustrations to get our footing, then if I would like to pursue this further, then we can go from there. I cannot really give you a hard number of how many illustrations, as I am still editing, so the number of illustrations needed may go up or down depending.

Duration: For a year if things take off, and perhaps more. Expect me to commission you, get the work done, pay you, then go silent for some time before I come back for the next one. As much as we would like to have one commission after the other, its not realistic with this price tag, but I will try.

Soft requirements (as in it may very well not be needed in these illustrations depending), I will need skills in illustrating simple, historical architecture, firearms, armor, nudity, and vehicles. I already have references and long, written descriptions (down to the props and furniture for each room) for all of these to help if needed, so there shouldn't be any guesswork if we need to illustrate a scene inside of a certain room or anything else.

Hard requirements are that you can illustrate unsavory elements such as gore and abuse, because it will be expected for you to be able to illustrate certain disturbing, apocalyptic, and tragic scenes. If you do not like that work, but think that you can just push past it, this still may not be for you. The reason being that while the first half or so may be more tame, it will be building in intensity relatively quickly towards the latter-half to the end. I don't want to skimp on them, so just consider on if you are willing and able to perform this.

There will be some business we will have to hash out since these may very well be commercial commissions.

Just a heads up on myself, I can be easy to work with in some ways, but also difficult in others.

Strengths:

• I am extremely thorough to avoid misunderstandings, so expect an extensive, organized brief.
• I provide many references, and can get quite focused in trying to provide as many materials as possible (I made a floor-plan once for goodness sake).
• I am quite fair in price and can negotiate easily, it's not as big of a deal with me.
• I try to give the best feedback that I can, though it can fall flat sometimes.

Weaknesses:

• My working memory is completely shot, so expect me to be quite long-winded, sometimes confused and forgetful to where I just vomit things at you to push them out of my mind quickly, along with repeating myself from time to time. Just tell me to slow down.
• I also can get attached to sketches or thumbnails, then be thrown off by the more "defined" render, but I will usually sit with it before I say anything to see how I feel about it later.
• While I try my best to give feedback, I can find it difficult to describe what I am trying to get at, to where I need some time to try and communicate that properly, especially with anything to do with vibes and the matter. Whoever heard of a "writer" who cannot find the right words?

Things I Dislike:

• Big one is lack of communication. I do not mind letting an artist go out and make a change or concept of their own interpretation (I actually respect that), I just need clear communication of what is going on or if there is any changes to something we agreed to previously, etc.
• I do not like uncertainty, so do not make the process or your communication ambiguous.
• For interpretive works, if I have to do a lot of the creative heavy-lifting that is your work, I will walk. I will accommodate you as much as humanly possible to give you direction, but I expect not having to stress over composition, lighting, or whatever else for a concept. I am not an artist. I order the chef's special because they know something I don't, not because I want to tell them how to prepare the meal.

Its probably tacky to put the strengths, weaknesses, and dislikes here, but I find it better to be straightforward about what you are getting into instead of us wasting each other's time. At least I will tell it to your face that I'm an anxious buffoon that cannot exercise brevity.

I have been working on a book project, and have decided that I would like one important scene from each chapter to be illustrated, perhaps acting as a header before the chapter begins.

I have already ironed out a lot of the character designs and environmental work with other artists, so I have good references to provide, which I will once I have chosen an artist.

Style: I would prefer a painterly style, but feel free to throw your work out there, because while I do have an idea of what I want, it is entirely possible that I may consider your style for the illustrations instead.

Scope: We will start with a few illustrations to get our footing, then if I would like to pursue this further, then we can go from there. I cannot really give you a hard number of how many illustrations, as I am still editing, so the number of illustrations needed may go up or down depending.

Duration: For a year if things take off, and perhaps more. Expect me to commission you, get the work done, pay you, then go silent for some time before I come back for the next one. As much as we would like to have one commission after the other, its not realistic with this price tag, but I will try.

Soft requirements (as in it may very well not be needed in these illustrations depending), I will need skills in illustrating simple, historical architecture, firearms, armor, nudity, and vehicles. I already have references and long, written descriptions (down to the props and furniture for each room) for all of these to help if needed, so there shouldn't be any guesswork if we need to illustrate a scene inside of a certain room or anything else.

Hard requirements are that you can illustrate unsavory elements such as gore and abuse, because it will be expected for you to be able to illustrate certain disturbing, apocalyptic, and tragic scenes. If you do not like that work, but think that you can just push past it, this still may not be for you. The reason being that while the first half or so may be more tame, it will be building in intensity relatively quickly towards the latter-half to the end. I don't want to skimp on them, so just consider on if you are willing and able to perform this.

There will be some business we will have to hash out since these may very well be commercial commissions.

Just a heads up on myself, I can be easy to work with in some ways, but also difficult in others.

Strengths:

• I am extremely thorough to avoid misunderstandings, so expect an extensive, organized brief.
• I provide many references, and can get quite focused in trying to provide as many materials as possible (I made a floor-plan once for goodness sake).
• I am quite fair in price and can negotiate easily, it's not as big of a deal with me.
• I try to give the best feedback that I can, though it can fall flat sometimes.

Weaknesses:

• My working memory is completely shot, so expect me to be quite long-winded, sometimes confused and forgetful to where I just vomit things at you to push them out of my mind quickly, along with repeating myself from time to time. Just tell me to slow down.
• I also can get attached to sketches or thumbnails, then be thrown off by the more "defined" render, but I will usually sit with it before I say anything to see how I feel about it later.
• While I try my best to give feedback, I can find it difficult to describe what I am trying to get at, to where I need some time to try and communicate that properly, especially with anything to do with vibes and the matter. Whoever heard of a "writer" who cannot find the right words?

Things I Dislike:

• Big one is lack of communication. I do not mind letting an artist go out and make a change or concept of their own interpretation (I actually respect that), I just need clear communication of what is going on or if there is any changes to something we agreed to previously, etc.
• I do not like uncertainty, so do not make the process or your communication ambiguous.
• For interpretive works, if I have to do a lot of the creative heavy-lifting that is your work, I will walk. I will accommodate you as much as humanly possible to give you direction, but I expect not having to stress over composition, lighting, or whatever else for a concept. I am not an artist. I order the chef's special because they know something I don't, not because I want to tell them how to prepare the meal.

Its probably tacky to put the strengths, weaknesses, and dislikes here, but I find it better to be straightforward about what you are getting into instead of us wasting each other's time. At least I will tell it to your face that I'm an anxious buffoon that cannot exercise brevity.

I have been working on a book project, and have decided that I would like one important scene from each chapter to be illustrated, perhaps acting as a header before the chapter begins.

I have already ironed out a lot of the character designs and environmental work with other artists, so I have good references to provide, which I will once I have chosen an artist.

Style: I would prefer a painterly style, but feel free to throw your work out there, because while I do have an idea of what I want, it is entirely possible that I may consider your style for the illustrations instead.

Scope: We will start with a few illustrations to get our footing, then if I would like to pursue this further, then we can go from there. I cannot really give you a hard number of how many illustrations, as I am still editing, so the number of illustrations needed may go up or down depending.

Duration: For a year if things take off, and perhaps more. Expect me to commission you, get the work done, pay you, then go silent for some time before I come back for the next one. As much as we would like to have one commission after the other, its not realistic with this price tag, but I will try.

Soft requirements (as in it may very well not be needed in these illustrations depending), I will need skills in illustrating simple, historical architecture, firearms, armor, nudity, and vehicles. I already have references and long, written descriptions (down to the props and furniture for each room) for all of these to help if needed, so there shouldn't be any guesswork if we need to illustrate a scene inside of a certain room or anything else.

Hard requirements are that you can illustrate unsavory elements such as gore and abuse, because it will be expected for you to be able to illustrate certain disturbing, apocalyptic, and tragic scenes. If you do not like that work, but think that you can just push past it, this still may not be for you. The reason being that while the first half or so may be more tame, it will be building in intensity relatively quickly towards the latter-half to the end. I don't want to skimp on them, so just consider on if you are willing and able to perform this.

There will be some business we will have to hash out since these may very well be commercial commissions.

Just a heads up on myself, I can be easy to work with in some ways, but also difficult in others.

Strengths:

• I am extremely thorough to avoid misunderstandings, so expect an extensive, organized brief.
• I provide many references, and can get quite focused in trying to provide as many materials as possible (I made a floor-plan once for goodness sake).
• I am quite fair in price and can negotiate easily, it's not as big of a deal with me.
• I try to give the best feedback that I can, though it can fall flat sometimes.

Weaknesses:

• My working memory is completely shot, so expect me to be quite long-winded, sometimes confused and forgetful to where I just vomit things at you to push them out of my mind quickly, along with repeating myself from time to time. Just tell me to slow down.
• I also can get attached to sketches or thumbnails, then be thrown off by the more "defined" render, but I will usually sit with it before I say anything to see how I feel about it later.
• While I try my best to give feedback, I can find it difficult to describe what I am trying to get at, to where I need some time to try and communicate that properly, especially with anything to do with vibes and the matter. Whoever heard of a "writer" who cannot find the right words?

Things I Dislike:

• Big one is lack of communication. I do not mind letting an artist go out and make a change or concept of their own interpretation (I actually respect that), I just need clear communication of what is going on or if there is any changes to something we agreed to previously, etc.
• I do not like uncertainty, so do not make the process or your communication ambiguous.
• For interpretive works, if I have to do a lot of the creative heavy-lifting that is your work, I will walk. I will accommodate you as much as humanly possible to give you direction, but I expect not having to stress over composition, lighting, or whatever else for a concept. I am not an artist. I order the chef's special because they know something I don't, not because I want to tell them how to prepare the meal.

Its probably tacky to put the strengths, weaknesses, and dislikes here, but I find it better to be straightforward about what you are getting into instead of us wasting each other's time. At least I will tell it to your face that I'm an anxious buffoon that cannot exercise brevity.

I have been working on a book project, and have decided that I would like one important scene from each chapter to be illustrated, perhaps acting as a header before the chapter begins.

I have already ironed out a lot of the character designs and environmental work with other artists, so I have good references to provide, which I will once I have chosen an artist.

Style: I would prefer a painterly style, but feel free to throw your work out there, because while I do have an idea of what I want, it is entirely possible that I may consider your style for the illustrations instead.

Scope: We will start with a few illustrations to get our footing, then if I would like to pursue this further, then we can go from there. I cannot really give you a hard number of how many illustrations, as I am still editing, so the number of illustrations needed may go up or down depending.

Duration: For a year if things take off, and perhaps more. Expect me to commission you, get the work done, pay you, then go silent for some time before I come back for the next one. As much as we would like to have one commission after the other, its not realistic with this price tag, but I will try.

Soft requirements (as in it may very well not be needed in these illustrations depending), I will need skills in illustrating simple, historical architecture, firearms, armor, nudity, and vehicles. I already have references and long, written descriptions (down to the props and furniture for each room) for all of these to help if needed, so there shouldn't be any guesswork if we need to illustrate a scene inside of a certain room or anything else.

Hard requirements are that you can illustrate unsavory elements such as gore and abuse, because it will be expected for you to be able to illustrate certain disturbing, apocalyptic, and tragic scenes. If you do not like that work, but think that you can just push past it, this still may not be for you. The reason being that while the first half or so may be more tame, it will be building in intensity relatively quickly towards the latter-half to the end. I don't want to skimp on them, so just consider on if you are willing and able to perform this.

There will be some business we will have to hash out since these may very well be commercial commissions.

Just a heads up on myself, I can be easy to work with in some ways, but also difficult in others.

Strengths:

• I am extremely thorough to avoid misunderstandings, so expect an extensive, organized brief.
• I provide many references, and can get quite focused in trying to provide as many materials as possible (I made a floor-plan once for goodness sake).
• I am quite fair in price and can negotiate easily, it's not as big of a deal with me.
• I try to give the best feedback that I can, though it can fall flat sometimes.

Weaknesses:

• My working memory is completely shot, so expect me to be quite long-winded, sometimes confused and forgetful to where I just vomit things at you to push them out of my mind quickly, along with repeating myself from time to time. Just tell me to slow down.
• I also can get attached to sketches or thumbnails, then be thrown off by the more "defined" render, but I will usually sit with it before I say anything to see how I feel about it later.
• While I try my best to give feedback, I can find it difficult to describe what I am trying to get at, to where I need some time to try and communicate that properly, especially with anything to do with vibes and the matter. Whoever heard of a "writer" who cannot find the right words?

Things I Dislike:

• Big one is lack of communication. I do not mind letting an artist go out and make a change or concept of their own interpretation (I actually respect that), I just need clear communication of what is going on or if there is any changes to something we agreed to previously, etc.
• I do not like uncertainty, so do not make the process or your communication ambiguous.
• For interpretive works, if I have to do a lot of the creative heavy-lifting that is your work, I will walk. I will accommodate you as much as humanly possible to give you direction, but I expect not having to stress over composition, lighting, or whatever else for a concept. I am not an artist. I order the chef's special because they know something I don't, not because I want to tell them how to prepare the meal.

Its probably tacky to put the strengths, weaknesses, and dislikes here, but I find it better to be straightforward about what you are getting into instead of us wasting each other's time. At least I will tell it to your face that I'm an anxious buffoon that cannot exercise brevity.

I have been working on a book project, and have decided that I would like one important scene from each chapter to be illustrated, perhaps acting as a header before the chapter begins.

I have already ironed out a lot of the character designs and environmental work with other artists, so I have good references to provide, which I will once I have chosen an artist.

Style: I would prefer a painterly style, but feel free to throw your work out there, because while I do have an idea of what I want, it is entirely possible that I may consider your style for the illustrations instead.

Scope: We will start with a few illustrations to get our footing, then if I would like to pursue this further, then we can go from there. I cannot really give you a hard number of how many illustrations, as I am still editing, so the number of illustrations needed may go up or down depending.

Duration: For a year if things take off, and perhaps more. Expect me to commission you, get the work done, pay you, then go silent for some time before I come back for the next one. As much as we would like to have one commission after the other, its not realistic with this price tag, but I will try.

Soft requirements (as in it may very well not be needed in these illustrations depending), I will need skills in illustrating simple, historical architecture, firearms, armor, nudity, and vehicles. I already have references and long, written descriptions (down to the props and furniture for each room) for all of these to help if needed, so there shouldn't be any guesswork if we need to illustrate a scene inside of a certain room or anything else.

Hard requirements are that you can illustrate unsavory elements such as gore and abuse, because it will be expected for you to be able to illustrate certain disturbing, apocalyptic, and tragic scenes. If you do not like that work, but think that you can just push past it, this still may not be for you. The reason being that while the first half or so may be more tame, it will be building in intensity relatively quickly towards the latter-half to the end. I don't want to skimp on them, so just consider on if you are willing and able to perform this.

There will be some business we will have to hash out since these may very well be commercial commissions.

Just a heads up on myself, I can be easy to work with in some ways, but also difficult in others.

Strengths:

• I am extremely thorough to avoid misunderstandings, so expect an extensive, organized brief.
• I provide many references, and can get quite focused in trying to provide as many materials as possible (I made a floor-plan once for goodness sake).
• I am quite fair in price and can negotiate easily, it's not as big of a deal with me.
• I try to give the best feedback that I can, though it can fall flat sometimes.

Weaknesses:

• My working memory is completely shot, so expect me to be quite long-winded, sometimes confused and forgetful to where I just vomit things at you to push them out of my mind quickly, along with repeating myself from time to time. Just tell me to slow down.
• I also can get attached to sketches or thumbnails, then be thrown off by the more "defined" render, but I will usually sit with it before I say anything to see how I feel about it later.
• While I try my best to give feedback, I can find it difficult to describe what I am trying to get at, to where I need some time to try and communicate that properly, especially with anything to do with vibes and the matter. Whoever heard of a "writer" who cannot find the right words?

Things I Dislike:

• Big one is lack of communication. I do not mind letting an artist go out and make a change or concept of their own interpretation (I actually respect that), I just need clear communication of what is going on or if there is any changes to something we agreed to previously, etc.
• I do not like uncertainty, so do not make the process or your communication ambiguous.
• For interpretive works, if I have to do a lot of the creative heavy-lifting that is your work, I will walk. I will accommodate you as much as humanly possible to give you direction, but I expect not having to stress over composition, lighting, or whatever else for a concept. I am not an artist. I order the chef's special because they know something I don't, not because I want to tell them how to prepare the meal.

Its probably tacky to put the strengths, weaknesses, and dislikes here, but I find it better to be straightforward about what you are getting into instead of us wasting each other's time. At least I will tell it to your face that I'm an anxious buffoon that cannot exercise brevity.

As the title says. OLEDs can have burn-in after extended use, and are incredibly easy to scratch. What has resulted is me shining a flashlight at micro-scratches that you can’t even see when its on and without a giant beam of light on them, as well as looking at a black screen closely for any burn-in after playing a game with static HUD elements. 700 buckaroos for this thing and what do I get? Me going into near damn psychosis at looking at a black void and mistaking a reflection for burn-in for the upteenth time. Uh oh, stayed in my browser for too long, gotta go fullscreen. Better do pixel cleaning yet again, just in case.