Illustrations are diverse and numerous on the internet. I like cyberpunk and erotic illustrations especially. I save illustrations for personal use including imagery and themes to motivate my fiction and highly imaginative examples to create my illustrations. The internet is the best method to deliver computer art. It is simple and effective to deliver creativity and originality timely and profitably.
I made accounts at Deviant Art and Hentai Foundry to collect my favorites and communicate with artists. See my accounts at jasminejennifer.deviantart.com and hentai-foundry.com/user/jasminejennifer/profile. Illustrations at the websites are artistic and inventive. Many intelligent moods and perspectives are portrayed.
Illustrations are a doorway to developments of cyberpunk themes, lesbianism, feminism, and transgender male themes. They develop literary independence, and advance cultures. Illustrations on the internet propel the entertainment sector of the national economy. The internet makes artists famous, and artistic traditions foundational for technological progress.
Stagnation of the Global Economy by Financial Decisions is an article that I published on July 23, 2015. It described the credit crash of 2008. Egotism and innumeracy were described to be causes of bad financial decisions, and psychiatric barriers were noted to be obstacles of recovery from the credit crash.
Psychological Course of the Credit Crash of 2008 is an article that I published on November 5, 2016. It described the credit crash of 2008, and psychologies of the national economy that influenced the progression of the credit crash. Original causes were identified, and described. American culture was enumerated to show causes and solutions.
The credit crash of 2008 was enormously destructive to the factors of production. Entrepreneurship was restrained, land was ignored, capital was wasted, and labor was idle. The credit crash was an enormous obstacle to home life and honest employment, and progressive evolution succeeded every time that causes returned to frustrate and complicate constitutional life.
The credit crash of 2008 was primarily affairs of certain individuals with financial risks that were associated with original causes. Federalism was neglected tremendously. Arts and technologies suffered most. Psychotechnologies and intellectual inventions were held back from public use. Globalization of cultures, academics, and technologies suffered repeatedly until they broke down.
I published Equal Inflictions (Sex Love Friends #3) on February 28, 2016. It is lesbian erotica and erotic romance from a series of five short stories. It is abstract fiction that uses sexual frustrations to develop plot and build the climax. The story is a sequence of scenes that culminates into a singular imagery of lesbian love. Respect, intimacy, and aggression build with sexual discipline and bondage. Sexual frustrations deepen from vacation symbols, and arouse the women. The sex scene has plateaus that build up to the climax.
Equal Inflictions is the beginning of traditions for erotic romances. Abstract fiction creates erotica by elimination of asexual surroundings, and romances by identification of objects of happiness. Erotic romances create traditions by cyclical reinventions of sexual love.
I started drawing artistically in elementary school like children do. I got a basic course about cartoons in the mail when I was a child, and practiced standard techniques of commercial artists at the time. I loved to learn from professionals and use techniques for special effects. However, I was frustrated by two-dimensionality. I learned to draw from instructions, artists, books, maturity, and experience.
I had difficulty taking imagery out of my mind, and rendering it on paper. I started to analyze expressions of what I meant instead of compositions of real objects. I studied drawing and painting fundamentals from college books when I got discouraged by limitations of representations of real objects. I studied elements of drama from college books, too.
I recognized that lines, colors, and perspectives were ultimately foundational to all of the illustrations that I wanted to create. I realized that imagery from my mind was reproduceable strictly with lines, colors, and perspectives. I concluded that time was the best tool to discern and develop my unique views about three-dimensional representations, and held onto drawing and painting until I could try again.
I learned to paint with acrylics when I was an adolescent. I had been disappointed by oils, and learned to use acrylics similarly. Oils were sloppy, and antiquated. I painted real objects with distortions of lines, colors, and perspectives. Flowers were especially my favorite real objects to paint, and I used their irregular shapes to create three-dimensionality. Acrylics taught me to see subjects of paintings as likenesses of my intentions. I learned to create additional illustrations for a single instance of imagery in my mind.
Painting with acrylics matured my sense of representation, and I finished my education in drawing. I learned to see real objects as possibilities of imagery in my mind and paint subjects that reflected imagery in representations of real objects. I learned to draw line art that expressed abstract ideas and resembled real objects.
I tried to write romances when I was a student in high school. I tested my skills with presentations of narratives to my classmates. My writing was received well, but notions that I had meant to elaborate subtly got lost. Additionally, classmates who enjoyed my stories most were disinterested in my subtle notions. I was confused about what I wanted to express and who should be my audience.
I was determined to write romances, and tried another story that included subtle messages about morality and emotional hurts. My classmates thought that the story was improved upon the last ones. There were prettier places, better characters, and faster dialogs. The best critics discovered that they liked to avoid my subtle messages completely. Interests in the implications that I had made from scenes and plots got lost when I improved originality and literary techniques. I felt abandoned, and discouraged.
I put my writing skills for romances away, and tried to write stories about morality and emotional hurts that dramatized consequences. I developed a phase of stories that were written like non-fiction. I tried to romanticize non-fiction, and recognized that romances were thrillers without motives and violence. I had to concede finally that only thrillers delivered peripheral messages about places, characters, and events. Romances delivered dialogs, and imagery.
I chose to write thrillers over other genres during my sophomore year in high school. I started development of my style of thrillers, and left romances behind. Thrillers use guilt and fear to engage memories and egos. They demonstrate morality, and emotional hurts. Sexualities and passions stand out. Thrillers provide easier escape from immediate realities.
Thrillers proved to be versatile for expressions of my darkest thoughts, and romances remained in my mind as an unusual mystery. I realized much later that I had been shy to expose uncomfortable facets about morality and emotional hurts. I had tried to hide facts about events and personalities inside romantic happiness. Thrillers turned around later to recast romances into stories about relationships and achievements.
I started reading novels in the late 1970's when adults loved to read in the mass market. Blockbusters were written to the broadest audiences that could be devised. I recall taking novels seriously when I turned ten years old. I had become fascinated by the amount of work that authors and editors were putting into psychological fiction. More work was being put into novels that any occupation other than academic studies.
Blockbusters were written generally and had protagonists with uncharacteristic personalities. Intriguing plots provided depth, and violent scenes forced plots into consciences. Blockbusters were the major influence of novels until roughly 1990. Intuitive and emotional appeal for mass-market qualities of psychological fiction lasted until fears of delinquencies and failures that were related to the new century set in.
I felt like an adult reading blockbusters in the 1970's and 1980's. Blockbusters seemed like alternate realities, and I felt like an adventurer travelling to dangerous continents. I started to collect favorite statements, and compare them to each other. Mass-market techniques had opened a window into unconscious fears and nightmares nationally.
Cumulative readership and new entrants into the marketplace for fiction slowly changed demand for blockbusters. Social progress had caused blockbusters to exist, and their demise to reinstitute social progress again. I fell down with blockbusters into erotic literature. I loved exercise, and resisted nightmares very well. I climbed back up to social progress after blockbusters died to recognize that authors had meant to pound out frustrations and discover guilt.
The marketplace for fiction became segmented by the beginning of the twenty-first century. Novels became written by type for groups of similar individuals. They got published to homogenous audiences in a heterogeneous marketplace. Blockbusters were gone, and erotica grew up from personal expressions and niche markets into unconscious lust and standardization of literary techniques. I fell off of the dangerous continents, and swam through sea water to luxury hotels. Segmentation meant groups of friends travelling on vacation, and unconscious fears and nightmares meant psychoanalytic hang-ups and failures of sexual intimacy.
I decided to write for sure when the 1990's started. I had realized that frustrated and guilty authors had written national treasures that taught individuals to discipline their motives. Sensible authors could reach individuals nationally, and instill courage and determination. I wanted to write realistic scenes that took audiences into exotic situations. I chose to study realism, intellectualism, and fantastic events in cultural history.
I published Underage Perverts in the summer of 2014. It is the first story in a series of five erotic short stories that are collected under the subtitle, Sex Love Friends. It is description of adolescent sexuality. Dormitory Playmates is the second story in the series. It is temporal narrative about young adults.
Sex Love Friends is a series about cultural pathologies. Sexual difficulties of the 1980's continue to be psychological problems in the twenty-first century, and the series reveals pleasures from hormonal delusions and pains from emotional inadequacies. The principles of normal life were broken during the 1980's in America.
I am excited to write the stories. Depth and contrast increase with each story. All of the main characters are self-made cultural icons.
I published a series of three erotic short stories in early 2014. Capable Kimberly, Like Sisters, and Furious Friends are independent tales of sexuality that combine to describe experiences of feminization in America. I contrasted feminization against excessive use of television, and discovered that sex in America is more than just freedom! It is beginnings for a new tomorrow.