Once again I've bee given the honor of being spotlighted/mentioned/something-or-othered by those fine fellows at Equestria Daily
Jolly good. At this point I should probably make it clear that while I do like suggestions, I am not fond of requests. I know that's kind of weird, but the main reason is that I am extremely picky and usually annoyed with people's Original Characters. Call me paranoid. Or Ishmael.
So the main suggestions I liked which I received last month were "Moar Shining Armor and Cadence" and "Ship Princess Celestia with Shadowfax". I think I can guarantee at least one of those will happen some time in the near future. Feel free to suggest more things. Except shipping all the things.
Now I'd like to reply a bit to Equestria Daily: I am very thankful for their kind words in saying I make detailed things according to the show's style. The principle of this is because I want to pay homage to how the show inspired us all. The high level of detail also owes its existence to a quote I found, about the author Ernest Hemmingway:
If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.
The most important thing in a picture is the subject which it is trying to convey. An emotion? An action? A memory?
The most important things in the subject are the characters. What are their actions and reactions? How does what's happening make them feel?
I answer these questions as I make the pictures, thinking why each character is present and what they're supposed to symbolize, both in a 'factual' or physical sense, and in a metaphorical or subtextual way. This even comes to play in the number of characters in each scene, or how many objects are framing them, or what they're standing on. I don't talk about it because I know that if I did it right, people will 'feel' these things coming through the image, and not even need to express it. Feelings like New life, when in the Ultrasound picture, a small sprout peeks out of the loam in a window-side plant pot behind Cadence. Or how (in my headcanon) Trixie has befriended Twilight Sparkle, and this is evidenced by how they hang out together on the stands at the Sisterhooves Social.
There's also the zen-sort of feel that comes from making the art. I 'trace' my vectors using slapdash collages of character poses and expressions I want to use, and then color them properly. I do this with Photoshop, which makes object strokes quite easy, but means that I must manually draw a separate layer to taper or terminate loose tips. Why it's calming is because I try to do this with as few pen-tool control points as possible. You'd be amazed at how much of almost everything you see on these pictures is only made with 3- or 4-point vector objects.
Now in regards to subject matter, some people expand off in new directions and inflect their own genius or ideas into the mix. That's fine as long as no one is getting hurt, I suppose. Space, time, swords, crossovers and what-have-you. But I've never liked violence or inappro-pro romance because those things don't mix, in my mind. It's like making a chainsaw out of gummi-bears. It's funny for the first few minutes, but it loses its charm once you want to cut down a tree or pick the wood out of the candy so you can eat it. What I mean is I think the longevity of the gory or hanky-panky My Little Pony 'art' is extremely short. Even shorter than the fandom-contemporary state of My Little Pony art as it stands. Such flash-in-the-pan appeal isn't worth my time or attention, so I never bother with it.