#2 layer print

[buwheal]

was heaven watching after all?

[hesgomorrah]

i think i reached a new level of hyperfixation today. i'm not just burning custom tjmd dvds i'm printing custom labels and box art for those bad boys

[spacebetweengalaxies]

✨travel hopefully✨

click for better quality (i had to resize it to be able to upload it 😂) I made this fanart of 13 to take to gally1 (& gave a copy to Jodie!)

I wanted to encapsulate a lot of my favorite things about this era. the main reference image I used was the scene where she builds her sonic screwdriver because I just loved the expression of joy (and the goggles!) and then I swapped out her outfit and picked the magenta shirt bc it's my favorite, and I love whenever they take the tardis into outer space and open the doors to look out at the incredible universe, so that's here (and color-coordinated to go with the galaxy decor in my room!) and of course, I've loved the inside of 13's tardis and how alive it feels 💙💙

[artinandwritin]

For the last few weeks of my second year of art college I worked on a comic (as I might have mentioned haha) and I finally got around to translating it into English!! Soooo

(rest is under the cut!!)

[unproduciblesmackdown]

for real shoutout to 2 trans 2 furious zine's impending printed availability in a handful of presumed indie bookshops hither & yon....that Is fun as hell overall and in knowing that wynnstannery led to a page in a book that someone might wander into their whimsical local bookstore and flip through and learn about cam stone

[toytulini]

lightly defending Toshiro while also fully understanding Laois frustrations. as a bitch who let teachers call me the wrong name all through high school cos it was kinda funny

[intomybubble]

A small shelf update

I bought the Homestuck books.

I bought Vol 3 and 6 on Instocktrades and they arrived this morning and were very well packaged. I ordered two volumes of The Royal Tutor, from the same site, to finish my set, but that’s arriving separately.

This shelf will only temporarily look like this since I still need Vol 5 to finish my Homestuck set, and I might buy Vol 2 and 3 of the collectors edition of Pokemon Adventures at some point.

I’m basically at the point where I’m just waiting on series to continue or manga I already read getting licensed (“I want to end this love game” is releasing in a few weeks!). It’s a good thing since I don’t have a lot of space left on my shelf and I had to move some other series into letter boxes (from Michaels) under my self to make room.

Though they all won’t be up there, I’ll post another shelf pic when I finish off The Royal Tutor (I’m hoping I can fit Vol 6-8 and 14 to 17 on the top shelf, I have Vol 1-5 with part of Pandora Hearts and The Case Study of Vanitas)

[catgrandpa]

Gotham has always been weird, so when the groundskeeper at the cemetery noticed the Wayne kid’s plot was disturbed, he just chalked it up to more of the same ol’. Alright, so ‘disturbed’ may be a tad too light of a word, but what’s an empty grave in the grand scheme of Gotham? God knows in a city like this one, they could use all the burial room they could get. He figured he’d just jot it down on the website and hope nobody noticed for a while.

Too bad he didn’t account for the 13 year old boy in Bristol who periodically checks the cemetery’s website when he’s feeling particularly lonely.

Plot Removed.

Tim Drake stared at the two words under the heading for Jason Todd’s plot number. Removed? What do they mean ‘removed’? They can’t just remove a plot? That’s a person down there! That’s Robin down there! You can’t Remove Robin!

Calm down. Deep breaths. Assess the situation.

Robin has been dead for 5 months and 14 days. There is no reason for a grave to be removed that early, especially one of a member of such an affluential family. Chances are likely it’s a simple clerical issue. He can call first thing in the morning and make them aware of the mistake. He can have it all fixed in 5 hours.

Just a phone call.

In 5 hours.

…

Tim hates talking on the phone almost as much as he hates waiting.

Well it won’t be the first time he’s snuck out to head to Gotham proper at 1am. It can’t even really be considered sneaking out if there’s no one home to catch you.

Buses stop running at 2, so he layers a couple sweaters under his coat and grabs his best running sneakers so he can comfortably make the trek back.

Just a quick trip to settle his nerves. Maybe get a few shots in if he spots Batman, but really he just wants to see with his own two eyes that things are okay and Jason can rest.

It’s 1:37 by the time he gets to the headstone reading ‘Here Lies Jason Todd’ and the gaping, muddy pit in front of it.

This- This doesn’t make any sense. This is not removal. This is destruction. Desecration. Somebody did this. Somebody-

Assess the situation.

A hole in the ground, approximately 1.5 feet in diameter.

Mud and grass flung outward but with little force.

Large chunks of earth turned over and shoved away.

No signs of tool marks or clean lines of entry into the dirt.

Dragging claw marks.

Staggering, shuffled pairs of foot prints in the mud.

A trail of dirt.

Something… Something large clawed its way out of the ground here. Something large and bipedal and- and humanoid.

Tim refuses to jump to any conclusions he can see all the facts laid in front of him. He’s going to cautiously follow the trail and simply hope to any god listening that he isn’t the world’s first line of defense against the zombie apocalypse.

He’s been walking for 23 minutes and there’s good news and undecided news. Good news: he’s closing in on the target and the trail isn’t taking him out of the way so his trip home won’t be prolonged. Undecided news: The potential Zombie Robin is heading directly for Wayne Manor.

As zombie apocalypse news, this is very bad. From Tim’s collected observational evidence, his not-so-professional opinion is that Batman, faced with a horror movie level zombie of his dead son, would not respond well, and would likely not fight back.

In Batman and Robin news? Tim’s unsure. If Jason is simply back? What could that mean for them? Batman can have his Robin. He wouldn’t have to continue nearly killing others and himself every night in his grief. Jason could-

No. Stop. Do not jump to conclusions.

Hope only brings heartbreak.

What would Batman do? Get close and see if the target is a threat.

Target is male. Mid-teens. Dark hair. Pale skin. Leaning against surfaces as he walks. Appears injured and disoriented.

Minimal risk assessed. Approaching and attempting contact.

Target identity confirmed: Jason Todd.

“J-Jason?” It comes out as a croaked whisper. Jason shows no sign of acknowledgment.

Tim clears his throat, steps right in front of his path, and tries again.

“Jason. Jason, stop I want to help you.” Still nothing.

“Please, Jason. I can help, I promise I can help!”

Why isn’t this working?! Why can’t he just do something right for once?! He wants this to work, he wants to help Bruce, he wants to fix Batman, he wants to not be alone, he wants-

“Robin!”

Robin jerks to a stop.

Tim reached out his hand.

“Robin. Robin please, I’m sorry you’re going through this, it’s really scary, I’m really scared. But I just want to help you. Help you find Batman. Help you get home.”

Jason just stares at him. Of course he does. Of course it’s not going to work. Why did he even bother hoping he could help?

Hope only brings heartbreak.

His sight blurs as his eyes fill with tears and he starts to lower his outstretched hand.

His arm is slowed as a cold hand weakly grasps his own.

“Don’t… scared… Bat… help… Dad… help.”

A relieved sob tears out from Tim’s chest and he gathers himself together. He yanks his extra sweater off and gently pulls it over Jason’s cold shoulders. Jason lets Tim drag his arm over his shoulders to try and carry some of his weight.

“Okay, Robin. Yeah. Your dad will help us.”

Batman will solve everything once Tim gets Robin home.

[mortalityplays]

Unprintable: Artists Against Authority

I am absolutely beside myself with excitement to announce the launch of Unprintable.

Unprintable is an online free shop, where original artwork and arts resources are released into the public domain.

Everything listed here is free to use, copy and remix any way you like. You can print off hi-res artwork to decorate your apartment, or to use in your own projects. You can use the writing in your own zines, anthologies or performances. You can put it on a t-shirt. You can read it on the radio. You can paint it on a truck. It's up to you, entirely and forever.

The collection will be updated continuously, on an unfixed schedule, with contributions from a wide range of named and anonymous artists and activists. You can read the FAQ for a full rundown of what Unprintable is and why it exists, but these are the really important parts:

Can I download/print/use the work listed here? Yes. Can I use it for [X]? You can do whatever you want with it forever. But what if I want to [Y]? You can do whatever you want with it forever. Why do this? A few reasons: 1. We want a space to just share things, no strings attached. We recognise that copyright is an irrational system that was designed to protect the profit interests of publishing middlemen and IP hoarders. In fact, copyright is often weaponised against the creators it pretends to protect. As long as it exists, we are unlikely to win any other form of protection for our work, and we are profoundly limited from engaging in the kind of communal artistic and storytelling practices that were the norm around the world for thousands of years. 2. Radical art is often unprintable. Profit motives make people cautious. A lot of print-on-demand or local print shop services will refuse artwork with controversial, sensitive or political content. This is very frustrating when these themes are the focus of so much of our work (and indeed our lives). Rather than waste any more breath trying to explain why a trans artist might want to print the word ‘faggot’, we can give our work away for free. Got a printer? It’s yours. 3. It feels good. Sharing is joyful. It’s the reason we love making things in the first place. We don’t write poems because we look forward to filleting them for consumption, or layer colours so that we can sell a canvas by the ounce. We have only ever wanted to be able to support ourselves so that we can make, but that relationship is deeply dysfunctional under capitalism. We made these things, and we want you to have them. It doesn’t need to be complicated.

I'll write up some more posts introducing the launch collection soon. In the meantime...be free, enjoy, explore, have fun!

https://free.mortalityplays.com

[johannesviii]

Someone on discord asked how I was making pins with bottle caps so here goes nothing

you need

bottle caps (the ones made of metal obv)

pliers

safety pins

paper

glue

optional acrylic paint

optional paint varnish (the kind you would spray on top of an acrylic painting)

I'm only saying "optional" because sometimes you just like what's already printed on the bottle cap. I mean look at this puffin, it's so cute. But you should probably spray the print with varnish anyway if you don't want it to disappear too quickly (that cap on the left was in my pocket for like 3 months and the print has already disappeared around the edge)

pinch the edge of the cap with the pliers and turn it slightly toward the top side of the cap. Continue to do so around the entire cap but don't try to flatten it all in one go cause it's kinda hard. It should only take two minutes or so anyway

almost there

there, it's flat now. If you want to paint or write something on it, add a couple of layers of acrylic paint on it before you paint/write what you actually want on the pins

I wanted skeleton parts on mine because I saw someone with pins like that and idk where they bought them

I drew them with a Pitt pen on top of 4 layers of white acrylic

spray a coat of varnish on them but PLEASE do that outside, you do NOT want to breathe that stuff. Then wait a few hours for it to dry

on the back, add 1) glue 2) one safety pin 3) a thin paper across the pin - squish the paper against the wet glue. When it's dry, add another layer of glue on top. Just drown the back of the pin in crystal glue otherwise it's gonna break too easily. Just make sure the safety pin can still open and close easily

let it dry until the next day just to be sure. Tug on the safety pin a bit to make sure it's glued correctly

congrats you've made pins with bottle caps

[deoidesign]

How I save time on backgrounds as a full-time webcomic artist

Hi! I make webcomics for a living, and I have to be able to draw a panel extremely fast to keep up with my deadlines. I draw about 50 panels a week, which gives me about 45 minutes per panel if I want any semblance of a healthy work-life balance.

Most webtoon artists save time on backgrounds by using 3d models, which works for them and is great! but personally I hate working in 3d... I went to school for it for a year and hated it so much I completely changed career paths and vowed never to do it again! So, this is how I save time without using any 3d, for those of you out there who don't like it either!

This tactic has also saved me money (3d models are expensive) and it has helped me converting my comic from scroll format into page format for print, because I have much more art to work with than what's actually in the panels. (I'll touch on this later)

So, first, I make my backgrounds huge. my default starting size is 10,000 x 10,000 pixels. My panels are 2,500 pixels wide, so my backgrounds are 4x that, minimum. Because of this, I make them less detailed than I could or that you might expect so it doesn't look weird against my character art when I shrink portions of it down.

I personally find it much easier to add in detail than to make "removing" details look natural at smaller sizes, but you might have different preferences than I do.

I also make sure to keep all of my elements on separate layers so that I can easily remove or replace them, I can move them to simulate different camera angles more easily, and it's simple to adjust the lighting to imply different times of day.

Then I can go ahead and copy/paste them into my episodes. I move the background around until it feels like it's properly fitting how I want.

Once I've done that in every panel, I'll go back through the episode and clean up anything that looks weird, and add in solid blacks (for my art style) Here's a quick before and after of what that looks like!

This makes 90% of my backgrounds take me just a few hours. This is my tactic when I'm working in an environment that an entire scene, or multiple scenes, will take place.

But many panels will inevitably have a location that's used exactly once, and it would waste time and effort to draw a massive background for those. So in 10% of cases, I just draw the single panel background in the episode. I save all of these, just in case I can re-use it later (this happens more often with outdoor locations, but I save them all nonetheless!)

I generally have to draw about 2 big backgrounds per episode, and 3-5 single-panel backgrounds per episode! At the beginning of an arc/book the number is higher, but as the series is continuing and I'm building up an asset library of indoor and outdoor elements to re-use for the book, the number generally goes down and I save more time.

My series involves time travel and mysteries, so there's a lot of new locations in it and we're constantly moving around. If I were working on a series that was more consistent in this aspect, this process would save me even more time!

Like I said earlier, this also saves me a lot of pain and gives me a lot more options as I'm converting from scroll format to print format!

panels that look like this in scroll format...

can look like this in print!

because I drew the background like this, so I didn't need to go through the additional effort to add in the extra detail to expand it outwards at all.

Anyways, I hope this helps someone! As always if it doesn't help, just go ahead and disregard. This is what I do and what works for me, and I feel like I only ever see time-saving tips for comics that involve 3d models and workflows, which don't work for me at all! I know there's more people like me out there, so this is for you!

Enjoy!

Also obligatory "my webcomic" if you want to see this in action or check it out!

[fuckyeahgoodomens]

Good Omens graphic novel update: June 2024

Welcome to the June update. A lot of behind the scenes work at the moment but we're grabbing the travel sweets, popping in the Bentley and hitting the road. More on that below.

Admin

Ongoing reminder that the project FAQ can be found here. 

I pledged using my Apple ID, or no longer use the address my pledge is attached to, or I cannot work out what email address my pledge is connected to. What should I do? Please contact us via your Kickstarter account where the pledge is connected; we will be able to see on our system which address it is. If it's one you have access to, great! The FAQ has information on how to resend your invite link to access the PledgeManager. If it's one you are not able to access, then you can let us know which email is preferred and we can update this on the system, which will automatically send a new invite.

Events

We've had a lot of queries about when the Good Omens team will be attending events more formally, after some Aziraphale and Crowley spotting at conventions we'd been to previously. Well, we're excited to confirm the first: Good Omens HQ will be at ACME Comic Con in Glasgow, Scotland this September.

We'll be bringing the actual-real-life-home-to-Crowley-and-his-plants Bentley from Season 2 of Good Omens, the first time the car has been made available publicly for fans to come see and get photos with, ahead of its journey back to the set and the start of Season 3 filming.

We also see Quelin Sepulveda, aka Muriel, has been announced for the event for some additional ineffable joy.

You can get your tickets for ACME Comic Con here. We hope to see some of you there.

While we won't be rocking up with the Bentley to this next one, we want to let you know about Ineffable Con which, though sold out in person, is also taking place virtually in July. The fan-run event hosts great panels, auctions and more, with money raised going to Alzheimer’s Research UK, in memory of Sir Terry Pratchett.

Where next? We have - not an exaggeration - a list of about 200 events somewhere from when we asked fans this on Instagram and while we can't promise quite that amount of convention attendance, we're certainly looking to do some more things in future with Good Omens at large. Watch this space.  

Good Omens items...

This month has largely seen prototypes and samples for the wider Good Omens merch store arriving, and while we can't share those yet, we are certainly excited to see more fan product suggestions coming to life. That does, however, leave our public item updates a little slim on the ground.

To make up for that, here's some new panels from Colleen:

Also known as, "What could possibly go wrong?" And:

Also known as, "Well why don't you ▇▇▇ ▇▇▇▇▇▇ ▇▇▇ ▇▇!@#▇" or words to that effect, we'd imagine.  

Update from Colleen

Following such a positive response to Colleen's piece last month, bringing you behind the scenes into making the Good Omens graphic novel, we are delighted to say that she has agreed to write something for our updates going forward! For June, she's going more in depth into the process of flatting and the technicalities of colouring on screen vs print. Over to you, Colleen.

---

I mentioned the other month that I use a flatter to help me with technical work on GOOD OMENS, and here is a great example.

This is my original, hand drawn line art.

And this is the flatting file which was created using the MultiFill computer program.

It will put your eyes out.

The raw image above demonstrates how the color art lines up solidly under the line art. If it doesn't do that, you get a weird phenomenon in print called ghosting, a tiny little line of white around each segment of color. I had this issue on one major project and ended up redoing every single color file after I got a look at the first printing. Nearly two weeks of work.

The same image with the line art on top.

The layer order looks like this.

Background copy is the clean, line art layer.

I scan the art at 600 dpi, then make the blacks pure black, the whites pure white. Then I convert back to greyscale, then RGB, then duplicate the layer. Then I delete the white on the upper layer so the line art layer is transparent but the blacks on that layer are not.

If you have blacks on a layer that has been multiplied, you can see slight color through those blacks. You want pure black.

The lower layer is where I use the MultiFill program to create the digital flats. First you use MultiFill to drop in the random colors, then the companion plug-in Flatter Pro to make those colors seal under the black lines.

This probably sounds like a silly thing to worry about, but if the flat colors don’t line up perfectly under the black line art, you get the dreaded ghosting I mentioned. You can see it below in this image. It’s a tiny little white line that will appear around the black lines and color areas.

This drives me nuts and is an absolute nightmare to fix.

It’s a very common problem, especially for people who work for web and don’t anticipate the problems going from web to print.

What looks great on your computer can cause big problems in print.

From here, my flatter Jul Mae Kristoffer, who is way over in the Philippines, does flatting that is more in keeping with the areas of color I want to isolate. As you see on Layer 1.

But again, this is still pretty ugly, and not what I would use for final color. Flatting is a technical issue, not a creative one, though in some cases a flatter will make choices you may use. Most of the time they don't.

Here is my final color page.

Sometimes my MultiFill flats are so wonky I have a hard time getting my brain to snap out of what I see before me. If I get stuck, it's a good idea to just pick at it and come back to it later.

If it really, really bothers me, I’ll take the MultiFill flatter layer and desaturate the color so it doesn’t poke my eyes out.

Here’s an example. The digital flat file.

The desaturated flat file that doesn’t make me want to poke my eyes out.

And the final color.

Sometimes I just put in a solid white layer so I don’t see the flats at all. Flatting is there to allow you to easily pick spots to color in, and doesn’t usually appear in the final work.

Sometimes I want to create my colors using transparent color over a white ground, which is more delicate in the final.

Here’s an example from Neil Gaiman’s American Gods. I also selected all black line art here and converted it to sepia to give it a vintage look. Except for the fairies. They’re green.

A colorist must also consider color settings.

Different clients can have different requirements. I find these color settings, which I got from the Hi-Fi Studio, to be pretty solid. I use them as my default for all my projects unless otherwise requested. If your publisher has other settings, they’ll usually send you a csf file which you can upload to Photoshop. The program will save your files and you can just switch between them as you need them.

This tells the printer things about the paper and the spread of the ink you will use. That’s what dot gain means - it makes printed color look darker than intended, so you set up your files to account for it.

When you hover your pointer over each box, it will tell you what each setting is supposed to accomplish.

Another really important thing to consider when coloring comics is color range.

I’m coloring this book in RGB range, but for print you use CMYK.

I’m about to confuse the heck out of some people with this post, I’m afraid. But here we go.

Here is this shot in RGB color setting.

And here is the same page calibrated for print in CMYK.

The biggest shift is in the reds. Print cannot match those reds.

You may not see much difference here, but it’s the sort of thing that drives artists crazy.

A computer should be perfect for conveying exactly what you want, right? It's all just 0's and 1's, binary information, and that information should be the same from one computer to the next?

Nope. Not even close.

First off, computer monitors must be calibrated. You can use a computer program or a tool that measures the color on your computer screen and then adjusts the color to an industry standard.

Have you ever been in an electronics shop where a bunch of TV shows were on display, all of them playing the same show, and have you noticed how different the color was from one TV to the next?

It's like that.

I freely admit I don't pay a whole lot of attention to calibration, but if I were a professional photographer I would. I'd have a little spectrometer attached to my screen and software would adjust my monitor to the best possible standard range. As it is, I just use the default setting on my computer and hope for the best.

If your monitor is properly calibrated and your art is shown on another monitor that is properly calibrated, the art will look almost identical from one monitor to the next.

YAY!

But from one monitor to the next, that's about where the resemblance ends.

Colors are calibrated to something called RGB, or Red, Green, Blue.

All colors come from a mix of red green and blue. At their greatest intensity, all the colors in the spectrum together become pure white light.

This is why RGB is called ADDITIVE color, because you ADD colors from the spectrum to get ALL colors, and all colors create the entirety of the rainbow, and pure white light.

Your computer monitor, your phone, your television, all images are created via light using RGB, a gamut that covers all possible colors that can be created.

That's a lot.

And that's why some of the colors you see on your TV or phone are so deep and intense.

For the widest possible range of color and intensity, you use RGB.

Unfortunately, there is what you can create with light, and then there is what you can create with pigment or ink. And that is why printing what you see on your computer almost never looks exactly like what you see in a book.

For printing, you must use a color setting known as CMYK. This stands for Cyan, Magenta, Yellow and Key/Black.

In printing, the pure blue is actually Cyan and the pure red is actually Magenta.

CMYK color range is not created by addition, but by SUBTRACTION. In order to get the color you want, you reduce the percentage of one of the four colors for ink mixing. Mixing all colors, instead of giving you white, gives you black.

The gamut of CMYK is limited to what can be created with ink.

You've probably heard the term four color press? This is what that means. Four colors, with each color of ink run over the paper on rollers which, combined in varying layers of opacity, create all the printing colors you see.

But remember, what you see on your computer monitor and what CMYK gamut can handle are two different things.

Now, I’ve been really careful with the color settings on Good Omens, so there haven’t been any big surprises, but let me show you a snippet of a project I did for the French fashion house Balmain.

The RGB version:

And then this shot after it was converted to a CMYK file for print.

That's a pretty big difference.

Now, you see this shift mostly with vibrant colors, such as that pink there. But other colors hardly changed at all, right?

That's because this issue is about range of color. CMYK and RGB occupy a shared range which you can see demonstrated by this graphic I got from Wikipedia.

The graphic shows the RGB ranges supported by various digital formats. SWOP CMYK is the most common range my publishers use. Note that the bounding box line shared by the RGB and SWOP CMYK formats shares about half the range space. So whatever RGB colors you use that are outside that range will be digitally converted to the smaller SWOP CMYK range.

And you may not like what you end up with.

As you can see, some of the most ethereal and intense colors get lost outside of the SWOP CMYK boundary.

A look at the Dark Horse Comics color settings in Photoshop. Theoretically, this information should prevent your art from looking like mud on publication.

Now, after I just told you the dangers of coloring in RGB then converting to CMYK for print, I tell you I am coloring Good Omens in RGB anyway. There’s a couple of reasons for this.

Remember, RGB give you a greater range of color, so it can be to your advantage to preserve your original files using a format that gives you the greatest range.

Again, here is the unaltered file.

You can see what the CMYK result will be simply by clicking the Proof Colors button here. This will show you how the art will convert.

And the Gamut Warning will show you which colors are out of gamut range for print.

The intensity of that magenta and that purple in the top right are not going to print true.

This is how it will look in final.

So even if you do what you think is perfect color on screen, there is no way it can perfectly convert to print. Almost everything will involve a little bit of compromise.

Even though you have to consider the color shift issues, preserving your files in RGB gives you greater wiggle room, especially if you get lucky someday and get to work with a printer who can print in 6 colors. Or maybe some technology you don’t know about will pop up and make printing super glorious. Who knows.

Regardless, you should keep an eye on that gamut and color for CMYK print, while preserving your master files in RGB.

Until next time.

[sentate]

SENTATE - MAY 2023 COLLECTION

For this months collection I wanted to tap into a bit of Prada energy and bring some geek-chic looks into the game. Think of an awkward librarian who reads Vogue, isn’t afraid of clashing prints and wears knitwear well into spring!

The collection features some cute sweater/shirt combos in various styles, aswell as my favourite style of skirt, updated and improved, that can be mixed and matched! Also included is a cute layered shirt dress with pleated skirt and a pair of... MARY JANES!?! Available with or without 3d socks.

The collection features 2 tops, 2 Dresses, 2 skirts and 2 pairs of shoes. The shoes with socks and every item with a shirt under it comes with an overlay so you can really match or clash your colours.

The full collection will be public on the 26th of May.

DOWNLOAD - PATREON (Early Access)

MORE DOWNLOADS  |  TERMS OF USE  |  LINK TREE

[gfhunklescalendar]

The 2025/2026 Gravity Falls Hunkles Calendar (print version) is now available for pre-order on Etsy! 

Additionally, digital versions of the previous calendars (2022, 2019, and 2017) and the Wayfaring Strangers art book are also for sale during (and after) the pre-order period. The old digital calendars will be $5, and Wayfaring Strangers will be $10.

The 2025/2026 Gravity Falls Hunkles Calendar features art from 21 amazing artists and is priced at $30 USD. The calendars will be 12”x 12" and saddle-stitched with a hole for hanging. 

This is a limited print run of 350 calendars, so when they’ve sold out, I will not be printing any more! Pre-orders will be available for 2 weeks, and if I somehow sell 350 calendars in that time, There’s a chance I will print more copies.

2025's "Fully Clothed Old Men: Back in Style" is a slight derivation from our previous years. More of a silly pin-up-ish calendar, this year mainly features a young Stan in all his mullet-sporting glory, but there ARE 4 months where we've given young Ford a spotlight.

2026's "Fully Clothed Old Men: The Final Layer" features senior Grunkles enjoying some more mundane adventures, like baking, doing laundry, or just chilling in front of the TV.

Both calendars feature art and holidays based on Gravity Falls (and Gravity Falls adjacent things), standard US holidays, key religious holidays, and a select number of international holidays. 

I am funding the printing for the calendars with the pre-sale money, so please be patient with the shipping/delivery time. Calendars will ship sometime in July, and I’ll be sure to announce when I’ve received the order and have begun shipping them out.

You should find that the Etsy shop will automatically figure out shipping costs for you, once you put in your address. Please, please make sure you enter your complete address correctly!

PRE-ORDER IT RIGHT HERE!!

Payment methods available are PayPal and credit card.

This is a charity project, and all proceeds will go to A New Way of Life Reentry Project!

If you'd like to help us spread the word, please reblog this post!

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[coveredinredpaint]

Patch making tutorials?

and here i am once again, with a patch making tutorial

how to make stenciled patches:

i'll post a part two in the future which will cover freehanding and stamping ur patches

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first some general info that might be useful:

i get my patch design inspo from pinterest, etsy, and tumblr. if sell your patches make sure you arent ripping off another artists patch design when using etsy for inspo. anarchostencilism also has tons of stencils both on deviantart and reddit which are free to use.

i use acrylic paint for my patches, but if you can afford it id advise fabric paint. to seal paint into the fabric iron the patches, it helps em last longer. some acrylic paint survives very well in the washing machine, but wash your stuff by hand the first time to see how well it holds up.

if you make your patches multiple colors, dont first make the whole patch one color and then paint over it with the other colors. if the paint starts cracking the base color will show through. (if you like that however then dont mind this)

i paint my patches on jean fabric, cause it makes the patches sturdy yet flexible. but shirt fabric or canvas both work very well too. anything except really plasticy/slippery or textured fabric can be used

i pin my patches down with pins onto multiple layers of taped together cartboard, to prevent the fabric from moving around and distorting the print

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there's two ways in which i make my stencils

1. with paper covered in tape

2. with the plastic folder you put in your binders

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option 1:

draw out your design onto some paper, make sure there arent any "loose" parts in the design that will get lost when cutting out the stencil

cover the paper in tape front and back, make sure you can still see your design through the tape

cut out your design, i use scissors and an exacto knife

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option 2:

draw out your design (you can also draw the design directly onto the plastic folder)

cut a piece of plastic out of the folder big enough to cover your drawing and tape it down.

trace the design onto the plastic with pen or marker (any mistakes can be wiped out)

cut out your stencil

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continuation from both option 1 and 2

after finishing your stencil you can pin them down on some fabric

dap on your paint with the point of a big brush or a sponge, depending on the paint it'll take 2-3 layers.

make sure your previous layer dried completely before adding the next one

after the paint has fully dried you can carefully take off your stencil.

!!dont unpin the patch before it fully dried, or the drying paint may cause the fabric to warp!!

thats it, questions are always welcome, now go and make stuff!!

[lonelysheepling]

Recently read @queenofthequillandink ’s DPxDC crossover fic Unearthed, Reborn

I got inspired to draw character sheets for Danny, Sam, Jason, and Jazz’s vigilante personas. Here’s a link to the author’s drawings of their outfits (these were a vital reference for me when doing this so thank you so much for sharing them Quill) More commentary (like 7+ paragraphs plus 2 images) about this project and the designs below the “keep reading” line.

None of these thoughts I have for each character are in order, but I have a lot of commentary for these since this project was a lot more conceptual than my normal work. I also just like talking about my art/design process. If you ever find yourself wondering at some point why an element from the original design wasn’t included, the answer is that the removal was completely intentional and part of my grandmaster vision for this work and wasn’t because I just forgot about it entirely during the design process.

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Aconite (Sam)

This was the first one I sketched out, I wasn’t even sure at the time if I was going to fully commit to drawing all of them. I thought that Sam was gonna be the hardest since her description was way longer than the others, but then bird boy beat her out. I took a lot of creative liberties with her design, the bag was added bc I couldn’t figure out how to add pockets to the skirt. I was trying to avoid a joker color scheme so I had a lot of ref images that I got by searching like “purple green aesthetic” on Pinterest. The dark purple and dark forest/blueish green won out in the end. I desaturated a lot of my colors for her just to get as far away from the neon Gotham rogue aesthetic. I also added the bdsm harness over the armor to add more punk elements to her design, I know that in real life that would be very uncomfortable to wear over scalemail armor but sometimes we take creative liberties when they look sick as fuck. Also, I didn’t realize until I went to look for a reference for aconite flowers that aconite is wolfsbane! That was neat to learn! Also, the font I used for Aconite is called “zai Art School Calendar 1931”, I’ve used this a few times for other projects, it’s one of my favorite fonts. The ‘zai’ fonts the creator has are all very good.

Shade (Danny)

There wasn't much to add to this page. His outfit is pretty simple (besides the patterning). I wasn’t sure how to pull of an optical illusion pattern but I was reminded how I sometimes get an eyestrain induced headache when looking at someone wearing a patterned shirt with really thin stripes so I just leaned into the idea of a small/detailed hard lined pattern. I originally made 5 separate patterns for him and then turned them into stamp brushes in procreate. I only ended up using three of them, the one on the chest, the one on the legs, and the one on his hand. But, I imagine the patterns fade and shift when he moves, sort of like a lenticular print. I gave him constellation freckles and stylized the hair’s fade into white. The hair was inspired by how time-woods draws Martin Blackwood’s hair (linked: time-woods’s fanart of Martin Blackwood). Also put way too much effort into the teeth on the mask. I just like the chunky teeth design. Oh yeah and the font I used for him is called “Typewriter_Condensed_Demi”

Erinys (Jason)

Repeatedly ran into the issue of not having enough canvas space bc of my fervent need to thoroughly document and plan out how the wings worked. I also reversed the colors for the bodysuit & armor so the under layer was black while the armor plates were red. I only realized afterwards that I may have been inspired by the red centipedes in Rain World (linked: gif of the red centipede, don’t click the link if you’re unsettled/afraid of bugs/insects), artists subconsciously draw inspiration from other artists all the time though so I’m not like upset about it. I stand by it because it looks sick as hell. Also leaned into the magpie theming for the wings. I think the vigilante form was supposed to be reverse magpie coloring? I can’t remember, but I stuck with normal magpie coloring. The anatomy of how the wings connected to the collarbone was inspired by JayEaton’s Magpie Bridge Project. Reference image link. Link to the article the image is from. I didn’t draw the wing armor because I couldn’t figure out how to would work with the wing anatomy and I ran out of canvas space. Finally, the font used for him is “DIN Condensed” this is a default font, I would’ve used something more punk but I needed the text to be legible.

Insight (Jazz)

I did Jazz after I’d already finished the initial trio, so I had to switch to a new canvas for her bc I’d hit the layer limit multiple times on the previous one. I really do love doing that spiked under-eyelash thing with characters. Don’t know when that started. Anyway, I added the shoulder pads to her outfit to help break up the empty space. The golden eyes were a nice accent color since her design is very overwhelmingly green. Honestly the braid hairstyle and gold eyes really do obscure her identity, multiple times when drawing her I was worried that she didn’t really resemble Jazz enough. There wasn’t a drawing from the author for her so I only had the text description to go off of. I just realized that she sort of reminds me of a forest ranger and I don’t know what to do with that realization. I copy/pasted my drawing of her eyes when gold and recolored them to match her normal eye color. There were two layers for that, a hue shift and a hard light layer to emphasize the shadows.

Here’s what it looks like without the hue shift: 

It looks really cool and I’m 100% that color combo in another drawing down the line. Oh yeah and the font used for this sheet was “Euphemia UCAS”. It comes with Apple’s operating system, I use it as a neutral default text most of the time bc it’s nicer than helvetica but not overly fancy like Times New Roman—and why am I talking about fonts. ——————————————————————— Anyway, this project was very fun to work on. The alt text for this was its own endeavor, hope the folks using screen-readers don’t mind 4-5 paragraphs of description text. Also, I cannot remember for the life of me if Dani got a costume description, but if she does I’ll make sure to update this image set with a sheet for her. And to the author, QueenOfTheQuill, if you’re reading this message that I’ve left at the very bottom of this post below a read more line, thank you for the fic. It’s very good and I’m glad I caught it during my slow decent into DPxDC brainrot. I love the interactions between Jason and Tim, it’s nice seeing a revived Jason that’s not bogged down by pit rage. They definitely seem like they could’ve been good friends if not for the unfortunate circumstances that led them to meet in canon. Also, I’m sure Jazz will love interacting with Batman and Nightwing. So much psychological & childhood trauma to unpack with them. Feel free to use/share these images if you so desire and thanks again for your work.