#I like this one a lot I think the colors and the rendering are cool even though it's technically a sketch

[reminiscentrainclouds]

Being an artist means I have the power to draw fictional characters in outfits they would never wear. I am taking full advantage of this ability.

[shapelytimber]

Girls girls girls

First recap was ok, but I'm in the mood to draw characters and I wanted to do a proper lineup/height charts (and then promptly drew maul in heels and Padmé on tiptoe..... I am a genius)

[COMMISSIONS]

[PART 1] - [PART 2] - [PART 3]

Rambling below vvv

It's always so temping to dress maul in white, and I once again caved kflodkd

Also ! I always draw her pre tpm, because it's a) the time in her life when I see her wear silly/'extravagant' outfits the most (can't really do that when you're a half dead giant spider eating rats in a garbage world fkldodi and after *that* I don't think her spirit is really into accessorizing and wearing cute fits- still a slut tho) and b) mechanical limbs are hard to draw and a pain to render (one day I will draw her old I swear !)- but ! All this to say : she stay "small" even after getting bisected ! The bones are staying in the pussy !! Let her be short, then a spider, then short once again but this time with cool metal legs :)

I usually draw Padme all serious, but she can't be all business like when frolicking in a field with her dumbass girlfriend and I think drawing her silly healed a bit of my soul <3 (also took liberties with the yellow dress design- wanted to make it a bit my own and I kind of hate the original faded yellow ngl)

For Obiwan and Anakin, I wanted them in civilian clothing because Jedi outfits are a bit boring (for what I'm doing here)- but I also wanted to stay in the same color scheme as their Jedi's outfit (and I ended up swaping them because I wanted to see obiwan dressed in black kxkdldk). I am very proud of Obiwan's outfit !! I think it fits her, while staying relatively in character :D and next to her you get no rizz butch anakin :)))

I'm having a lot of fun making these :D even if this rendering style takes so fucking long- next up is either Palpatine, Vader, Dooku, boba fett or leia, han, lando, chewie (and maybe luke, we'll see)

PS : I have never watched the 3D clone war show, this is mostly based on the movies :)

[wombywoo]

Ok! I've finally decided to put together a (somewhat) comprehensive tutorial on my latest art~

Please enjoy this little step-by-step 💁‍♀️

First things first--references!

Now I'm not saying you have to go overboard, but I always find that this is a crucial starting point in any art piece I intend on making. Especially if you're a detail freak like me and want to make it as realistic as possible 🙃

As such, your web browser should look like this at any given point:

Since this is a historical piece, it means hours upon hours of meaningless research just to see what color the socks are, but...again. that isn't, strictly, necessary 😅

Once I've compiled all my lovely ref pics, I usually dump them into a big-ass collage ⬇️

(I will end up not using half of these, alas :'D)

Another reference search for background material, and getting to showcase our models of choice for this occasion~

When picking a reference for an actor or model, the main thing I keep in mind (besides prettiness 🤭) is lighting and orientation. Because I already kinda know what pose I'm gonna go with for this piece, I can look for specific angles that might fit the criteria. I should mention that I am a reference hound, and my current COD actor ref folder looks like this:

Also keep in mind, if you're using a ref that you need to flip, make sure you adjust accordingly. This especially applies to clothing, as certain things like pants zippers and belt buckles can be quite specific ☝️

Now that we've spent countless hours googling, it's time to start with a rough sketch:

It doesn't have to be pretty, folks, just a basic guideline of where you want the figures to be.

The next step is to define it more, and I know this looks like that 'how to draw an owl' meme, but I promise--getting from the loose sketch above to below is not that difficult.

Things to keep in mind are--don't go too in-depth with the details, because things are still subject to change at this point. In terms of making a suitable anatomically-correct sketch, I would suggest lots of studying. This doesn't even have to be things like figure drawing, I genuinely look at people around me for inspiration all the time. Familiarize yourself with the human form, and things like weight, proportions, posing will seem a little more feasible.

It's also important at this stage to consider your composition. Remember to flip the canvas frequently to make sure you're not leaning to one side too often. I'm sure something can be said for the spiral fibonacci stuff, which I don't really try to do on purpose, but I think keeping things like symmetry and balance in mind is a good start ✌️

Next step is just blocking in the figures. Standard. No fuss 👍

Now onto the background!

It's frankly hilarious how many people thought I was *hand-drawing* these maps and stuff 😂😂 I cannot even begin to comprehend how insanely difficult that would be. So yeah, we're just taking the lazy copy and paste way out 🤙

I almost always prepare my backgrounds first, and this is mostly to get a general color scheme off the bat. For collage work, it's really just a matter of trial and error, sticking this here, slapping this there, etc. I like to futz around with different overlay options until I've found a nice arrangement. Advice for this is just--go nuts 🤷‍♀️

Next, I add a few color adjustments. I tend to make at least 2 colors pop in an art piece, and low and behold, they usually tend to be red and blue ❤️💙There's something about warm/cool vibes, idk man..

Now we move on to coloring the figures. This is just a basic block and fill, not really defining any of the details yet.

Next, we add some cursory values. Sloppy airbrush works fine, it'll look better soon I promise 🙏

And now--rendering!

I know a lot of beginner artists are intimidated by rendering, and I can totally understand why. It's just one of those things you have to commit to 💪

I've decided to show a brief process of rendering our dear Johnny's face here:

Starting off, I usually rely on the trusty airbrush just to get some color values going. Note--I've kept my sketch layer on top, but feel free to turn it on and off as you work, so as to not be too bound to the sketch. For now, it's just a guideline.

This next stage may look like a huge jump, but it's really just adding more to the foundation. I try to think of it like putting on make-up in a way~ Adding contours, accentuating highlights. This is also where I start adding in more saturation, especially around areas such as ears, nose and lips. Still a bit fuzzy at this point, but that's why we keep adding to it 💪

A boy has appeared! See--now I've removed most of the line layer, and it holds up on its own. I'll admit that in order to achieve this realistic style, you'll need lots and lots of practice and skill, which shouldn't be discouraging! Just motivate yourself with the prospect of getting to look at pretty men for countless hours 🙆‍♀️

I'll probably do a more in-depth explanation about rendering at some point, but let's keep this rolling~

Moving forward is just a process of adding to the figures bit by bit. I do lean towards filling in each section from top to bottom, but you can feel free to pop around to certain parts that appeal to you more. I almost always do the faces first though, because if they end up sucking, I feel less guilty about scrapping it 😂 But no--I think he's pretty enough to proceed 😚

They're coming together now 🙆‍♀️ Another helpful tip--make sure you reuse color. By that, I mean--try to incorporate various colors throughout your piece, using the eyedropper tool to keep a consistent palette. I try to put in bits of red and blue where I can

Here they are fully rendered! Notice I've made a few subtle changes from the sketch, like adjusting the belt buckles because I made a mistake 😬 Hence why you shouldn't put too much stock in your initial sketch~

The next step is more of a stylistic choice, but I usually go over everything with an outline, typically in a bright color like green. Occasionally, I can just use my initial line layer, but for this, I've made a brand new, cleaner line 👍

And the final step is adjusting the color and adding some text:

Tada!! It's done!

All in all, this took me the better part of a week, but I have a lot of free time, so yeah ✌️

I hope you appreciated that little walkthrough~ I know people have been asking me how I do my art, but the truth is--I usually have no clue how to explain myself 😅 So have this half-assed tutorial~

As a bonus, here is a cute (cursed) image of Johnny without his mustache:

A baby, a literal infant child !!! who put this wee bairn on the front lines ??! 😭

Anyway! peace out ✌️

[remxedmoon]

You should tell us about color psychology that sounds cool as hell

YES… HA HA HA… YES!

GGGOD I WISH I WASN’T OUT OF THE HOUSE RIGHT NOW. but i’ve been thinking about colors literally all day so you all get to be subject to my madness! sorry this is long and rambly wauaua. nightmarishly long post under the cut.

okay. first things first, a few basics. color theory and color psychology tend to get confused a lot in discussions, but they usually refer to different things. color theory is more about we physically perceive colors (color wheels and color schemes the like), while color psychology focuses on our emotional response to colors. if you’re familiar with the children’s hospital color theory post, that poster wasn’t actually talking about color theory, but color psychology (and also it’s incredibly surface level and heavily misunderstands the subject because in what fucking universe does the quantity of positive associations with a color matter more than the context it’s used in and sorry i have personal beef with this tumblr post).

color theory is also a special interest of mine but i’m not gonna touch on it too much here because it’s not entirely important. mmmaybe another time…

essentially, certain colors (and color combinations) have associations in our brains and that affect our behavior and emotions. these associations are also very much affected by the context a color is used in. colors don’t exist in a vacuum! so while red can symbolize passion and love when used in something like a dress or a bouquet of flowers, it has a very different connotation when it’s, say, splattered on the walls or smeared on the ground in a snail trail.

or for a less Children’s Hospital Themed example, i’ll put my euphrasie and king designs here!

(of course the saturation and brightness of these blues play a massive part in how they’re perceived but this is not a post about color theory this is n)

and, of course, combining colors in a piece can also change their meanings!! i’m about to get real fucking normal.

i’m gonna be focusing on the color combo of red and yellow here because it’s the one that’s most relevant to my art (and also it’s really interesting.) basically, seeing these two colors together activates the part of our brain that controls our appetite, making us actually feel hungry. this is why so many food companies use red and yellow in their branding! it’s neat stuff!!

also, if you’re familiar with it, this is why the mv for butcher vanity uses this color palette!! along with red’s general associations with danger and blood, the color combo also physically induces hunger. pretty fitting for a song about cannibalism!

(there is also red’s association with lust and passion and how that intersects with the double meaning in the lyrics but i cannot derail this post into being an analysis of butcher vanity i’m sorry. we’d be here all week. maybe another day... wipes a tear from my eye)

and i think this might be the reason why some people feel hungry when they see my art, even when i’m not drawing food. while i don’t tend to use red outright, most of my art has very warm undertones (red-oranges and yellows especially), which could be activating that hunger response??

(ah fuck color theory managed to weasel its way into this post again)

admittedly this part is just speculation on my end. i think my rendering style and Shapes also play a role in it, but it’s interesting for me to think about!!

this is only scratching the surface of how complicated colors can get. i was going to go on an entire tangent about color grading and how green lighting can make a scene feel unnerving but this post is already Too Fucking Long. aaaa super sorry if this is Rambly or hard to understand!! i’m not Entirely sure how much the average person knows about color theory and psychology so if there’s any confusing terms here i’m fine with adding stuff for clarity!

wauauuaa thank you so much for asking!!!! i love talking about colors.

tl;dr colors have a bunch of different emotions and meanings tied to them, but you’ve gotta pay attention to the context in which it’s being used. so maybe take a step back before you put that thick red trail on the floor of your children’s hospital.

[datcravat]

HI HELLO I love your art So much,,, do you have any tutorials on how you render your stuff? For example, the colors you use & how you pick them, how you get that pink tone around the Lineart (I think) (it's just rly cool). I would love to see stuff like that, cuz your art is Such visual candy (⁠◍⁠•⁠ᴗ⁠•⁠◍⁠)

Hey! Thank you so much, I'm glad you like my art, I worked hard to make it what it is!! Means a lot you appreciate it!!!!!!

I've had no professional art training, I seriously don't know what I'm doing and struggle making tutorials. But will try here!!

For me the colour work is really situational on the drawing! I find myself experimentally attempting to weaponize colour theory and there's a lot of instinct involved that I can't figure out how to verbalise yet. Here's an example of some thought process I have:

My main advice is to play with sliders a lot and really experiment (that's what I do for every drawing)!

To get the pink glow around your lineart, copy your lineart layer, fill the copy in with a pink of your choice (sometimes I do a gradient), blur the layer (experiment with how much blur you'd like), put it directly below the lineart layer, and set the layer to multiply (or any mode you think looks pretty)!

You may want to adjust your piece's brightness/colours after applying it and sharpen the image after exporting.

A lot of colour gradients are involved and on their own they can eventually compromise the gritty/punchy style, especially the ones that are between extreme and subtle. A good way to combat this is with screentones/haftones!! You can use them to diversify colours and imply shading/texture.

I recommend going nuts and having a lot of fun with it to find what works for you!

I often add a lot of small lens flares as they satisfyingly cut through the piece, imply flash photography (which goes well with the strong black shading), add visual noise to areas you don't want to be your main point of focus, are a great way to show speculars, and idk man sparkles are just pretty haha.

Go nuts with them and have fun!! When you get them to look good, think to yourself why that is.

I made a tutorial ~1 year ago on how I shade with black. This simple trick will really help it look good, 3D and rendered - it just requires a lot of knowledge about shadows to start with. I have a lot of experience rendering "normally" which helped me learn how to use black in an experimental way.

Minor correction that the shadows labelled "ambient occlusion" in the tutorial are actually just normal shadows, ambient occlusion is total lack of light.

I hope this is useful to you!! You have a knack for art, your work is very inspired. Please keep drawing!! I am still learning too, let's keep going baby.

-Cravat x

[dreemurr-skelememer]

Hello :D

I have been following you for the last year or so (a few days after I got my Tumblr lmao) and I absolutely love your art!

I have been wanting to study your art style for a while but don't really know where to start,,,

Could you please show me a small portion of your art process, if it isn't too much trouble of course. Thank you and have a nice day!

hello. oh my god. this took forever to find.

im sorry it took 2 WHOLE FUCKING MONTHS for me to respond to this but i wanted to put it off until i felt happy with my art process again, so here it is

my fall 2024 rendering tutorial!

(this will be very very long)

FLATS AND WHATEVER YOU WANNA DO WITH LINES GIRL. then make sure to recolor the lineart to better match your base. trust me it helps, bold dark lines are Not your best friend when rendering. wait for that post-rendering

i start off with a doodle or a sketch, and then filling it in with flats and other details such as blush

FIGURE OUT YOUR LIGHT SOURCE. FIGURE IT OUT GIRL YOU CAN DO IT you can make it as simple as possible, make it as big as possible, dont even THINK about the details.........just make it really fucking big so you at least know where the shadows and the light goes THEN add smaller shading details LISTEN TO ME. LISTEN TO ME OKAY!!!!!!!!

my key point with this is for you to learn lighting fundamentals.

it's SOOO ANNOYING but alas......they are all correct. it helps a lot.

one thing i also really want to point out is that i like creating a big shadow shape first before fixing up the little details (such as folds and whatever) because it helps me focus on the way the lighting actually works instead of tunnel vision-ing into making the shading make sense on the clothing.

contact shadows (i dont remember if thats what theyre called okay) theyre fucking ugly because im not actually thinking sorry 💔

okay so basically:

contact shadows (if that's what they're called) are the spots in shading and lighting where light will NEVER hit.

shadows are still influenced by the colors and lights around it (it's why a blue shadow and a yellow shadow feel completely different, despite both being shadows) so it's not always COMPLETELY dark.

BUT! there are small points in shadows where light never hits, and they're almost always super dark or pitch black.

it's hard to explain shadow and light so briefly for a tutorial, but you'll notice it when watching fundamental studies and when trying it out for yourself

YES i unclipped the multiply layer YES its ugly and terrifying but it makes coloring the multiply layer easier okay the colors merged w multiply so now it looks cool and has depth overlaying colors that actually make sense

so basically what i did was color the multiply layer that i used to shade the overall drawing

adding a band of red/orange/yellow around where the light hits, and blue where the shadows get big and wide, gives it a fake ambient occlusion effect in the way that a person would get if they stood under the sun with a clear blue sky

the colors don't have to make sense, especially because i never draw backgrounds, but coloring the shadows really help it give a sense of depth and extra subtle detail and effect that just helps make the painting look nicer

around the end, i also put in colors (in an overlay layer with a low opacity brush) that actually make sense in context of the drawing, which is the lit cigarette and the yellow eyelights

mostly because none of the colors were making sense and i needed to actually make use of the lighting that DOES exist in the drawing lol

adding a muddy golden yellow pin light layer (opacity turned down to like 40-50%) to make the light colors less ugly lol

i SWEAR by the fucking pin light layer style. it's so useful and so so underrated.

i used an almost brown-ish gold color on stop of all the layers, and with the pin light layer, it helped make the bright (almost blue-ish) white colors more warm and more yellow. it just helps make things more warm (something i prefer)

i could probably show what it looks like without adjusting the layer opacity to truly show off what i mean (like in the coming section) but i sadly forgot to do that lol

make a layer on top of your drawing with this color in these ranges YES the drawing is fully merged NO don't be afraid, the base was fucking ugly anyway 💔 make this layer into an exclude/exclusion layer style TRUST turn down your exclusion layer opacity from a range of 10% to 40% literally until you're happy with the contrast and the way the color over the drawing. use your eyeballs. i know you can do it im so proud of you

this is pretty self-explanatory instruction-wise, so i'll go into why i do this instead

i really like art that seems like it has low contrast, with almost mid-gray shading and lines. i don't personally use dark and bold lines and shading, unless i find it necessary for the tone of the piece, so using this method helps lower the contrast of the art and make it look "pleasantly muddy" in the way that it's easier and softer on the eyes.

the inverted blue color also helps makes things warmer!

the exclusion layer style is still a bit of a mystery to me but i really like the effect it gives, even if i don't completely get how it works lol

if you want an alternative method to this, and if you have access to it (because i primarily use sai and sai only),

i absolutely encourage you to play around and experiment with gradient maps.

there are so many out there you can make yourself or even get from others that just give the painting an extra amount of depth and color variation. they're SO fun.

personally, if sai2 gets a gradient map update, it's over for y'all it will literally be so over no one will be able to stop me

then i merged everything and actually adjusted the contrast back up because it was looking too muddy for me 💔 but the color adjustments are still there so all hope is not lost here's a comparison of the adjusted contrast in black and white (adjusted on the left) (newly merged layer without adjusting the contrast on the right)

as you can see, i actually turned the contrast back up (despite talking all about how i liked things with less contrast lol)

i wanted to demonstrate that doing adjustments should be done in moderation, and is why i adjust layer opacity often when making color effects

you are free to play around with colors to help your style, but don't lose your initial idea and colors along the way.

you still need to trust your own colors and intuition!

along with that, i just want to say that it's completely okay to change your mind mid-painting, and it's okay to make somewhat drastic changes.

don't be afraid to change things you don't like or change your mind about certain aspects way later on

that's basically the whole thing of this!!! don't be scared!!!

now im gonna hold your hand when i say this..........but you need to learn how to render by yourself. it seems like i can teach you but i literally can't, because rendering is different on every piece and depending on how clean your base is. i have to render A LOT because of how fucking ugly my sketches are LMAO to simplify it, think of it as obsessively cleaning up every detail you can see, but with a color picker and a clean, hard edged brush. if you have shit lineart, you don't have to redraw it cleanly over and over, just paint over it. that's basically what rendering is

THIS especially is where you need to be brave and stop being scared.

like i said, i can't teach you how to render, and it's something you have to discover yourself because rendering is something that will always be personal to every single piece you make. the way you render on every piece is different.

on one piece, you will barely need to render, and on another, rendering is more than half of your ENTIRE process.

don't be afraid to paint over your old art.

rendering is a process that's both very perfectionist yet also very careless.

find your balance and just go for it.

and then that's it……..u did it………..now yuo know how to paint and render. it's literally just layering shading and lighting knowledge until you think it makes sense and looks okay lol additional note: since i render in only one layer (you don't HAVE to do this, but it'll be harder for you…), i also made slight adjustments with the transform (and liquify, if you have it) tool to make things more proportionate. (i drew the head too big lol)

if you compare the finished piece to the final unrendered base, you can see that a LOT changed, including a bit of subtle proportion adjustment.

particularly, the sleeves changed A LOT (because i really didn't like them)

but it's also over all cleaner and more coherent, instead of having haphazard colors and shading just thrown about.

rendering is when you finally use all 100% of your brain to finalize and figure out where the shading should go, where to clean up your lines, where to ERASE or ADD BACK in lines, and make sure all your colors look coherent.

it's not as intimidating as it seems, i only use a hard edged brush with a little bit of color mixing and my color picker.

it's like dragging and dropping colors to cover up mistakes, it's really quite fun when you get used to it

i wish i could explain it clearer but it's hard to describe without visuals!

i hope this helped, and i hope all my yapping isn't annoying (art as a special interest beloved)

have fun studying and trying to render in my art style!

[foodfightnovelization]

More Foodfight! Material DISCOVERED

That's right, I'm back. Just like I prophesized in my last post, yet another treasure trove of Foodfight! goodness has been uncovered, and this might be one of the strangest to date...that's right, official Foodfight! Cinnamon Sleuth Cereal was sold at Albertsons back in 2007, over five years before the movie finally came out!

Okay, not really, but I had you going for a second, right? So, this IS a proposed packaging design for actual Cinnamon Sleuth cereal, but it never went into production, it never made it to stores and there was certainly never any actual cereal to be eaten. This, among several other designs and a collection of behind the scenes material, was sent in recently by a Foodfight! crewmember, who explained they were mockups created to show off possible tie-in products. I'm not sure why they chose Albertsons for these mockups but it's likely they were in talks with them at the time and wanted to show off designs including their branding. In any case, I just had the Cinnamon Sleuth box printed because I thought it'd look cool next to my collection of Foodfight! merchandise, and I wanted to see if anyone would be convinced this really existed.

I've included all the designs above in case you want to print your own- there are several more including another cereal, brownie packaging and milk cartons. Curiously, the milk cartons have Farmland Dairy logos on them, with Farmland Milk actually appearing in the finished film at several points. I'd say this confirms my theory these mockups were created to show to companies they were already actively working on deals with, but I can't say for certain that was the case.

Equally curious are these character sheets from 2002, seemingly showing off almost every model created during early production. There are so many fascinating layers to this- Sunshine is still a human instead of a catgirl, showcasing a very different model to the one seen in the initial trailer, and Maximilius Moose is still a dog named Panzer Pup, both aspects that were changed once the decision was made to change Dex to a dog. However, it may be that Dex's human design was edited out and replaced after the fact, given Dex's model here appears to be the one from the finished film (you can tell by the weird hands). In any case, it's fascinating to get a closer look at all these characters- while the majority of the models for the main cast were found recently (see my last post for more on this), there are a bunch of side characters here we've only seen brief glimpses of before, including the Pringles man and the scantily-clad Cherry Waifer. The most fascinating to me however are the Red and Yellow M&Ms- I've read through their scene in the movie's script, I've seen multiple versions of the storyboard, even rough layout animation in the workprint, and it's only now I'm FINALLY getting to see their actual character models and how they would've looked in the Foodfight! artstyle. Sure, they more or less look exactly as they did in M&M commercials that aired around the same time, but it's still amazing to actually see these characters modelled and rendered after analyzing so many different iterations of the scene as it went through development.

The crewmember in question also sent a folder containing over a hundred stills which while at first glance appear to be from the finished movie, are actually subtly different in multiple ways- usually lighting, facial expressions, or background textures like the sky or color of a hill. A lot of these are labelled "fix" which makes me speculate if after the movie was completed, the crew went back and tried to touch up the animation to make it look more appealing before release. Is there a slightly better looking version of Foodfight! somewhere out there in the world? Who knows, but really it would've been like trying to polish a turd. The movie was already ruined by then, and I don't think any number small changes would've done much to salvage it. However, that does bring me to my next interesting point...

There are also storyboards dated May 2011, depicting an alternate opening to the movie giving a much more cinematic introduction to the main characters. It's crazy to think they were still working on storyboards so late in production, but there IS actually a reason for this. I unfortunately can't upload the entire sequence due to this site's image limit, but what you might notice are a lot of characters being described as "flying over the audience", "flying into the camera" or knocking things "into the audience", with some of the boards having "(3D)" written in parenthesis next to them. It's my belief that very late into production, Kasanoff wanted the movie to be 3D, made popular by the then-recent Avatar, and this new opening sequence full of flashy 3D effects was drawn up to show off what they could do with the technology. It's not clear if any of this was ever actually animated, but imagine going to see a movie that advertises itself as 3D but only the first minute contains any 3D elements. Of course, Kasanoff requesting this is only speculation on my part, but given how the movie was ruined by the crew having to cater to his whim of directing the whole thing with motion capture (made popular by the then-recent Polar Express) it's no stretch to assume the 3D opening sequence was a similar situation.

There's a ton more that was sent to us as well, so much so that I could never hope to talk about all of it. However, it should be on archive.org at the time of writing this if it isn't already, and you can now access everything Foodfight! related through the official Foodfight! collection on there!

That's right, so much Foodfight! material has been uploaded over the past year that the Internet Archive gave it its own archive, allowing you to find everything in one convenient place (including my scans of the novelization and Deluxe Sound Storybook). It'll also be updated periodically whenever something new is found, so it'll always be the home to all things Foodfight!. Whether you're wanting to take a look at some concept art shown in ROTTEN: Behind The Foodfight, read through an early draft of the script, or check out something I've talked about on my blog, it's all here at your fingertips.

I don't think there's ever really going to be an end to the depth of the Foodfight! rabbithole. I thought I was done a year ago when I finished analyzing the novelization, and look at everything that's been found since then. Every time I think I'm out, this movie pulls me back in. So...in my next post I'll FINALLY show off my collection of Foodfight! merchandise and talk about what this movie means to me, but that doesn't mean it's the end for this blog. Whenever I say I'm done with Foodfight! I end up jinxing it, so if I try to conclude things now in a few months some CD will show up with a bunch of lost footage on it, I'll get mailed concept art of a bunch of characters we've never seen before, or it'll turn out Larry Kasanoff was actually D.B. Cooper the whole time. So as long as there's something new to discuss, as long as there's a Foodfight to be fought, I'll keep updating this blog from now until forever. You better duck when they launch the cream pies!

[two-headed-septim]

Y'know, I've been replaying the Elder Scrolls games, and out of every post and article and whatever comparing morrowind, oblivion, and skyrim, there's one thing I feel that oblivion definitively did best that I don't really see talked about, and that is the icons.

Both skyrim and morrowind to various extents went in the direction of having their ui elements be renders of the 3d elements of the game. Both games did this with their map and with the icons for items (insofar as skyrim even had icons, they literally just show you the ground model of the object). Skyrim also did this with magic, and skills (sort of, with the constellation, which was cool in its own way). Morrowind did at least have skill and spell icons but they were kinda samey imo. For skills, combat is blue, stealth is yellow, magic is red, and the icons themselves are tiny. Same for magic, each school got a color and the icons were sort of neat but didn't really represent the effects well to me (although I did like them being the daedric alphabet).

But in oblivion, the ui work is a lot more colorful and interpretive. For items it's not much to right home about, just a fairly typical rendering of what the item is, but skills and magic is where this truly shines. Each skill has a beautiful icon representing it that looks like an illustration out of a medieval book and the magic icons add so much feeling to the spells you cast. Paralysis is a scorpion, chameleon actual has a cute little chameleon, each summon shows you a drawing of what you summon. I love the interpretation, and it just feels incredibly nostalgic to me. Also quests have little icons to go with them! Same with faction ranks! The ui art in oblivion is central to the kind of story book atmosphere and is a really cool part of the game that I don't think gets talked about enough

[rockinmusicquarterly]

my voices :> (alt text labels who's who)

long ass design notes under the cut:

smitten

went with a sort of roman poet vibe for him with the sash and wreath, plus a nice cape for the dashing hero look, all pinned with a (unspecified) flower right over his heart

hero

his feather coating is short and rounded, meant to give off the look of puffy sleeves like a medieval prince or bard. his little head tufts are heart-shaped also

his wings are shaped rather elegantly, in an almost stereotypically "angelic" way

my mindset for him was as middle-road as possible: in height, feather length, wing size, color values, etc. truly just The Guy

neck bandana for the adventurer look, and some shoulder pads that, while offering some protection, are overall pretty unqualified for the kinds of horrors to be wrought in the construct; he's prepared, but not that prepared

while the other voices have 2 front-toes, hero is one of three voices who has 3. this is done to show he has more of a... i guess closer connection to TLQ (who also has 3), since he's there from the start and feels the most fleshed out overall

contrarian

the shortest king of them all

definitely aiming for the jester aesthetic, but in what i hoped was a more subtle manner? his head tufts are the general shape of a classic jester's hat, along with all the bells he's adorned with - you can hear him coming from a mile away. wears half of a comedy mask bc (gestures) he's Like That

his wings are tiny and cartoonishly shaped, only able to lift him off the ground out of pure looney tunes physics. his whole thing is just rounded, playful edges

3 front-toes like hero, showing how he grows somewhat out of his titular role in the strange beginnings ending, becoming more of his own person than just a singularly-defined Voice

cold

the tallest king of the bunch

his feather coating is a disaster, this man does not care about preening himself & it shows. lots of loose feathers sticking out and ruffled in every possible spot

the last of the voices with 3 front-toes: the cold seems to have an (albeit implicit) understanding of the TLQ's (and to an extent his own) role as a deity, finding familiarity in the textured nothingness - though, he isn't as "special" as he'd hope

the giant wings give him a more imposing presence despite his twig frame, i imagine him sometimes wrapping himself in them like a big cloak

his scarf is positioned just so to make the scar over his heart (matching the spectre's of course) an open target - as if giving one the invitation to make him feel Something

opportunist

this one was where i wanted to start adding design parallels between the canonical voice "pairings" in the game (consumption & betrayal, pain & unfamiliarity, etc.) so he and the hunted share some design elements

they both have little utility belts, but the opportunist carries on him nothing but a poorly concealed blade - looking out ultimately for himself in the long run

lil braid cause it's cute, and to me has the sort of sleek, tidied-up vibe of someone who wants to come off like he knows exactly what he's doing

i think his wings are on the larger side, but he generally keeps them pinned under his clothes to make himself appear non-threatening

hunted

verrry dirty with lots of loose leaves and branches stuck in his feathers. he can try to wash them out, but they're always back before long. dirt boy (affectionate)

has a utility belt like the opportunist, but he uses it to carry a pouch full of various goodies & medical materials - always trying to look out for everyone else, concerned most with group survival

unlike the opportunist who can pull them out whenever he wants, the hunted's wings are fully pinned beneath his cloak & rendered unusable. something something about how his instinctive fears keep him from reaching his full potential?

(though given what can happen in the den maybe it's best he keep that potential unfulfilled lmao)

digitigrade legs are cool :>

cheated

like the razor, he's all sharp edges and angles. he's covered in jagged scars outlining the general spots where the razor chops TLQ up, along with some other missing chunks around his tufts & limbs

(at first i wanted to have some of them look like autopsy scars, but i couldn't quite get the shape right & it was just too much visual clutter 😔)

covered in bandages similar-looking to the contrarian's wrapping things, though they don't do him much good in the long run

not as short but still short king. free my man he did nothing wrong

stubborn

while the cold is slightly taller than him, he's overall the biggest of the bunch

the only one with pants (skirt) privileges because i know in my heart he's the guy who has to be convinced into wearing a shirt. his is adorned with a few of his own feathers

scarred all over, including his wings which are pretty much broken beyond use from all his fighting. he doesn't care - it seems fairer overall to stay on level ground alongside his opponent(s). unlike the broken's wings, stubborn's are flared out despite their damage - essentially saying, "come at me"

lil ponytail cause it's cute

skeptic

both to match the smitten's general look and to try something a bit different from the classic detective vibes, i went with a sort of vampire hunter look for him? not sure how much sense it makes but i think it looks neat

while the smitten's sash is large and goes right over his heart, the skeptic's utility belt avoids it altogether - skepticism vs blind devotion yadda yadda

always carries the pristine blade in a little holster, since he refuses to let TLQ go on without it in all his main routes

on the taller side compared to the smitten

paranoid

in contrast to the cold's unpreened disheveledness, the paranoid is ridiculously overpreened, giving his feathers a messier, plucked shape

(i wasn't brave enough to draw them but i know in my heart he's got some bald patches)

has a big, splotchy scar over his heart with little blood vessel/nerve lines diverging off of it - his route has TLQ dying of "fright" (something usually associated with a heart attack), compared to the cold just skewering himself

his little cloak-thing is torn to shreds, trying and failing to hide his heart - while the cold leaves his purposefully vulnerable

short(ish) king

broken

my beloved <3

very disheveled, though not as bad as the cold or paranoid. he's generally too miserable to worry about caring for his appearance, but is more open to the effort than the cold (and less neurotic about it than the paranoid)

clipped talons and nails

has a shackle around his neck for the obvious pet/prisoner imagery from his route, and one around his ankle on the opposite side & limb from where the princess is usually chained up

he's scarred up, but in more i guess "deliberate" places than the stubborn. one near his neck reaching to his heart, one winding around his midsection, and one on the back of his knee

his wings are broken & unusable like the stubborn's, also open though in a more subdued manner, showing the openness of his pain & vulnerability

[agarthanguide]

Forgive me if you’ve answered this already, but what is the timeline you work with for the CR character art? Do you do them all at once, or one at a time? I saw on the Dorian ask you mentioned the deliberation started long enough ago that Robbie didn’t know his brother died. Did you know they were going to a cold location? Or were the outfits designed for any weather? If you were to design their winter outfits now, would you do it any differently?

Your art is very cool! No pressure to answer all/any of these :)

Timeline varies WILDLY. The very first round, back before Bells Hells even premiered, was like 4 months out. But that took a lot more effort. Messing around and zeroing in on a thing. I can turn a character around in a week, as long as that character isn't that important to anyone. Like I know all guests love their characters, but Erika Ishii's first round took like three days (and then I heard about Yu, which took two weeks). Bordor scared the shit out of me because it was so effortless that I was worried that I either missed something or didn't know something.

I start them all at once, within reason. It's really important to get final designs (pre-rendered) to Ian, the mini painter. So one tries to work them in waves. Start as soon as you get the first brief, and then don't get too stuck on anyone. Try to keep a wide open mind so you don't accidentally railroad yourself. I have a tendency to freeze up at the render stage, because it requires a drastic change of style. So I will have to spend a day relearning how to color.

So yeah- no one told me they were going to a cold climate. They try to tell me what I need to know, but "need to know" is different for everyone. I've gotten clips of descriptions of what they are wearing, before, but generally it's just whatever they tell me directly! And no, I don't think I'd change anything too much if I knew they were going to Aeor. I enjoy a Seasonal Design as much as anyone, but only for like a one-shot (I'd love to do a holiday one shot with everyone in swim gear or christmas sweaters or whatever). But if they are going to be playing the main game in an outfit, I'd rather that outfit be iconic than specific.

Check out some Dorian gear concepts!

[charbies]

linktober 31 - HAPPY HALLOWEEN!!!

I thought for the last day I'd write a little retrospective on what this whole thing was like and what I learned. I'm too tired to draw literally anything else I'm due for a break lol

So this was my second time ever attempting a linktober/october drawing challenge, but my first time managing to complete all the days and prompts. I feel super proud of myself and accomplished for pulling it off.

There were a number of things that were surprising and that were challenging for me that I wasn't expecting this month. If anything, I think this challenge really highlighted my flaws and mental blindspots with how I approach making art.

For one thing, I came away from this not liking everything I made. I think I only like about 9 or 10 of the 30 pieces I put out there. When I don't like my art, I tend to get stuck in this mental stalemate of refusing to finish a piece until I like it, but also refusing to retrace my steps and erase/rework what I have so far for fear of losing progress or not being able to replicate the line/angle/color/etc that I liked.

It was surprisingly hard to accept when I didn't like a piece but had to move on for the sake of time and post it anyway. But once I did it a few times, it got easier. I realized prioritizing my standards over my available energy is not gonna promote progress. If I kept sinking myself into one piece and not moving on until it was optimal, I never would have finished anything-- that was the pitfall that ultimately made me bail out 10 days in last year.

I also realized my sunk cost fallacy/"what if I erase this and can never redraw it good again" stems from some real lack of confidence in my knowledge and techniques with art. I'm self-taught, and I think I tend to believe that everything I make is a dumb happy accident, even though I have mental rules when I draw, use tons of references, and have a process lol. There are a few pieces I started over 2-3 times before I got them right, and that's starting to feel liberating instead of like failing to me now, which I never expected to come out of this experience so that's cool.

Another place I had to learn to let go of control in this was with allowing for style variation. I really wanted each and every piece to be coherent and painterly, like they all came from the same book or something. But then I couldn't decide whether I wanted to do all/no lineart, all/no detailed background, all/no heavy rendering, etc. At the end I settled on just keeping the same canvas dimensions and just prioritizing filling up the space. Glad I ended up doing this, because I really would benefit from continuing to chill out and scale back how much I default to making dramatic, high-render pieces. I gotta break out of my comfort zone and make more sketchy little guys!

Sometimes my attachment to the prompts fluctuated; some prompts I thought I would love and then just wanted to get them over with. Some prompts I thought I would hate and subsequently half-ass, then I ended up redoing them and putting more effort & time into and loved the end result!

It was funny to also see how some pieces that I loved straight up did not get a whole lot of notes or attention. Some pieces I was "meh" about did crazy numbers lol. I'm used to posting maybe 5-6 times a year on here, so I'm usually indifferent to getting notes (by which I mean, I'm super grateful for likes & reblogs and the super sweet & funny messages in y'alls tags, but I'm not butthurt when I don't get notes because whatever happens, happens). Churning out 30 pieces in 30 days made me sometimes get bewildered by what did and didn't get notes, but frankly in the end I think it helps reaffirm that I should continue putting whatever I want out there because it! is! not! graded!!!

So would I do Linktober again? Probably not, sorry! it was a lot of time & effort and took me away from fall festivities more than I would have liked. I kinda only managed to pull this off because I was transitioning between jobs this month and had a week off to just draw. But I also completely see the value in taking on a challenge like this and finishing what I started, I'm super glad I did this, I think my art improved from it. I would definitely do future drawing challenges/prompt things that are quicker or have less prompts!

My advice to prospective future linktoberers: pace yourself and be gentle; this is a great chance to do something exciting and new with your art, but above all it's about you having fun. There are no prizes at the end except for what you've learned and how you feel about it, and that's for the best!!

One thing's for sure, I am zelda'd out lmao so I'll be branching out towards some little projects I have lined up for personal art and other fandoms I'm into right now

So anyway thanks to all of you who read this or who gassed me up this whole month, I appreciate you!!!!!!!! ヾ(＾∇＾)

[1-800-deactivatednearu]

woag character design notes

[i.d.: a drawn line up of the half life vr ai characters, from left to right, gordon, dr. coomer, tommy, bubby, gman, and benrey. /end i.d.]

yeah i skipped some guys , i dont draw some of them enough to have much unique designs and some of them are a png of a dog

trust me i am just surprised as the rest of yall that i am doing hlvrai art . design notes below (very long, mind your step)

gordon:

wow this guy dont got no head

i didnt want to give gordon a face because of how unexact the person is as the fandom engages with it. is it wayne rtvs? (well as presented to an audience, yes) is it gordon freeman? (well as seen from an in game perspective, yes) is it a whole new guy entirely? (well as

i cut the confusion and took it a whole new direction: guillotine

hlvrai being treated as a very broken game is fun to me as a design perspective, so if you (the audience) are not supposed to see his face, what happens when you see it anyways? missing texture time

there are eyes drawn over because i did not have confidence in my expressions at first and then it grew on me

i think if i were to draw (and i have drawn) an actual person under the mask i would still censor the eyes because that is where the vr headset sits!!

(i do not like putting an actual flesh to gordon though)

though i really like seeing how other people interpret gordon hlvrai it is not . my gordon ? we are talking about the same guy . but this is my gordo . i made this one . this guy my guy . maybe i should draw other gordon designs

i can draw the hev suit from memory and it is also the entire reason why i can render metal confidently

i liked how people changed the lambda to read ai :] i also have no clue if i wrote the lambda correctly

(i did, i just checked)

dr coomer:

as much as i draw/drew him i find it more fun to not stick to one set design :)

so a lot of my takes on dr coomer tend to jump from idea to idea, especially from what other people are doing, though they could be fitted to the left and right designs!

the left design is mainly based off what i saw in fandom spaces

we see rounder shapes, making for a more friendly and welcoming appearance

i think of this as straying from the more professional uniform of the actual scientist models

enter swimming shorts and bright yellow socks, for some reason

so now he kind of looks like a cool science teacher :)

it might be the lab coat

the right design is mainly based off thumbnails for hlvrai itself

these use a more angular appearance

i want to push how comically buff he is because of strength he shows at times, especially since his left design seems to completely down play it as a comically not buff man who is still very strong

the shadows on right design coomer get so much more harsh and exaggerated because i have comic books on the mind :)

he really does look like a dehydrated comic book character huh

tommy:

stick bug (he gets it from his dad) (this thought process is explained at gman section)

i pushed a lot of the saturation of colours in her design because i think tommy gets to be a little silly with it

fun art story of the day! when you color, try messing with hue! you might notice you can get away with a lot as long as your values are about right

i like pushing this with white because you can get away with a lot of things reading as “off white”

old faithful for me is cool shadows with a warm transition colour to keep things visually interesting

i keep making white objects the trans flag

happy pride

tommys design looks a little like a school boy, with the tucked in button up shirt+suspenders+shorts+jacket tied around the waist . and the primary colours . but like it is really fun to dress up so brightly

i actually was strongly inspired by medieval babies if that is a weird descriptor? i wanted him to both be a middle aged man but also a young adult

do not be like tommy, who has their finger on the trigger of the gun while not even looking at where it is pointing and good god he is squeezing the trigger . top ten firearm safety of all time

bubby:

the absurd part is that i think bubby is tall . he is just between tommy and gman who are exaggeratedly lanky .

i wanted to make bubby a pointy kinda guy, so he is the only one actually wearing the lab coat proper . and the only one actually wearing dress socks but not even wearing dress shoes

i wanted to give him a novelty tie but i was running low on ideas and running high on boreds so we dont get a tie

he does have crocs though!! in attack mode!!

i do think we all kind of saw his model and collectively decided it works for him because i have honestly not seen major divergences from his model?

gman:

stick bug

i wanted to stress the more spooky and unknowable nature of him and took it in the dark souls direction of “make bigger than player character”

maked too bigger

he cannot walk through any doorways but you will have to crane your neck to look up at him

in the opposite direction of tommy, i pulled a lot of the saturation in gmans design

it feels important to make them both not fully match the rest of the slightly less broken npcs because there was so much work to make them look cool so i have to respect that

actually a lot of gmans and tommys designs are made in opposite to one another

gman has a largely stationary face and very stiff line work

while tommy is pushed to expressive as possible

thats pretty fun, way to go me

benrey:

benrey also has two designs

and in both of these i keep getting too lazy to use a reference so  the vests are super plain (forgetting the badge and black mesa logo) . i think the helmet is supposed to be darker actually .

the design ethos of benrey was “built like a brick shithouse”

a friend of mine took this cooler and interpreted it as a shield/wall/barrier as a physical (and narrative) obstacle

again the first uses fandom designs

most notably the overcast shadow (seen in video thumbnails but i never noticed it or understood why so many people did it until someone pointed it out to me)

i think hlvrai is such a great medium because it acknowledges it is a game and is able to play into that to great effect! i think the shadow is fun to imagine as solid black as a small reminder of the impossibility of the space :]

benrey is a smug cat in the body of a human . to be honest . and this is the full range of emotion i have ever drawn him with

the second was mostly because as fun as taking creative liberties are, i just really wanted to see benrey as is: the half life security guard model in all its slight wonk :]

i actually do prefer this design . it is a little more uncanny because i choose the worst translations of the model . i like it because it is a little more uncanny !

that can be said for like . every single design in this line up huh .

[xuune]

Hii first of all, I FUCKIN LOVE YOUR ART! ITS GORGEOUS AND IM SURE EVERYONE CAN UNDERSTAND YOU REALLY GIVE YOUR SOUL INTO THAT🤧 Your color palette looks so good, What do you pay attention to when painting? (Like when do you think its better to use multiply or something like that and etc.)

first off, I'M HAPPY YOU CAN TELL THAT I PUT MY SOUL INTO MY ART!!! im genuinely in love with drawing and am always finding ways to make creating art enjoyable and impress myself with what i can achieve and learn :D

second, thanks for asking your question!! i dont mind answering it, but my response is quite long. here's my thinking process:

(you specified layer modes like multiply, so im gonna gear my answer towards that a bit) 1. REFERENCE SEARCHING IS KING. color is actually extremely hard for me, so i search around for artworks with palettes i'd like to use and study how an artist uses it. some situations i have a clear idea of what i want, but usually the images in my head are extremely vague, so i borrow palettes from various other artworks that fit the vibe of what i want. an example is this one. my main palette reference were from these artworks. im looking at this artist's use of high saturates and how drawings are overlayed on top of each other. while looking at references, im asking myself how is this artist using warm/cools, where are these warm/cools placed, if their illustration used any form of texturing (like halftones, hatching), how do they use their palette to render form/shape/gradient, when/where do they saturate/desaturate their colors. those questions inform my decisions when using colors too.

2. USING LAYER MODES WHEN NECESSARY. i used to be reliant on multiply for everything, which atp i dont do since i can definitely push colors more first before using layer modes. only when i feel like my current colors are lacking do i start tinkering with tone curves and/or brightness/contrast/hue/saturation/luminosity settings. and if that doesn't work, then i start using layer modes. using layer modes do help with achieving certain effects, color corrections, or when i want to fuck around and find out. i think having a better understanding of what these modes can do makes you more decisive on how you can properly utilize them and to achieve a particular look (like using multiply for a cel shaded style). here's an example:

this leads into my next point:

3. BALANCING OUT VALUES. big thing that makes an illustration hard to read is if values blend together which affects the hues and contrast. i check for what elements need to be distinguished from one another and if it can be read clearly. using layer modes can either help with this or not help at all. it's very dependent on the type of layer mode. here's this example where i applied pin light:

back to #2, there are various instances where i'm using layer modes for quick color corrections and/or to help with readability:

other times, i start off having my entire subject in gray and to figure out main shadow/lights (similar to the multiply cel shaded process i linked ealier). im thinking about what this should look like if i only used 2 value tones:

when in doubt though, i check my artwork in grayscale to ensure values aren't overly blended into each other, especially if i didnt start with grayscale like this one:

painting for me takes into consideration a lot of different aspects. im thinking about how colors should interact, where/when to give contrast, checking/balancing out values, etc, but im also making it a time to study off of how other artists use their colors through the references i collected.

hope this answered your question! lmk if there's more :]

[shakespearean-dream]

took me long enough

honorable mentions to @vasyandii for general inspiration, @/x_.0rion._x on tiktok for the hate speech on the tie idea and @average-hyperfixator for helping me with AM’s eyes 😭 go look and follow all of them they are all very talented and cool 🙏

WOW my eyes hurt after looking at this for roughly four hours... and 36 minutes 🤦‍♂️ it’s pretty easy to tell if you look at my art for long enough that i very much lean towards desaturated colors, but i wanted to be a little experimental for AM and go neon— but girl. after i applied the effects to him that SERIOUSLY brightened him up and i had to back down and make the bg a darker pink😭 my eyeballs are already not on my side i do not intend to strain them any further💀

here’s the unedited but rendered version as a treat lol. u can for sure see what i mean here 😭

when i was trying to figure out what to do with AM i realized i haven’t put very much thought into my hc’s for him— which ykw that’s okay because there’s never a better time than rn. i imagine AM as more of a really envious toxic guy who claims to hate their ex (humanity in this case) but does literally everything he can to imitate them, mostly thanks to the radio drama cause damn did you hear how jealous he was there???? ridiculous 😭

so with that in mind i tried to give him a bit of the vibe of a kid just now realizing they can actually express themselves through their appearance—hair, makeup etc— but is still kinda being held back by their environment, or in this case his coding. eventually he’ll get it figured out and be able to consistently look human (even as glitchy and game looking as he is now, it takes a lot of energy to stay like that for extended periods of time) but for now he’s stuck as a rock or computer monitor most of the time. and it drives him SO nuts.

i’m not quite sure where to go with my thoughts from there, so if you wanna comment or throw an ask in my ask box we can talk about AM and his silliness 😭 i truly think he’s one of the most interesting characters in media just because of how powerful yet emotionally blinded he is. tbh, i live to create and be emotional and just be human so in AM’s situation i’d go a little crazy too. not kill everyone except for 5 people and torture them for 109 years crazy, but crazy for sure💀💀 i’d like to hear your guys’s thoughts about it :]

ok it’s late i’m gonna go conk out 😭 one more quick reminder to check out my commission page if you have not, there has still not been an update on yolanda 😔

gn!!!!

[tmntkiseki]

(Massive spoiler warning!) Let's talk about the TMNT 2003 oneshot from the 40th Anniversary Anthology

Ohhhhh boy, my friends, it is finally here. The Teenage Mutant Ninja Turtles 40th Anniversary Comics Celebration was released a few days ago and with it, the first comic-based piece of TMNT 2003 media in over 16 years. Whether this oneshot will pave the way for future comics set in the 2003 universe is yet to be seen, but for now, Lloyd Goldfine, Khary Randolph, and Emilio Lopez have cooked up an incredibly delicious treat for fans of the 2003 series, so without further ado, let's dive in because it's ninja time!

(Note: This post contains full spoilers for the "Splinter Forever" oneshot. If you haven't read the comic yet and want to go in as blindly as possible, please do not read beyond the "Keep Reading" and avoid this post like the plague.)

"And how could I have imagined that most incredible transformation of all?! Here, I speak not of mutation... but of my sons. Could I ever have dreamed I would become a father?"

So, before we talk about the actual story of "Splinter Forever," let's talk about a pretty important detail of the comic itself; the fact that it is only eight pages long. While it is certainly not impossible to tell a good story with such a limited number of pages (the Archie oneshot from earlier in the anthology certainly did it, and it had only four pages to work with), it certainly makes telling a deeper, more complex story that much harder since you don't have as much time to tell it. Knowing this, Lloyd Goldfine opted to play it safe and keep things fairly simple in terms of narrative—whether he played it too safe is certainly up for debate, but I personally think that "Splinter Forever" more benefits from this approach than not. What it lacks in interesting plot, it more than makes up for in its characterization and presentation (and believe me, we will be talking about the artwork A LOT in this post.)

"Splinter Forever," at a glance, is pretty straightforward in terms of story; taking place at some point after Turtles Forever, it is about Leonardo, Raphael, Donatello, and Michelangelo rescuing Splinter, who has been captured by the Shredder; he is assisted by Hun, who is still trapped in his mutated turtle form due to the events of the movie. "Splinter Forever," however, is so much more than just the turtles kicking butt and looking cool—it is a story about Splinter expressing his undying love for his four children and how he values his family above all else.

After a brief flashback to Splinter's days as an ordinary rat in the care of Hamato Yoshi, the turtles make their big entrance by crashing through one of the windows of the Foot facility that Splinter is being held in. Each of the next four pages focuses on one of the turtles, showcasing their combat prowess as they fight Shredder, Hun, and the Foot, all while Splinter... pretty much gushes over them. He highlights Michelangelo's nature as a comedian who, none the less, is the most naturally talented of his brothers at martial arts, the fact that Raphael is actually much softer than his tough, aggressive personality would suggest, Leonardo's big heart and unyielding dedication to protecting his brothers, and Donatello's great intellect and unique worldview. Splinter is just so, so, so proud of the people that his sons have grown into and while none of them are perfect, he wouldn't have them any other way.

Now, the one full page from the oneshot that I am able to include in this post is the one focusing on Michelangelo, as it was made available via IDW's social media several days prior to the release of the anthology in order to promote it. There are two things I want to draw everyone's attention to: Khary Randolph's panel composition and Emilio Lopez's use of color.

So, for starters, the composition; The panels on these four pages are rendered in such a way that they resemble broken glass. Makes sense from a narrative standpoint given how the turtles just appeared to crash Shredder's "Let's kill/experiment on Splinter" party, but I genuinely feel like there are some lines to be drawn between Leo's iconic window scene from season 1 and how this is basically the inverse of that situation; instead of one turtle being tossed by the Foot through a window after being beaten near to death, all four turtles are jumping through a window in order to lay a sound beating on the Foot for trying to harm their father. (Or maybe Khary Randolph just thought it looked cool, I don't know.)

Second; Emilio Lopez's use of color. Oh my gosh, Emilio Lopez's colors. It's amazing because the colors used for the turtles are fairly in line with how they appeared during the first five seasons, but rather than looking dark and muted like in the show, they are rendered in such a way that they appear bright, vibrant, and above all, eye catching. Combined with Khary Randolph's dynamic poses and perspective, the turtles are practically popping off the pages. It's literal eye candy no matter where you look!

Besides that though, comparing Raphael and Leonardo's pages to Michelangelo and Donatello's pages is really, really interesting, especially when done so while examining both Splinter's narration as well as the action happening on-panel. On Michelangelo's page, Emilio only really used gold/orange colors for the backgrounds; on Donatello's page, outside a single panel where Splinter catches his cane, only violets are used for the backgrounds. In contrast, the backgrounds on Raphael's page use both reds and violets, while Leonardo's page includes blues, reds, and oranges.

In terms of the action on Mikey and Don's pages, they are absolutely destroying the Foot that they're up against, and Splinter's narration is nothing short of praise for both of them. When we get to Raph's page, though, he's struggling a bit with Hun. In one panel, Hun manages to grab hold of his arms and in another, he punches Raphael away; the backgrounds of these panels are rendered in violet. But in panels where Raphael is on the offensive, the backgrounds are rendered in red. And then there's Splinter's narration from this page.

"Raphael. Always so angry...most reliably, at himself. But, in truth, he is only half as fearsome as he makes himself out to be... Which of course, is more than fearsome enough."

I don't know if this was intentional on Emilio Lopez's part, but it seems to me that the backgrounds are being used to help characterize the turtles more. In the panels where Hun has the advantage and Raphael is presented as weaker/more vulnerable, the backgrounds are rendered in violet. But in panels where Raphael has the advantage and is confident/on the offensive, the backgrounds feature his iconic red color. Raphael's nature as an "rough on the outside, soft on the inside" type of character is being represented via color! I love that!

Something similar is done on Leo's page. Panels where Leo has the upper hand on the Shredder have the backgrounds rendered in his associated blue, but panels featuring the Foot and the Shredder getting the upper hand on him are rendered in either orange or red. As we know, Leonardo's nature as a perfectionist is his big fatal flaw as a character; on one hand, he trains the hardest and is the most skilled of his brothers in terms of his overall combat abilities, but whenever he perceives himself as having failed his family, he takes it hard, and this is reflected in Splinter's narration.

"Leonardo. He trains so hard. Cares so much. All this... to ensure he never, ever fails his brothers."

Also, I think it's worth pointing out the colors used for the panels where Shredder either only barely avoids hitting Leo or manages to land a strike on him. Orange and red. Michelangelo and Raphael. Leonardo is thinking of his brothers in those moments and how he can't let them down. God damn it, Emilio.

Anyways, after Donatello frees Splinter on his page, we are treated to a gorgeous two page spread that parodies the one from the first Mirage issue; however, now Splinter is a part of the composition and... god, I really love this image. The colors are fantastic, Khary Randolph improved on the posing from the original, and it's a perfect tribute to the original comic that started it all. The box with Splinter's narration where he speaks of how proud he is of his children is even in the same spot where Leo's narration from the original image is!

The final page of the oneshot has Splinter easily kick the Shredder's ass. He breaks his Utrom exosuit and proceeds to send little Ch'rell... flying through a window. God, to do the same thing to the Shredder that he did to Leo in Season 1 is poetic justice at its finest. The four turtles embrace Splinter, and the oneshot ends with the family, now reunited, returning home. The end.

Honestly, my only real nitpick with the oneshot is the fact that there is no explanation for how Ch'rell came back after literally being vaporized during Turtles Forever, but again, Lloyd Goldfine only had eight pages to work with, so I can pretty much let it slide on that basis alone because otherwise? This oneshot is so, so good. It is not only a perfect tribute to Splinter's deep bond with Leonardo, Raphael, Donatello, and Michelangelo and the love he holds for them as their father, but to the entire 2003 series as a whole. It was certainly worth the wait and I'm definitely hoping that this won't be the last we see of the 2003 turtles in the comic books.

"Yes, mine is a life I could never have imagined for myself...and, even if given forever... I could not have dreamed of one better."

[thefaiao]

seeing your clowns made me go feral since my fixation is cringe and clown flavored

Who let you cook like that who let you cook AUTHHFFH UR ART IS SO COOL IM BEING DRAGGED AWAY

You’re hatching is so fucking inspiring since it’s soMETHING I try to do in my own work I LOVE UR ART

would it be fine to ask what brushes you use? I love ur values also, you’re so so good at shapes and form WAAAA I LOVE UR STUFF. I did dig up an old ask you made iirc, but I’m not sure if it’s changed

Hey! Thank you very much. I'll go through the brushes I use for each program: Drawpile

From what I understand most of these are MyPaint brushes... but I only know them as drawpile brushes because that's what I use. Main ones I've used lately is Irregular Ink and a default brush for coloring

I don't really change the size of irregular ink much and the pressure doesn't matter that much. It has high stabilization which I haven't changed, but I'm sure you could get away with lowering it. For the other brush I'm pretty sure it's a default one that I slightly tweaked (drawpile is a bit bad about communicating what brush exactly you are using to you.) I quite like it because it feels like playing with clay, makes it easy to map out the volume. I use it for those lineless pieces I do from time to time too. I change its size a lot while drawing. I've also used these two, one of the pencil brushes and a second one I stole from Jokioro that I have no idea what is called

I used the first one for the D'arce I did a while ago and the recent VTMB piece. It's great at emulating sketchy graphite pencils, I like layering it to do multi-colored hatching rendering. The second one I don't know how to use super well yet but it's probably my fourth most used as of late. It works very weirdly so if you wanna figure out how to make it work I recommend looking at how Jokioro draws. Clip Studio I bounce around a lot with all the brushes, but I use a loooot of stuff from the Frenden pack. Mainly Meeko Leako for lining and even coloring, it has a great texture to it, very fun

This has been my most used brush for years. It's great for super straight lines and produces a great difference in value between quick lines and thick lines. I haven't used it as much since I picked up drawpile more recently, but it's amazing! Other than that I use the default G-pen when I just want simple lines without much texture

It's a bit ugly at a glance but I think if you lock in it's great for super clean lines, just trying to get the point across without much noise. I also like coloring with it at times, when I'm going lineless. SAI Binary pen. Use the binary pen. It's the best brush ever made

It just feels super right to draw with it, it's so simple but it makes your lines look super slick, and it's just a binary pen. I guess they just got the behavior down perfect for it. But yeah, love this brush. IRL I've always used these archival ink pens in different sizes for basically everything I've done traditionally, and of course just a simple number 2 pencil for sketching and such. I've used a bit of charcoal recently, and been wanting to deep into darker pencils for detail, but this is still the default. I also will probably try out dip pens sometime

That's all I can think of immediately, but I always like to mess around to try and find another great brush, and you should do the same even if you end up using these a lot.