#I think the lineart is making it look flat

[aychama]

Meditating.

[crystalpallette]

get you a girl who can give you everything

this started a long long time ago when I made a joke about how sega should put ringo in more dresses, and then my friend reminded me that oh yeah!! I can do that instead!!! and then one thing led to another and we joked about punk ringo and I drew that too. using ringo like a dressup doll is so cathartic it's kinda crazy

some bonuses (original designs, timelapse) under the cut bc I like these designs!! I might do some more with them!! please disregard the band poster in the first second of the timelapse that's something else!!!

[toytle]

HI HI JUST WANTED TO SAY THE WAY U COLOUR YOUR ART AND DO THE LIGHTING IS SO SO PRETTY AND COOL LIKE ??? FULLY GASPED WHEN I SAW UR SUPERBAT ONE HOLY SHIT

thank you so much!! do not ever expect it from me again.

[homosexualcitron]

I'm almost done with the first episode of the current chapter i'm working on and wooehhh it's going so well for now.. i usually struggle to draw the first few episodes but this one went rly well

[noroi-amaraciune]

My friends call me an artist but I don't have nearly enough decent pieces. I need to make a goddamn portfolio instead of sketchbooks. I need to make bigger pieces instead of A5 size shit but there is never any fucking time. I have not finished any thought out piece since 2021.

[duskerot]

maybe i will stop lining my art . maybe i will just color under my sketches after cleaning them up alittle

[justsomehazbin]

Holy SHIT am I proud of this. It took a day and a HALF to work on it. I really just wanted to draw a cool badass picture of Charlie in a cute dress, and somehow I ended up with my best piece I think I've ever done!!

To see the process, click the 'read more' below!

Otherwise:

Main blog over here

My Etsy Shop!

Originally, I wanted it to look more like a royal portrait, a good excuse to draw a pretty dress.

I adored the dress design, but it was an extremely flat image, so despite taking like. 5 hours to design it and work on it, I rethought my plan, switching to a far more dynamic pose.

I also made sure to add tons of flow lines, both from her hair, to her tail, to help bring the eye all around the canvas.

I did a billion sketches, but this is what I ended up on! Originally I had her right arm holding the pitch fork behind her back, but it just never looked right. I also took a risk and did a facial angle that has always been extremely hard to get right, and somehow I managed to make it look nice!

After adding the lineart, colors and all of that, I knew quickly I didn't want the angel to stick out as much as she did. I wanted her to fall into the background instead, since she was just on the border and I didn't want any attention really taken from Charlie. So I changed her shade to red, and from there I added more of the background details!

Okay I did leave some inbetween screenshots out but it's past my bedtime. I hope this was fun to look at, at least!

Final product once more!

[bixels]

I think 90% of my gripes with how modern anime looks comes down to flat color design/palettes.

Non-cohesive, washed-out color palettes can destroy lineart quality. I see this all the time when comparing an anime's lineart/layout to its colored/post-processed final product and it's heartbreaking. Compare this pre-color vs. final frame from Dungeon Meshi's OP.

So much sharpness and detail and weight gets washed out and flattened by 'meh' color design. I LOVE the flow and thickness and shadows in the fabrics on the left. The white against pastel really brings it out. Check out all the detail in their hair, the highlights in Rin's, the different hues to denote hair color, the blue tint in the clothes' shadows, and how all of that just gets... lost. It works, but it's not particularly good and does a disservice to the line-artist.

I'm using Dungeon Meshi as an example not because it's bad, I'm just especially disappointed because this is Studio Trigger we're talking about. The character animation is fantastic, but the color design is usually much more exciting. We're not seeing Trigger at their full potential, so I'm focusing on them.

Here's a very quick and messy color correct. Not meant to be taken seriously, just to provide comparison to see why colors can feel "washed out." Top is edit, bottom is original.

You can really see how desaturated and "white fluorescent lighting" the original color palettes are.

[Remember: the easiest way to make your colors more lively is to choose a warm or cool tint. From there, you can play around with bringing out complementary colors for a cohesive palette (I warmed Marcille's skintone and hair but made sure to bring out her deep blue clothes). Avoid using too many blend mode layers; hand-picking colors will really help you build your innate color sense and find a color style. Try using saturated colors in unexpected places! If you're coloring a night scene, try using deep blues or greens or magentas. You see these deep colors used all the time in older anime because they couldn't rely on a lightness scale to make colors darker, they had to use darker paints with specific hues. Don't overthink it, simpler is better!]

[vavoom-sorted-art]

Wing tutorial~

Since it has been asked, I made a little breakdown on how to draw wings.

So, first thing to understand is wing anatomy. I used a swan wing as reference for my artwork. Divide the wing into blocks of feathers. There's sort of three layers to the feathers outlined in the second picture, and these divided along the top joint of the wing where it folds. See the second image. Make sure you bring in these nice, flowy shapes here!

Now that you have these big shapes, you can cut into them and make the individual shapes of the primary and secondary feathers (layer 3.) also make sure they overlap correctly depending on if you are drawing the wing from the front or the back. make sure you stick with a nice rythm and have the feathers get gradually bigger as you get closer to the tip. Like this:

when you go ahead and draw that layer 2 of coverts, make sure that every feather you drew for the bottom layer has (approximately) a feather overlapping it (so you have pretty much the same number of feathers in each layer) and that they line up nicely. But you can also make them a bit more ruffled. Like this:

Other than the flight feathers, the very top part of the wing is very smooth, with shorter, more rounded feathers (almost half-circles!). They can lie very flat or also look a lot more fluffy. think of them almost like overlapping scales. There is also the Alula at the top of the wing, a sort of extra feathery bit that sticks out over the primaries. also don't forget the scapulars which cover over the shoulder blade and are on top when the wing is folded. The Scapulars also have two layers of feathers. (see first graphic).

From there, it's only a matter of lineart and shading or however you want to finish your artwork. Hope this helps with the structure! Drawing wings folded together is a whole other story that I'm not going to get into here... lol.

TL:DR: understand the structure of wings and use references to get it right, work from big shapes to small shapes.

Edit: I demand to be tagged in the results, I desperately need to see more wing art. ÒwÓ

[king-wyrmwood-art]

Kitsuneisi Art Study!

This is an art study of @kitsuneisi, using mostly references from their tumblr. I wanted to do an art study and was super excited for the new DDVAU update so woo!

I've written some notes in the margins of each drawing and would love to go more in-depth about both our styles and the general process, but this post would be so incredibly long so I'll refrain for now. (I might break it up into separate parts and turn this into a master list one day).

This first three are the base of any art study: leaning the proportions and sketching style of the artist! The first image is from @xmaruu11's first Twitch stream, which I discovered a few days in my study and watched to get a sense of Kitsuneisi's sketching style.

The main difference between our styles is that Kitsuneisi's poses are more fluid and they draw the face first, whereas my poses are stiffer and I drawn the head first.

Kitsuneisi and I use different drawing programs, so I couldn't quite make a brush that matched theirs; from looking at their Valentine's comic (which I chose so that colours wouldn't distract me), I noticed the line variation lent a lot to the fluidity.

Colour theory my beloathed! While I was laying out the colours for the Scar drawing, I noticed that the blue Kitsuneisi used was very warm-toned. In almost all of the light-hearted scenes, they use warm colours or warm-tinted colours, while the more serious scenes use darker or cooler tones.

The lighter, warmer backgrounds in the office scenes/G being a simp give a more wholesome feel, while the darker backgrounds in serious moments give a more intense atmosphere.

Now, all that's great, but it's time to put it into practice!

For my sketch, I tried to use a more dynamic pose and focus on making the face a focal point.

In my lineart, I tried to vary my line thickness.

For the flat colours, I used mostly warm tones and tried to match the colours used in the comics, but my love of cool tones took over the Mother Spore wings. I think it makes a nice contrast, at least.

And the final image! (I'll be posting it separately). The background adds a better contrast and helps Grian stand out despite how dark some of the colours are. I'm honestly very proud of this piece and hope both Kitsuneisi and Maru like it too. :)

[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!

[peppermint-moss]

Any advice for drawing torties? That fur pattern is the bane of my existence

If your stripes look flat, it might just an issue of needing to draw them more like they are wrapping around the cat's body to give the look of a 3d shape? You can also try exaggerating the thick and thin part of the stripe by making the ends more tapered (aka more line variation!)

As for torties, yeah those are tricky haha; as always reference photos are a great place to start:

I think what really helps make a cat look like a tortie is spiky edged patches, and a lot of them:

Compare this to say, a calico, who has much more rounder and defined areas of colour, and less small bits/fragments of color:

ref photos used are from unsplash: tortie 1, tortie 2, the calico with goats

I draw the "spiky patches" in two different ways, and sometimes I'll use both on the same cat; one's not better than the other it's just what look you'd prefer for the cat! (that first method is with my 'speckle fade' brush and the other is with my triangle lineart brush)

The spiky jagged edges also helps with that illusion that there's a lot of small fragments in the coat pattern, without actually having to draw a looot of fragments. Now lets put it on a cat!

I think the first two on the bottom with just orange n black (which is like the bare minimum for a tortie) still makes them look like a tortie! The amount of colour variation kinda just depends on how you want the cat to look!

I hope that helps a bit!!

commission info || ko-fi (tip jar)

[pleucas]

i got a few asks about my process :0 so yea i took some screenshots mid-process of my recent cliff-skk thing just for that

m gonna preface everything by saying that i did have a ref for the environment!! i avoid color dropping from the image and tracing cuz i do want to hone some digital skills. also saying i'm doing an "environment study" when i'm really just drawing skk makes me feel better abt myself

when i don't have a reference, i tend to do some thumbnail sketches in my sketchbook. here's some random stuff of past work, where i rawdogged everything:

but whatever, back to the cliff-skk. i'll also post a timelapse of it for easy ref, but detailed stuff is under the cut :)

first i did some rough sketches on an orangeish background (underpainting etiquette, i find it helps things feel brighter and keep a stable tone when choosing colors to lay on top), and I quickly lined skk :)

then I laid down some flats for the background, again really eyeballing the reference for hues. afterwards i thought it was a bit bright, and i wanted a more sepia/nostalgia feel to it, so i hue adjusted everything to something more uniform

then i lay down flats for skk + the ocean, which i both had to color adjust a lot (you might see that in the timelapse), and then i jump straight into rendering the background. when i render, i always prefer to do it over something lineless, so i turn the sketch layer off. i rarely do lineart for backgrounds.

i also used to render the characters first, but i've found that it's just not a great approach—especially for art where characters and background are interacting, knowing the hues and shades of the environment is crucial to effective rendering on the character that doesn't make them look out of place.

when i'm rendering, i really try to keep in mind tenants of contrast, perspective, form, and light/shadow. ex, stuff "closer" to us has more detail; the hill in the back is minimalist (in comparison); the shadows lean cool-green while the light leans gray-yellow. rake brushes really carried me here idk... my fav brushstyle forever

eventually i reach a point where i'm satisfied (or bored) with the background. for the last stages i usually have the subjects hidden so i can really perfect the details—but then for super duper final details, like the little leaf specks and grass strands, i unhid skk so the poppy details could work around skk. then i get to rendering the characters :)

i forgot to take ss of all the stages when i rendered skk, but here's something from... about the middle of the process? i tend to render characters with the lineart hidden as well, sometimes bringing it back just to clarify things, but ultimately i prefer to define things by form than by line. that's just me tho idk, idt it makes or breaks anything, just a preference

again rlly just thinking about cool/warm, reflective tones (the greenish shadow on chuuya's left inner leg, sky-gray blue on dazai's vest), really just slotting the subject into the environment. after i finish rendering the characters, i usually return to the background and add some stuff—in this one i defined the waves a bit and put some grass around skk

and yeah then we're done idk LOL. sometimes i run the file through camera raw (photoshop) to do some color adjustments—i find that my iPad displays colors super differently, usually making things a lot lighter than they are (u can see how dark the timelapse is...), so i find myself lightening my work a lot. i also sharpen and add noise as needed :)

i think my process has changed a lotttt even in this past year. it's kinda crazy!! it's always fun to do these and just reflect a bit on how i work. mostly just mindless insanity until it kinda works.

thanks for sending in an ask. and if u read all that, thanks to u too lolol

[genericpuff]

Hello! I’m just here bc I’m a little confused on what you meant by Smythe drawing out “each individual asset” when she was making comics? Now, granted, I can see that it made her file ginormous, but me personally as someone who knows nothing about making online comics but is really wanting to get into it (and also as someone who has a ‘too many layers’ problem myself), is there a way to avoid using too many layers?

My current way of making comics has been to draw the panels individually and then format them (which I know is terrible management wise and also messes with the quality) but I honestly have no other idea of how to do it properly, and seeing how stunning Lore Rekindled looks, I don’t know how you would manage to put all that lighting effects and little details on the same layers. (But also I may be thinking of it wrong so I’ll let you talk qwq)

Ah I can actually give you a visual breakdown of what I meant by that!

So in this you can see there are a TON of layers, and not even all of them are visible because some of them are stuffed into FOLDERS that have been left closed. BUT if you look REEEEALLY carefully-

^^^ These layers right here? That's specifically Minthe from this panel in Episode 61:

(the unique pose here makes it real easy to tell that this is the corresponding panel, you can see the matching body shape with the dark shading that's clipped to the base layer below it!)

So what this means is that Rachel didn't draw all her characters on one base layer, she drew every single character in every single panel separately. Now of course, she could merge all these layers together as working on separate layers helps make it easier to work on elements that collide separately (like one character being 'underneath' another character like Hades is here) but because she has all of those clipping layers with the shading already added in, she likely didn't merge them afterwards because that would actually create MORE problems (because if she merged the Minthe layer in with Hades, then the shading for Minthe that she painted outside of the lines would show up on Hades and then she'd have to erase it which is just a bunch of extra work).

You can also tell all these characters are on their own layer because the layer thumbnail EXCLUSIVELY shows those characters. A layer will show as much canvas length as it needs to cover what's in that layer, so if the thumbnail is only showing one character, that means there's NOTHING ELSE on that layer. If there were more elements on this layer than just Minthe, the layer thumbnail would look more like this:

Now let's compare it to Rekindled's layers! I'll use a completed page to make it fair as we use a lot of extra layers in the post-production phase where we add the texture effects and glow and all that fun stuff, plus I'll even make it a more complicated page like that big nymph explanation spread from Episode 51:

So I'll break it down to make this make more sense:

BG 2 Copy (technically this is supposed to be BG 1) - Basically the panel shapes, what I'll do is mark out the panels with flat blocks and through that we'll add background elements in a clipping layer (usually done by Banshriek). Often times they'll do multiple layers to make the process easier and then merge them all together in the end. With these shapes operating as panels, it means I can just auto select the whole layer, invert the selection, and easily erase whatever's outside of it (such as the lineart and base colors that I put down afterwards). I could just use masking layers like I did in [AFTERBIRTH] but I find this way works better for the process of making Rekindled.

BG 2 - This is where we add objects / foreground elements. So stuff like furniture, interactables, anything that needs to be kept separate from the larger background to make it easier to work with. This can also include "floating" panels that need to be above other panels, such as this:

All of the backgrounds are then nested in a folder for organization purposes (we also sometimes use clipping layers on top of those folders to apply extra effects over anything contained within that folder without affecting other folders, that's a common technique that Banshriek applies)

Then we get into our Characters folder:

BASE - This is where I do the majority of my work, all the characters in every panel on a page are flatted into this layer. Sometimes I do have to create separate layers to, again, make it easier to work with overlapping characters, but usually those layers will be merged before I go into the shading process. I simply shade on a single layer by using the lasso / magic wand tool to select my area for painting, the flat colors make it really easy to do that. Sometimes I need to create a secondary shading layer if I've put down dark colors that start to bleed into the lighter colors, but again, I merge when I'm done into a single shading layer. We also sometimes employ an Add (Glow) layer into the clipping set if we need a glow effect that's exclusive to the characters and doesn't travel outside of their base colors.

There's a (leaves) layer here that I used for the dryad because I needed the leaves to be above the base layer, after that I selected the leaves elements so that I could erase the lineart in the layer above it where needed.

LINEART - It's lineart, enough said haha That said, I do think Rachel actually uses clipping layers for her lineart in places, it seems to be visible in some of her process videos where you can see the lineart present in a clipping layer, and that would explain why there are panels where the lineart suddenly 'cuts off' and doesn't travel outside of the base layer, like so:

GLOW - This is where we do an Add (Glow) layer that isn't restricted to the base layer, it's where we add all the fun lil' glow and sparkle effects over the characters !

The CLOUDS layer is, like the leaves, a background element that needs to be above the base layers rather than constricted to the background.

Above the Characters folder you can see what I mentioned earlier where Banshriek has added more post-production effects that are exclusively clipped to the contents of the Characters folder. This means the effects / blend modes do NOT affect the background layers or anything above it.

The BLUR (Overlay) layer is something we just started doing over the past several episodes, it's a technique I actually picked up from 66 of City of Blank where I merge all the layers into a new visible layer which I then apply a Gaussian Blur to at around 60% and then set to Overlay (and then I adjust the layer opacity until it looks right, usually around 25-35%), it gives it a bit of a softer "dreamier" vibe in the final colors and really helps unify everything!

CANVAS - This is an Overlay layer which is also set to an opacity of 25-35% where I go over the panels with the Add Canvas brush from the Kyle Webster set, unlike the Canvas overlay texture in CSP I can actually choose the colors I want to use which means I can match the canvas texture color to the mood and environment of the scene (ex. I'll use a very light blue for scenes in the Underworld). Not only does it give it that signature texture from S1 of LO, but it also helps balance out the effects of the BLUR layer.

The SKETCH layer sits on top of everything and gets turned off once all the base layers and lineart are down, and ofc the SPEECH folder is just where all the text is kept.

I know everything I just laid out is a LOT but ultimately it's how we operate, it works for us! But it also begs the question of why Rachel operates the way she does because a lot of it seems extremely unnecessary and more likely to bite her in the ass (the more layers there are, the bigger your file size gets, the risk of drawing on the wrong layer increases as well as the risk of posting a panel that's missing elements because the layer was left turned off by mistake, etc.) And it's more so concerning with how she operates with her assistants because if she's still using this many layers when collaborating with other people, hooo boy. Though based on what I've observed of what her assistants contribute, I get a lot more of the sense that she circumvents this by having the artists do the flats separately and then importing them in as separate assets that she then just imports into the page and places them where they need to be. Still not a great workflow IMO because it's what's led to a lot of the issues of characters "floating" rather than feeling like they're actually in the environment-

-but that's still an issue that could be solved by Rachel just taking more time to actually flesh out the backgrounds and lighting to give more of an impression of the characters actually existing in the space. Like that Hestia panel could easily be fixed by just giving the background a bit more detail and putting actual shading underneath her (and lighting from whatever direction it's coming from).

Either way, regardless of whether or not Rachel's process is productive or not, I hope that breakdown helps explain how we do it in Rekindled! Learning how to manage layers is definitely a skill that can be tricky to harness, but once it "clicks" there's a lot you can get away with. Ultimately how you do it is up to you, but my best piece of advice to offer is to just be open to other types of workflows because you don't know how much you might be shooting yourself in the foot doing things the hard way when there are often way easier and more efficient ways to get the same job done. That's basically the vibe I get from observing Rachel's workflow, it seems like she's still using methods that she thinks are working for her (and probably did work just fine for her when it was JUST her) but could be vastly improved for her and her team if she'd just get over the initial hump of stepping outside of her comfort zone. Would probably make for a better comic too LOL

I hope that helps! Good luck! ( ´ ∀ `)ノ～ ♡

[eerna]

can you explain your art techniques a little bit further? I just saw your post about arcane helping you drop line art and stuff, and I wanted to understand better (as someone trying to get into digital art)

Sureee, ty for asking! :)

For the first 7 years of my digital art journey I imitated the comicbook-style art tutorials and techniques artists I liked used. This means that I would start out with a sketch, draw the lineart on another layer on top of the sketch, hide the sketch, use solid blocks of color on separate layers for the coloring, and add lighting effects on top of it all. I was never really happy with how it turned out, and I often felt like I shouldn't have gone past the colored sketch phase because the full render would lose so much life. I used pretty much the same brushes I use now, aside from some textured ones, but not to their full potential because they were painting brushes being used for flat shading. Here's a few examples of fully rendered stuff from 2020-2021:

Then, I realized I do NOT have to do things I don't wanna do, and I can totally remove any steps from the process that I wish! I experimented for a while until I settled on a new thing that worked for me. And so my current process is: draw a sketch, color it all on one layer (base colors), add light effects if needed, add another layer on top of everything, and paint until satisfied with the level of rendering. Then I add optional effects, such as fires or patterns. This means I leave the sketch layer visible, so I have to clean it and base colors with erasers as I work, but it enables me to preserve the sketchy energy. The "all rendering on one layer" approach frees my hand and I don't feel pressure to render everything separately and perfectly, which in turn, ironically, makes my art look more detailed because the eye compensates for unfinished bits. In addition, the line between a colored sketch and a fully rendered piece is much thinner, which means I don't have to commit to completing anything, and that is a big deal for an insecure person prone to artblocks. If I lose interest halfway through the lineart-and-blocks-of-color process, I am left with an unusable piece. If I do it halfway through the painting process, I get a charming, messy piece a la my recent Chappell Roan art (I left the armor unfinished, and yet it doesn't clash with the rest of the art). Here's a recreation I did to show what a big difference the different approach makes:

So why didn't I stop doing lineart sooner? I did try, but my attempts tried to replicate what I did when painting traditionally, instead of adjusting to my digital abilities, so it usually looked whack. I remember showing my friends the Rito Village piece back in 2019, which was painted based on a screenshot from the game, and one of them telling me "Don't go back to lineart!" I was like "YEAH I am NOT going back to lineart!!! I will keep painting!!!" Only to realize that painting landscapes with already stylized references and painting portraits were completely different. Here's a painting portrait from one of those trial and error attempts. Later I realized the mistake was working on TOP of the sketch, as I would have done for traditional work, instead of both below AND on top of it - after all, my intention was to preserve the life of the sketch, which was impossible when I couldn't even see it. I also didn't understand color values (or honestly, any color aspects) very well, resulting in some low-contrast, unappealing blobs.

So yeah, my advice to any beginner digital artist is: experiment and figure out what works for you. Think about what makes you happy when creating, and build your process around it. Also, keep researching art theory and applying it to your work. Good luck to you and all other digital artists~

[sanctus-ingenium]

Just wanted to ask, please forgive me if you've already answred this, what program do you use? Your art fucks HARD and like. I was looking at your art of the two moths over the city they die in and I was hit with the wave of "oh that looks really fucking fun actually." Like i know my art program can't do some of those effects and like, I'd love to try fucking about with them.

hi there, thank you! all my art is done in procreate and paint tool sai

because you mentioned that drawing in particular i thought it would be fun to break it down and show ppl what exactly went into each part of it so check this out

sketch & lineart - the brushes come from georgbrush.club and the urban sketcher is my most commonly used lineart brush, it has a nice irregular shape. the square brush is nice for big blocky sketches.

the cityscape was REALLY hard but basically I got a photo of the skyline of florence, traced some basic building shapes, then bullshitted the rest using the vertical symmetry/mirror tool to cut down on the amount of work (so i only had to sketch one half of the city). then for lineart I turned off vertical symmetry, turned on the two-point perspective tool, and got this:

the rose windows were made using the radial symmetry tool.

I didn't like it being so flat, so I used the liquify tool to make a kind of fish-eye effect (limited success tbh). I liked how it looked but the buildings in front needed something to cover them up to make the liquification less obvious...

first pass colours. I felt they were very washed out, aside from the sun which i loved. I use the spectra brush (default procreate) for skyscapes a lot, I love the texture. Although the clouds were filled in using the lasso selection tool, I softened the edges using the square pencil again and added texture using true grit sampler grainy brushes. The translucency effect comes from my setting the brush as an eraser. The sun rays come from the radial symmetry tool.

Blocking in the moths' colours was done with the urban sketcher again.

Something people may not have noticed is the labyrinth hidden in the sky! yeah I had a bunch of versions where it was more obvious but I found that it clashed a bit and was too busy, so I made it subtle. But yes. I searched for "royalty free labyrinth" and picked one.

The toner grit brush is one you've seen before if you've looked at any art on tumblr lately (this is such a popular brush) and it's from the true grit fast grit set. The pointillism brush is from the true grit free sampler pack, like my grain brushes.

I added shadows to the moths, increased saturation overall, and changed the clouds to a translucent blue (you can even see in the sun where I forgot to block in the sun itself because the clouds over it used to be opaque lol). Moon rays were drawn using the radial symmetry tool but this time with rotational symmetry off. I also moved the moon down closer to the moths because I felt that it was a bit far away, and this served to visually divide the drawing into three equal parts, so I chose to lean into that and divide the sky colours too, to show passing time, or an endless moment - morning, evening, night, etc.

And then the oroborous, I tried a few different effects on it because I wanted it to be very clearly separate from the main scene - I settled on a dot matrix newsprint texture, using procreate's onboard tool, and some heavy chromatic aberration. This is because the oroborous isn't real, it's purely symbolic and the moths' demise started when they became photographers so I liked the print media aspect there as well. The story itself is about grief without closure, cyclical violence, and sunk cost fallacy, while everyone explores an endless labyrinth, so an oroborous fits I think

what makes art fun to me is thinking up ways I can tell a story using just a single image. and sure a lot of it will be lost to an audience who isn't familiar with the characters or backstory but i want to leave enough in there that even complete strangers to my work will be able to construct a narrative about what's happening here, rather than it just being a cool image. that's my goal.

Finally I exported it to sai on my pc to give it a once-over. this is really important because the retina display on an ipad is oversaturated on purpose, to make everything look amazing and vibrant. but what this means is that on other screens, your work might look washed out. it's especially bad at displaying yellows! so i look at it in sai on my pc and i make minor adjustments, in this case I actually added another multiply layer on the moths and an overlay on their non-shadowed parts to increase the contrast there.

finally if you've read this far, I played a little trick with the caption of the drawing. yeah, THEY die... but only one of those moths is a theythem pronoun haver... the other has to survive. he isn't given a choice in the matter.