#Just wanted to do a little experimenting with the lineart on this one

[unproduciblesmackdown]

also "textless" versions of these, wahooo

[crabsnpersimmons]

day two of clawing my way out of artblock

tried something a little more ambitious today: i've been thinking of how i can bring my digital art style into my traditional art. so i tried experimenting by drawing chef Moon from my Have You Eaten? AU with markers and colour pencils (because honestly, it's the lineless details in their design that make them harder to draw traditionally, which is why i lined them all with a fineliner in their original drawing, which is fine, but it's a different feel from lineless version of my digital art, so i wanted to see if i can accomplish it)

i was tempted to just leave today's practice at that, but then i decided to note down my thoughts:

(definitely recommend marking up your drawings/studies, or write your notes elsewhere.)

overall i felt kinda dissatisfied with the experiment and marking it up with my thoughts helped pinpoint the problem areas and what i should try for the next time. so i took all that and tried again:

(i also decided last minute to try something with the lineart, adding darker areas by adding a few dots of a darker blue and blending it out. dunno if i'll do that all the time, but it's pretty)

but i'm glad i kept going after the initial experiment. i'm pretty happy with the final one (maybe i'll try Sun and Eclipse in the coming days. you have been thoroughly warned.)

[swagginmun]

Hello!

I just wanted to tell you that your art and way of storytelling is AMAZING. You're one of my biggest inspirations, and one of the people who got me into LMK (which I am very grateful for! Thank you so much)!!

I also have two questions for you (if you're not too busy! I dont want to bother you-)

What's your process for making illustrations? Yours look so pretty and they are so wonderful to look at!

And, what's your tips for anyone who wants to make a LMK fan-comic, but is a little scared to get something wrong? (Like good representation and cultural no-nos for example. I've done research, but the internet can be a little confusing and messy about topics like this, so I wanted to ask for help!)

I do hope that I'm not bothering you in any way!

Have an amazing day/night!

This is an oldie ask, apologies, but I do have a better way to answer this now! Typically, when I work on my pieces, I have 4 main phases: Roughs, Lines, Flats, and Renders! I'll use this Nezha piece as an example!

My Roughs stage includes getting references, color themes I may want, and feeling out the general vibe I want out of a piece! For this one, I really wanted to push Nezha's face expression (my main) as well as try to emphasize the speed at which he was moving.

Once I do that, I try to space out everything in the background, and refine the sketch with one more rough draft before moving on to the lines!

The Lines stage is pretty self-explanatory: this is when I line everything and make additional changes I may not have thought of from the Roughs stage: For this one in particular, I remember wanting to add details of more wear and tear, such as the sash being a bit damaged, or his bracelet getting cracks, or his face being a little scuffed up.

Next up: Flats! This is when I would flat color, as well as adjust the lineart to have colored lines (its already colored in the prior screenshot, but my lineart starts out all black) I find coloring the linart helps make the colors feel more "lived in" for lack of a better phrase

Finally, the render portion, which usually starts with the BG for me most times; I find if I know the environments colors/lighting it helps concrete where light is affecting the characters

This is your overlays, mutiply, and shine layers in action! Flat coloring makes my soul itch, but rendering really helps quell that pain for me; esp if I get to work with gold/hair shine! I hope that was helpful! And as far as advice for respecting cultural-related things, honestly, as an American I don't know much in the realms of specifics, but I do know to try to have basics understood, which I gather from what has been made thus far within LMK, reading the source material/fact checking information I come across, my own experience of being black in America, and reviewing travel advise funny enough. I wish you a good luck with your artistic journey homie!

[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(＾∇＾)

[distant-velleity]

Just listen to your instincts and do what feels natural!

[SR Music Week] Yuhua joins the battle as a dancer and backup vocalist for Hazard/Riff! Many thanks to @raguiras2 for hosting this Music Weeks event!

Voicelines and concept sketches beneath the cut~

~

Summon: Don’t think that I’m in this to win, I’m here to have fun and do what I love. That’s fine, right?

Groovification: — LOCKED —

Set to Home Screen: A little rocking never hurt anybody, did it?

Home Transition 1: Actually, confession time, I’ve started to feel a little shy. Everyone in this group is so talented in their own way, y’know? …But I gotta keep up and pull my weight.

Home Transition 2: To think Deuce would be a leader for Hazard/Riff… Well, not what I expected, but where else would he go? It just seems right. …Sorry, just thinking out loud.

Home Transition 3: So this is what Allen looks like when he’s in his natural habitat… Ah, I’m just making some observations. I’m not trying to say anything bad, rather—the opposite of that. Like, he seems… more sincere?

Home, after login: Practice waits for no one~ I’m gonna go start warming up. Wanna join me?

Home Transition (Groovification): — LOCKED —

Tap Home 1: Eh? You didn’t think I’d ask to join this group? …Rude~ We can’t all be soft all the time. 

Tap Home 2: It’s funny to me—all you have to do here is call something a competition and—boom. Even someone like Leona’s motivated. …Oops, did he hear me say that?

Tap Home 3: Working with Floyd is a double-edged sword—when he’s having fun here, I get all excited, too. But if he’s not in the mood, then… haha, we just gotta hope and pray.

Tap Home 4: Don’t worry, I’m used to wearing loose clothing when I dance. Compared to the long pants and dresses I sometimes wore, this fit is like a breath of fresh air~

Tap Home 5: I wouldn’t touch me if I were you—I’m all sweaty and tired from rehearsal. 

Tap Home (Groovification): — LOCKED —

Duo Magic (yes I know SRs don't have them but let us dream):

YUHUA: How about we give them one hell of a show, Vizzie?

VIZZIE ( @twistedwonderlandshenanigans ): We’ll blow them away with the sound we’ve got, Yuhua!

~

ALRIIIIGHT let's get into the design of this bad boy

the idea was ... basically just a bit of techwear, modern street style, all that-- i was sort of winging it haha. i wanted a very loose and free style with the cargo pants, belts, and unzipped jacket, while the hood was added for dramatic effect when i started the lineart~

i felt like experimenting with his hair so once again i slicked back the right-hand side of his part, i would have given him his pre-overblot hair (for more variety w/ the long hair) but to be honest i kind of like the short hair with this look~ it kind of screams kpop idol but whatever HAHAHAHAHA

fishnet under clothing was an absolute must, and i went a little more on the ""bad boy"" look by giving him the chain and cuff earring on one side... plus the dramatic eyeliner/eyeshadow... yeah. RIP yuhua's lip gloss we will always miss you

also shoutout to V for volunteering vizzie for the duo magic-- i love me a good RIOFY friendship

(as for headcanons on how yuhua would act during this whole event, um-- he'll behave i promise 🥰🥰 he'll try not to let his inferiority complex get the best of him I MEAN WHAT WHO SAID THAAAT)

i can't think of anything else that i thought about particularly hard during the process, so uhm-- thank you for reading this far and no promises on when i'll get the groovified version out if ever LMAO

~

art taglist (ask to be added or removed, i'm very sorry if i forgot someone): @thehollowwriter @theleechyskrunkly @elenauaurs @casp1an-sea @nahelenia

@skriblee-ksk @boopshoops @scint1llat3 @nyx-of-night @nemisisnemi

@beneathsakurashade @ramcatshackle @kathxrat-01 @the-banana-0verlord

[entiqua]

I love your artstyle!! Do you have any tips for drawing?

thank you so much! i'm really happy you like it!!💗 as for tips, what i would say would change drastically depending on what kind you're looking for, but some very general ones:

draw what you love and want to see most, regardless of whether anyone else wants to see it. if you don't enjoy what you're drawing it'll never come out as good or genuine as something your whole heart and soul is in. i mean you'd think this would be a no-brainer but sometimes i've had to sit back and ask myself 'if no one was ever going to see this except me, would i actually spend time drawing this?' and i was surprised by the answer

that said, it is also completely valid if your motivation for drawing is to draw for other people! there have been plenty of times where i was too artblocked to draw my own ideas but was still able to draw commissions or gifts and enjoyed it simply because making other people happy with my art makes me happy.

don't get too caught up in having a consistent art style. in my experience this 1000% hinders you

having your sense of anatomy degrade over time without you noticing because you keep drawing the same types of characters is a very real thing! if this is a concern to you be sure to draw a variety

follow a billion artists that you like the art of and you will have endless inspiration injected directly into your brain every time you open social media

my favourite practical tip for those who draw at a desk: keep a small mirror next to you at all times. absolute game changer for quickly referencing hands

if you're drawing digitally, make the canvas huge! in my experience this lets you draw messier/faster and you can't tell at all when you zoom out. if you tend to get stuck spending unnecessary amounts of time micromanaging pixels (me💀) keep it zoomed out while drawing

related to the above point, messy drawings can have far more expressiveness in them than neat and polished drawings. nowadays i never do lineart and go straight from 'barebones stickman pose' to 'varying-levels-of-coherent sketch' and use that as my lineart. sweet freedom from the sketch-looks-better-than-the-lineart phenomenon

if your goal is to improve, then you really do have to scrutinize your art, figure out what you're not satisfied with, and commit the time to focusing on it. 'practice makes perfect' kinda rubs me the wrong way because of how much i've seen it interpreted as 'just draw everyday and you'll magically improve' but genuinely it won't get you very far if you don't actively think hard about what you're trying to improve and take the steps to do it. is this a hot take idk. also hand in hand with this, not every artist is trying to improve and you shouldn't feel bad for this! maybe you just wanna make a little headshot doodle of your fave blorbo and that's your only drawing goal ever. awesome. maybe you know your art has flaws but it's passable enough to convey what you want and you're perfectly satisfied with that. (this is the stage i'm usually at). also awesome!

don't hesitate to draw something because you think it's out of your skill level. the worst that can happen if you draw it is that it comes out terribly but you learned something and can always redraw it better in the future. the worst that WILL happen if you don't draw it is that you'll never draw it. and then it will sit in the back of your brain haunting you for years. it's not like i'm speaking from experience or anything aha

look up 'hand stretches for artists' and do them if you draw a lot unless you wish to summon the wrath of the carpal tunnel demons

of course, these may not necessarily work for you, and most importantly(!) these are coming from the perspective of someone who is primarily a hobbyist. some of this won't be practical for people who need to build an audience, maintain a consistent style for work, etc. these are just things that have personally helped me over many years of drawing :)

[piccolos-bigtoe]

POV you're a betta fish in an already shitty tank and some annoying asshole is trying to get your attention

Short little cute little Scout animation WIP I am working on....... Perchance I am enjoying animating, mayhaps... I had to do a whole project for my class and make an animation (I'm a studio art major, so liek I am just somewhat tech skilled and can use photoshop jussstttt well enough but I know little to nothing, the most animation experience I have was me at 14 making frames one by one in CSP and throwing them into EZgif one at a time LOL) and it was liek super frustrating at first but after seeing the final result I was actually like "you know what.... perchance this is cool..." So hes gonna have a little talking textbox visual novel moment. I also wanted to animate because I watched Quazzies Lil' Pootis FINALLY and it has my whole heart mannnn

OH also I LITERALLY accidentally deleted the fucking file for the Scount one because of COURSE I did, BUT I saved all the initial frames so not all is lost!!! Sobbing tho, my lief is soooooo hard...

I am still working on that comic from forever ago, and I actually plan to make it into a screen print given I have enough time and bookbind it into a physical comic LOL.

If anyone is curious... This is the animation I was working on for my class. The actual lineart wasn't an issue, it's just that my dumbass didn't clean the keys enough and like it worked as a sketch but not as an outline, and I was lazy and didn't want to redo them (but I did eventually w.e.) This is my character Joey Hottdog..... He hates his dad and he is a sigma loner emo in a normie world... I always wanted a cartoon of him and so I made a Cartoon network style TV bumper... I used Clip Studio Paint to make all the frames, and then Opentoonz (free animation software, it's zupah cool) to put it all together.

I hope that people enjoy my little rambles, tbh it's really fun to ramble I wish more people did it becoz I look at my mutuals (or just anyones) stuff and I liek love it all and I wanna hear people talk about their stuff or maybe I am cray-zee

[chanafehs]

Do you have any tips/tricks for doing lineart? That piece of all your da protags turned out so good but whenever I try to do the lineart for a full body piece it always comes out too thick and simple or too detailed so that it just looks like a mess

Thank you so much!

I totally get that tbh I also have issues with that as well - think something that helped curb it is taking a second to zoom out every couple of strokes? I don't know what program you use but I have a little navigator screen in my CSP, If it looks too cluttered or thin from a more zoomed-out perspective, I'll go back and change it. It's really easy to get caught up in the details especially if you're zoomed in but it is important to remember that when people see your art they're not seeing it super zoomed up like you are - take a step back and look at it from the perspective of someone else seeing it come across their dash.

Idk if this is an artist sin ™ but I change the brush size frequently when I do lineart as well - I never keep it at the same size. With faces and smaller things like jewelry I go smaller and with stuff like fabric and armor I go bigger. Don't be afraid to switch when you need it!

If I think it needs more detail and I'd like to add something to it I make another layer, lower the opacity on my lineart layer, draw what I want to add on the new layer, and just erase everything underneath what I drew on the original lineart layer, then raise the opacity, and merge - just so I'm not doing everything on one layer and I have room to experiment with what I want.

I don't know if this will help but I also have a post here about how I do linework personally (however the brush link is down bc CSP removed my brushes for using my own artwork sigh. I'll redo it one day):

Im not sure if this is super helpful but I hope it makes sense! Thank you!

[kozachenko]

(Click the image for better quality)

Yipeeee that Keiki and Mayumi fanart I posted the WIP of is finally done woooo- This piece was a very experimental one that I'm kind of OK on. Maybe because I've just gone insane looking at it for so long and I'm my own worst critic lol.

Artist's Notes;

So I've once again been playing around with my rendering style, mainly because I have been wanting to improve my lighting for a while now and as I was just scrolling through Tumblr, I saw some of the official art for that one webcomic-turned-animated-TV-Show Lackadaisy and was immediately inspired. I also have seen a technique a few times in the past where the lineart and shading are merged together, so I've been meaning to try that for a little while.

I did some experimentation on this one sketch of Keiki I posted in my sketch dump and I really liked the results of it, so I carried those over to this piece.

I ended up scaling up Keiki and Mayumi from the original WIP because I felt like they were both getting lost in the composition, and I'm glad for that because I think it works a lot better. I'm not a fan of how Mayumi's sword turned out at all, but it's not really meant to be the focus of the piece so eh. Overall, I think I could do better with my colours, probably because with Keiki and Mayumi's colours, I did them flat in greyscale and then used a brush on the overlay blend mode to colour all of them over, after which I changed the base layer for their colours from white to yellow and then lowered the opacity so it all went together better. I also decided to use gradient maps for a lot of the background elements, mainly to experiment with getting in my values first to make them pop out more. I ended up finding a really nice sky gradient on Clip Studio Paint that I really liked, and that kinda helped to establish the colour scheme of the background a lot. I think the whole "start in greyscale then colour" thing really works better with painterly styles rather than more illustrative ones, and while it is good at making sure your values are more readable, I honestly don't think I have the skill level to pull that off yet. Honestly, I think I've been looking at this drawing too long or maybe I added too much to it, but I wish I could've made the colours less monochromatic, but I'll just save that for the next piece I do.

I do love how the flame (...well it's more of a weird space rift than anything in this piece) and the lighting turned out, those were fun to do. I was initially struggling with the flame and how Mayumi is positioned in front of it before realizing "Oh wait! This is a weird abstraction of a weird creature! I don't have to follow the laws of anatomy!" and just dislocated it's flamey bottom jaw from the main body. I also changed the colours of it since I was really not liking how incredibly bright it was when it had lighter colours. Again, the gradient maps served the more painterly style of the flames well.

I also love how Mayumi turned out. I could do her sleeves better but that's more of just me needing to study how those types of sleeves fold in that position more. I'm also very happy with the posing, the technique I used for that was taking photos of myself in the positions I wanted, blocking in the silhouette and then modifying that by adjusting it to my lines of action that I drew on top of the original photos, and then sketching over the silhouettes and drawing in the shapes of the hands overtop of the photo if I needed to get the fine details right. As for what I do to take the pictures myself, I use a tall chair I have, prop up my phone with a phone stand, put on a ten second timer and scramble to get in position. Yes, I did have to use a bunch of thin markers I had to try and get the hand positioning on Keiki's pose right, yes I do have a fake sword that I used to get the positioning of Mayumi's arms and hand right, the sword was for an old Halloween costume from several years ago. I really like how both Keiki and Mayumi turned out in this drawing, I'll have to play around with these designs for them more in future drawings.

Also, if you wanna know why I draw buildings like that, when I watched Fantasia 2000 as a kid (One of the Disney movies where they make really beautiful animations to classical music) the way they drew the buildings in the first few sections Rhapsody in Blue segment (the jazz one with the cities) changed my brain chemistry and now whenever I need to draw buildings really quickly, I refer back to that. Since the buildings aren't really the main subject, I didn't put much thought into them.

As you can tell I am very tired of this piece, mainly because I made things harder for myself by overcomplicating the process compared to what I usually do, mainly with the whole "starting in grayscale then adding colour." I'd honestly just prefer having a black layer set to colour that I can just toggle on and off when I need to see the values, but it was good to experiment. And that was mainly the point of this whole drawing, to experiment. I'm definitely going to have to play around with this new style I'm going for, mainly because I liked how it turned out a lot in the augmented Keiki sketch, and also because I want to find ways of making it suit my style more. I also really want to keep experimenting with my lighting like this, it's very fun. Last but not least I am never starting in greyscale again because dear god I do not like the workflow it forced me into. I don't have a problem with the method itself it's mainly just a skill issue lol.

If you wanna read my headcanons for these two, I put them in my WIP post, so you can read them there if you want to. The more I look at this the more I prefer the simplicity of my WIP. I might go back to this and just take away the fancy colours and effects to see what it looks like without all of that stuff and reblog this post with that drawing, but for now, I don't think I can look at this drawing again for a while.

[entelodante]

Wanted to expand on some domesticated animals of Mirum. These are basically cat-dog birds, ranging in size from cat to medium sized dog. Still need a name for group over all, suggestions appreciated! In depth info below the cut! 

1. The OG This is the wild ancestral form, basically the wolf to the dog. They are from the grass/shrub lands of Mirum and spend most of the year scrounging around for food until the end of the wet season. Once the floods are over they pop out babies like nobodies business while feeding on the debris left by the flooding. By the time fire season rolls around their numbers are pretty scarce. They travel in little groups with multiple hens and one big buff man! But this man does not necessarily need to be a male, or a bird even! They were the first species domesticated by the chimera and the only one to leave Mirum with them.  The ‘Natural’ Breeds These are just the morphs bred into these fellas without any magical manipulation involved, so they still look relatively close to their wild ancestors.  2. The Cupid  These are purely pets, originally kept just for eggs they lost that purpose as more efficient birds came around for that. Now they just make docile lil lapbirds. Though inattentive owners will find old eggs hidden throughout the house if they’re not careful. Most of the time though they tend to stay by their owners ankles.  3. The Ruff Fluffy lil guys who make for great pest control, they’re a very sporty breed despite everything and need a lot of energy to stop them from destroying their surroundings out of boredom. Will do well with another ruff or dog of similar size, though they can be a bit of a bully in the care of a lax owner. 4. The Gallop Literally just made for running, can keep up with a chimera at full sprint and at a normal long distance run. For those with a more active lifestyle. Though they will just as happily laze around all day, just happy to be included honestly. These are also the best swimmers of the natural breeds with their extra oily coat.  5. The Dome This is a purely ornamental bird, stocky and colorful they are the most relaxed of all the birds. Most prefer chimeric company to that of other birds and have a habit of separation anxiety when not with their owner. In line with that, these are the most accepting of chimeric ‘talk’ with most quickly getting accustomed to projected commands. Though please don’t overwhelm your bird, casting the full range of sentient experience unto lesser beings CAN and WILL cause them existential distress! Not to mention your personality may displace your pet’s. 6. The Fluff  The original pillow stuffing. These guys feathers are softer than any other. Keeping a mostly downy ‘undercoat’ for their whole life. That being said these guys can get absolutely RANCID if not kept clean and tidy. Only for the most advanced and attentive of owners unless you want an unholy dingleberry beast skulking around. They also are VERY bitey.  7. Crested These are historically for eating, but have grown to be a very pish posh fancy breed. Most are pure white, thanks to inbreeding, and albeit are not the sharpest tools in the shed. But if you are looking for a bird who may just ignore your commands but love you eternal, this is your bird! 

That’s them so far, will make the magical monstrosities later. Also wanted to try a different lineart style. Thin is nice but I miss my chunky brush. Glad to have tried it though! 

[courfeyracs-swordcane]

Commissions Open!

Making a new post since I have better art now 👍

Hello little gay people in my phone. You want me to draw your ocs So Bad 👀

PENCIL SKETCH/LINEART: starts at $7 for a half to full body on a blank background, with options to add on extra characters, simple colors, or a physical copy (pencil sketch only)

BLORBO DOODLE/MEME REDRAW: starting at $13 for a simple drawing with full color and light shading. Doodle poses are half to full body at my discretion, and meme redraws include up to two characters in the base pricing.

REGULAR COMMISSION: starts at $25 for exactly what it says on the tin, with add-ons available for extra characters and detailed background

FULL SHEET: starts at $65 for up to six drawings (ie. outfit refs, story progression, character interactions, au moodboard, etc). Mostly full body, fully colored and shaded, with minimal background.

Will Do:

Ocs, fandom, real people (as long as they’re okay with it), ships (poly or otherwise), gore (external), dragons

Will Do My Best With Limited Experience:

furries/anthro, gore (internal), suggestive/nsfw, animals besides dragons, mecha/armor (I’ve done transformers but that’s about it)

All pricing is negotiable, especially if you’re looking for something that’s not necessarily within any of these categories! Get in touch and we can work something out. :)

My Ko-Fi (as linked above and again here) is the best way to purchase a commission, but I can also take payment through Venmo or PayPal! (just dm me for those bc deadname lmao)

[pyrosomatic-metamorphosis]

rough art tips to learn and then break at your leisure.

the distance between your eyes is roughly one eye. the corners of your mouth dont extend past the middle of each eye. ears are roughly in the middle of the tip of the nose and the eyebrow. the eyes are in the very centre of the head. the neck is just a Little slimmer than the width of the head (varies with fat distribution, but fat tends to build up under the chin). hair is easier to draw when you plot out the hairline and then where it parts. leaving appropriate distance on the side of the face (cheekbone area and back to ear) contributes to making characters look more realistic/hot as hell. i dont know specific tips for that so use reference. an amazing reference/study site is lineofaction.com . if you think of the face in planes it makes it easier to construct (look up tutorials). if you draw a spiral like a tornado it can help you figure out awkward perspective for extended limbs (look up foreshortening coil technique). tangent lines are when two lines intersect and cause visual confusion (when it looks like a line that defines an arm is part of the line that defines a building, for example) and avoiding them makes your art way easier to comprehend. quick trick to good composition: choose a focal point (where you want your viewer to focus), detail that area the most, and make sure various elements of the piece are pointing to that focal point. you can use colours to contrast hue, saturation, and brightness and make certain elements of your drawing stand out. drawing in greyscale can help you figure out values. using black in a piece isn't illegal but you should know what you're doing when you do use it- it desaturates a piece and if used as a shading colour can desaturate and dull whatever youre shading too. if you use almost-black lineart and then add black to darken the very darkest areas it will do a lot to add some nice depth. the tip of your thumb ends just above the start of your index finger- your thumb also has two knuckles and all your other fingers have three. if you see an artist doing something you like (the way they draw noses or eyes or hair or anything else) you can try to copy that and see if you want to incorporate it in your style <- this is ENCOURAGED and how a lot of us learned and developed our styles. there are ways to add wrinkles to faces and bodies without making the character look a million years old, you just have to keep experimenting with it. The smile wrinkles around your muzzle dont connect to your mouth or to your nose; there should be a small space in between smile or nose and the wrinkle line. eyes when viewed in profile are like < aka a little triangle shape. think of the pupil like a disk and apply foreshortening to it (it looks like a line when seen from the side instead of a full round dot). subtle gradients can add a LOT to a piece. texture can also add a LOT. look up Tommy Arnold's work (his murderbot pieces are some of my FAVOURITE) and zoom in. find those random little circles he added and try to figure out why he added them there. light bounces. there's lots of way light bounces. sometimes it even spreads through the skin. i do not know these light tricks yet but i want you to know that they exist. draw a circle to indicate hand placement, draw a straight line between that circle and the shoulder, and then (normally at a right angle) draw a straight line on top of that line to find the placement of the elbow. elbows are normally placed Just above the hip when standing and your arm is at rest. there are no bad colour combos if you're brave enough about it, just fuck with the saturation and brightness until it works. keep playing. try new things. add your own tips to this post if you want or even expand on some ive mentioned here. good luck go ham etc

[redgoldsparks]

January Reading and Reviews by Maia Kobabe

I post my reviews throughout the month on Storygraph and Goodreads, and do roundups here and on patreon. Reviews below the cut. You might notice the layout image looks different! I have switched to using the Storygraph wrap up and I'm now linking to the Storygraph reviews as well :)

The Sweetness Between Us by Sarah Winifred Searle 

Perley and Amandine are both readjusting to high school life after a major health crisis. Perley was diagnoses with diabetes; Amandine was turned into a vampire after a car crash nearly ended her life. They bond in remedial classes over just wishing their lives could go back to normal. Perley tentatively rejoins the knitting club; Amandine wants to rejoin a sports team but struggles with exhaustion; both of them have less energy than they had before. Their friendship develops into something more, but can they maintain a romance when they are both still figuring out their own shit? This is a very sweet slice of life story with a fun dash of the supernatural. I wanted a little more from some of the queer themes; I spent most of the book unsure of Perley's pronouns. But I was absolutely rooting for these two oddball teens to find their way back to each other.

LaserWriter II by Tamara Shopsin

This is a novel, loosely, but more so it's a little window back into a specific era of repairable technology and the people who were drawn to it. Set almost entirely in a (real, I think) Mac repair shop in New York City in the 1990s, this book jumps from backstory to backstory, introducing a range of self-taught computer fanatics. The cast and the story both feel wide but not deep. I didn't get to know anyone well, not even Claire, the newest hire and lead character. It did give me some serious nostalgia, even though I was really too young in this era to really have any meaningful relationship with it's technology. A weird but charming little book.

The City in Glass by Nghi Vo, read by Susan Dalian

The demon Vitrine has been nurturing, building, challenging and haunting the port city of Azril for hundreds of years when the angels come to burn it to the ground. She tries to defend her people from the heavenly attack but only succeeds in cursing one of angel, embedding a thorn of spite in his side. When his brothers leave, he is forced to stay, and since he has nothing else to do, he watches her begin the long, painful process of cleaning and rebuilding. This is a dreamy stream of consciousness book with less plot that I'm used to from Nghi Vo. I'll admit this one captured me less than her work usually does though the prose is very beautiful.

The Concierge at the Hokkyoku Department Store vol 1 by Tsuchika Nishimura 

Akino is a new hire at the Hokkyoku Department Store, a store build to serve talking animal customers including many unusual and nearly extinct species. Akino must find a way to be present, polite and helpful without hovering or intruding on the customers experience. This is harder than it sounds, especially with fussy managers always watching the store floors! Sweet, silly, and very warm hearted. I like the delicate, retro lineart style.

The Gentle Art of Fortune Hunting by KJ Charles read by Cornell Collins 

Another fun historical m/m romance from KJ Charles, this one more in the comedy of manners genre. I had a good time with it, I liked the leads, and as usual the secondary characters really shown. I did wish the enemies part of the enemies to lovers plot had lasted a bit longer, and the overall silliness of the story isn't going to make this the first Charles book I rec to anyone unfamiliar with her work, but it kept me entertained.

Noodle and Bao by Shaina Lu 

Momo loves living in Town 99, a historically Chinese neighborhood where she knows everyone and all the best places to eat and hang out. But things are changing. Her parents are worried about making rent, and her favorite restaurant was kicked out of its location and now operates out of a cart. The owner of the new restaurant, Fancé Cafe, has big plans to buy out the whole block and upscale everything. Momo rallies her friends and neighbors to fight back against the gentrification. This is a very sweet book for young readers, with talking animal characters and whimsical food battles interwoven with community organizing. An epilogue explains the issues around gentrification for a child who might not have encountered it before.

Brownstone by Samuel Leer and Mar Julia 

Almudena grew up with her white mom, always wondering about the Guatemalan father she'd never met. Until one summer mid-high school when her mom heads off to Europe for a dance tour and drops her off at the Brooklyn brownstone her father, Xavier, is renovating. Almudena has to navigate around a language barrier, an through unfamiliar neighborhood, and into a close knit Latino community many of whom see her as not brown enough to count. But Almudena is determined not to let this opportunity to know her father slip away. This is such a warmhearted book, funny and kind, with a really well developed cast. The art and the writing make a perfect whole, capturing a deeply specific mid-1990s moment. I've been following the artist's self published releases for years and I'm so happy to see their work shine in a full length book!

Leap by Simina Pepesco 

Ana is a college student in a contemporary dance program in Budapest, but her heart has fallen out of dancing. She skips her own classes to spent time rehearsing with her secret girlfriend, Carina, an ambitious ballerina in the classical program. Her new roommate, Sara, transferred out of classical and into contemporary and is thriving in the new, more supportive environment. She's also starting to develop feelings for the kind teacher, Marlena, who helped her transfer. Both of them are struggling to figure out their relationships with their art, as well as their sexualities, as well as how safe or not safe it feels to be out at their private, gossip-prone school. This is a really well told and well drawn coming of age story; I also really appreciated it as a story of queer friendship which complicated some of the standard narratives around first crushes/first relationships/coming out being kind of anti-climatic, half affirming, half disappointing. Definitely recommend!

Martyr! by Kaveh Akbar 

What a book! Several of my friends called this one of their top reads of last year and I can see why. The book centers around Cyrus Shams, a poet and recovering addict, who was raised in the US by a single father. The pair left Iran when Cyrus was a baby after his mother was killed in a passenger plane, shot down by mistake by the US army. In his late 20s, Cyrus is mostly drifting through life, working weird part time jobs, sometimes writing, trying to stay sober. He wants to write about the concept of martyrdom, about dying for a cause, or what makes people consider a death meaningful. When he hears of a Persian artist literally hosting her last weeks as she dies of cancer in the Brooklyn Museum of Art, Cyrus flies to New York City to speak with her. Their conversations will impact him more than he could ever have dreamed. This is an usually structured book, full of flashbacks, alternate POVs, dream sequences. It's rich with layers of symbolism and meaning, especially with repeated references to names, to lineage, to legacy, the lingering trauma of violence and revolution, and what a life of art demands from the artist. This book surprised and moved me. I'm delighted that it was chosen by my book club, so I've got a lengthy conversation with friends about this book to look forward to!

The Eyre Affair by Jasper Fforde read by Susan Duerden 

The Eyre Affair is a mystery-crime-sci-fi-comedy novel for the literary nerd. It is set in England in an alternate universe version of the 1980s, in which cloning of extinct animals for household pets is common, time travel looked down on as wretched career choice, and literary crimes get their own whole division in the police force. Thursday Next is a veteran of the Crimean War (which has been running more than a century) and a Lit Crimes special agent- her expertise is immediately needed when a priceless Dickens' manuscript is stolen by a thief whose image does not register on film. Things quickly get strange- and also hilarious.

Re-read in 2025: I revisited this after reading and loving Jasper Fforde's stand alone sci-fi novel Early Riser last year. Unfortunately, The Eyre Affair suffered in comparison- the main villain of the book is very weak, and I can now see the pacing issues of this debut novel. I still found it very funny and probably caught more of the classic lit jokes than I did last time, but it's no longer the Fforde novel I'd suggest people start with. Try one of his more recent works! 

She Loves to Cook and She Loves to Eat vol 3 by Sakaomi Yuzaki translated by Caleb Cook

This series just keeps getting more and more adorable! This volume introduced two new characters, and I braced for a moment hoping they wouldn't be rivals to the main couple, who are very slowly beginning to flirt. I should not have doubted!! Both newbies immediately seen that Nomoto and Kasuga are interested in each other and begin to cheer lead/wing man from the sides. Plus, in the author's note, the author talks about selling merch for a Japanese organization supporting marriage equality. I can't wait to read more!

[cyandreamzaceattorney]

✦ AA girls getting boba tea ✦

A few days ago I felt like drawing Ema, Kay, Maya and Franziska hanging out and drinking boba tea, cuz I really like the idea of these four having a friendship group :-D however, I unfortunately couldn't fit all four characters in so I (mostly) cut Franziska from the pic. Sorry Fran fans! I do love her but, I wanted to draw the other three girls a bit more (cuz that's just the mood I was in) and didn't want to stray away from this specific concept as I felt really inspired to draw them walking while chatting with boba tea.

Overall I do like how this picture came out, even if I definitely rushed it a bit (I think this was mostly because I got hyped over getting time to draw again, cuz I've been busy on and off). Unfortunately I lost my favourite brush liner before doing lineart on this and halfway threw my other liner magically dried up! So that was frustrating but, I worked around it and want to regain confidence in using fine liners so kind of a useful problem lol. I also decided to change up how I draw Kay in my art style a little and I think I like it :3 And, really like the outfits I gave the girls. Even if they are simple. They're also summer outfits because Australia is once again breaking the record for hottest summer (and it's still technically spring (⁠´⁠-⁠﹏⁠-⁠`⁠；⁠)). Fun fact, Ema is wearing a striped shirt as a reference to the stripe motifs in her aai design!

Now time for boba tea hc's cuz why not XD. Maya has a Taro milk tea with the regular black pearls, because it's purple and in my mind Taro and chocolate being her favourite flavours just makes sense. Kay has a iced tea with lychee jelly (mainly cuz I didn't feel like colouring the jelly but I see Kay liking lychee), idk what flavour her tea is, but it's probably a fruit flavour cuz in my experience ice teas are often fruit flavours. I also have the random hc that whenever Kay gets boba around Miles she gets a weird combo (e.g. chocolate milk tea with green apple pearls) just to see his upset reaction lol.

Ema and Franziska also have boba, you just can see it cuz Ema has them in a shopping bag which Kay is in front of. As for flavours, Ema's is definitely chocolate milk tea cuz her snacks in the English version of the games seem to be similar to tee vee snacks (idk if tee vee snacks are a thing in us, if they aren't they are small long cookies cotted in chocolate, kinda like pocky but much shorter, but thicker and fully coated) though I can also see her getting brown sugar with black pearls. Franziska I could see getting something like the regular tea flavour (which is called "Thai tea" or "original flavour" depending on the boba shop I go to) with no pearls or jelly because in my mind she doesn't like them :P, in general I don't think she'd like a lot of sweet flavours but that's because I hc her as not liking sweet food for no logical reason, my brain has simply decided this ¯⁠\⁠_⁠(⁠ツ⁠)⁠_⁠/⁠¯

Hope you all enjoy this drawing and my super austic ramble about what boba tea I think these fictional characters drink XD

Next traditional drawing will be in a new sketcbook as I'm almost finished this one (and the last pages won't be as fanart so I won't post them here). I'm shocked cuz I haven't finished a sketchbook in less than a year for several years now! But this makes sense because I drew a lot this year for several reasons :-P

[pigeonstab]

@unknownsodabrand Well Lucky you, I also love the artistic process and I keep all my sketches!! (seriously this is the most self indulgent question I could ever answer, thank you sm I'm gonna ramble a while sorry)

First I was only planning on doing the one Geno Illustration, I mostly wanted to experiment with the long 1000x2000 format bc I thought It could make for an appealing composition and it ended up being pretty challenging to get right.

So. I started with some rough planning of where I wanted everything:

Since this was gonna be a full Illustration I planned the colors earlier than I usually would (I have a love/hate relationship with coloring):

Didn't really like how it came out the first time so I just put a color mask over it, I wanted something a little warmer+brighter cause the flowers looked kinda green to me (Geno's was the one that gave me the most trouble and I liked it the least at first, by the time I finished It was my favourite XD)

Then I decided to make the three parts:

again used the same planning, rough sketch then color.

Then onto actually starting the Illustrations. I worked on these one by one but I'll show the process for all three by the steps rather than saying the same thing thrice.

as much as I wanted to keep the best for last I couldn't help myself and did the characters first.

Lineart:

(Error was supposed to be holding a golden flower so I made his hand's lineart and color layers it's own folder so I wuldn't mess it up trying to draw the flower. I looked a bit stupid so I scrapped the idea)

Flat color:

(I think I did Error's coloring after his background?)

In terms of backgrounds:

for Sans I started with the grid pattern, so I used a ruler tool and went in with color directly (the gradients are changes I did at the very end but I'm not editting out) Then I added the columns and the flowers were a last minute addition because the piece just felt a bit... naked. (also! I say columnS cause I planned on putting two, couldn't make it work the angle and space so I scrapped the bottom one)

The light is a yellowish white with gaussian blur of orange, it's an 'add' layer? ("ajouter(éclat)" because my app is in french) It's about 50% opacity.

I also shaded Sans at the same time as this with a multiply layer with a dark and light color (reddish brown and like light yellow) I'm not showing it bc I do have a 30 image limit I think

Then for Error's background it's just a case of making the lineart for the hammock, haing a layer underneath for the color, a white bg with blue gradient and the strings

For geno I have underneath the black to grey of the save screen, then I have the moss and the flowers

(The flowers were very fun to make I think I only copy pasted one?)

The lighting is a multiply layer over the whole image made the exact same way as Sans' coloring, I thought it was maybe a bit too dark so I dupplicated geno's lineart and colors folder to overlay over the lighting so he would pop more (seeing this now I think either would have been good. The first one might be better actually)

and that's it I think! If you read all of this, well first of all thank you but don't you have anything better to do?

also revised Geno's sketch once but it didn't fit in any where:

Error with my attemps of making the flowers work

[mypillowpaper]

🡻VENT

Hello, this is going to be a rather sad kind of message, the first time I have to talk about a client with such a bitter perspective for me.

Clients are always a reason to celebrate, with many I have developed super long conversations, others have seen me grow on social networks and I have seen them get married, have children or change their lives little by little just like me.

In my community I am always happy to have good experiences with my clients, because even the few times I have not agreed with something, everything has been able to be discussed and come to a good end.

I have been in contact with all kinds of personalities and moods, both my own and those of others, for a long time and I know how to work with that.

Today was not like that. Today I had to deal with something completely different

I had to talk to a person with whom I had accepted a commission 2 years ago, and the last contact or response I had was in March 2023 -1 year and 7 months-

As we are all strangers on the internet and life can sometimes be very fucked up, I clearly did not make any claim and celebrated they return.

Fortunately I saved they files, and I say this because many artists after a certain period of time close them, send them to avoid legal problems or exactly what just happened to me.

I never added such clauses because i have had 2 cases like that and nothing bad has happened (although never for so long)

But with today I think it was quite naive on my part, because this person began to ask me for changes on a work that had been left with the base coloring, and the lineart already finished.

I agreed to change simple things but I also warned that I was not going to accept more changes that had to do with the pose. Not only because of all the time it took (you can change your tastes, and if you liked something before, and now you don't) but it is unfair to me, to my time and my current pending work.

So I limited the changes to the color section, no different from when other clients ask me for changes once the lineart is finished and accepted.

The person first accepted, then deleted the message and asked me for a refund for the commission, since they was not satisfied with my service .

The truth is that I was quite broken down. Because I had never had or experienced those emotions linked to a client.For me it is something incompatible.

But clearly I am not going to do it, my TOS are clear with the no refunds and the situation is clearly cynical, I have plenty of reasons and explanations as to why, but i dont have the objective of humiliating anyone or generate hatred.

That's why I'm not giving names, I'm not giving pictures or anything. I just want to vent because I feel completely discouraged, because I didn't expect a right hook like that. And it's a bittersweet feeling, and finally I hit the wall after 7 years of work.

It's very easy to show up after almost 2 years and ask for a refund when the work is almost finished, and claim that you're not happy with the results.

But being nice doesn't mean I'm going to allow something like that.

So I'm going to rewrite my TOS to make the same clause as my colleagues, and I'm going to keep this low key and private.

My colleagues will know about name and screenshots, because it's important to be careful with these things. But for the rest, it's not fun for me to start any carnage.

I understand the misunderstanding, I can imagine what this person felt when I set a limit (most people don't like it, it's a bitter pill to swallow) but it's also necessary and it's true that during these 7 years, many people have responded well to it and have even given me excellent treatment or negotiated with me.

I have witnessed at least 200 responses much better than the one I had to read today, so I am able to know, perfectly, that nothing that happened was fair. And that it could have gone better if they hadn't demanded things that way, and in a situation where their actions were not supported.

I know this is different, but my head is now like a pressure cooker, and I needed to let it out, to let it go.

Thank you all, for having accustomed me to such nice treatment, that although today I felt naive, I also felt very lucky to have you to have a bar with which to measure correctly.

A huge hug, from your favorite Pillow.