#a4 to a3 drawing

[onedeadlycookiee]

I worked a bit more on this school project, which btw I have to give this Wednesday and I still haven't finished it (T ^ T)

Wish me luck and I'll repost when I'm finished, probably Monday or Tuesday bc I don't have more free time to do it ;-;

(I'm SO sorry for the bad lighting, I'll do that better next time)

[ask-squidbeaks-agents]

8 why are you so cute-

Can I give you a hug?

(Also, do octolings squeak? Just asking, as it’s a headcanon me and a friend thought of that seemed fitting)

// I don't think Octolings actually squeak but that does seem like a fun headcanon! Also think Four can be annoying? Three is worse (She did have to learn it from somewhere and where better than her older brother) tbf he mainly just annoys Eight at this point lol

Eight: What? Of course you can get a hug! However I don't think we- EEP!!

[e-adlirez]

On the Twelfth Day of Christmas

12 Geronimos and a tiny little Benji :D

I didn’t think I’d be able to finish it in two days, but here we are :D a little project where I interpreted the artstyle designs of twelve Geronimos in my artstyle :D

We have in order

2000-2005 G

TV show G

my G :3

@skrunklymice’s G

@toastypencils’s G

@2deadkat’s G

@ratonahat’s G

@thisispoggers’s G and Benjamin

@glitchygorge’s G

@agcnt3’s G

@soda-gremlin’s G

and @alloutblue’s G :D

Behold, closeups :D Merry Christmas, Geronimo Stilton fandom

[cpyclopse]

I like to make my favorite guy kiss everyone Link x everyone in Skyward Sword

Og art prompt by @Soupery -> @ taffybuns

[My art]

[hundredowls]

life draws from the past couple months !!

[elviraaxen]

Do you start your drawings on paper, or start fully digital?

I love your work btw <3

99% of the stuff I post is entirely digital! But if I had an A3 scanner and light table I would probably do more combined stuff because I love how it looks, as you can see ^^

[uk3d]

Wild boar | Limited edition fine art print from an original drawing. My sketches start life as hand-drawn graphite images made on cartridge paper. I often work on these with charcoal, oil pastel or Caran d'Ache to create the look I'm after. The artwork is then scanned and finessed digitally ready for fine art printing. This process often referred to as Giclée printing uses the highest standard of printing methods to give gallery quality results that maintain all the details of the original sketch. The graphite pencils I use are Faber-Castel, the oil pastels are Sennelier and the china-graph is Caran d’Ache. The inks are pigment based archive quality (100years+). The heavyweight specialist papers I use are of the best professional quality having a wonderful surface designed specifically for fine art drawings and illustrations. Very limited editions with only ten per size printed. All artwork is signed and includes a certificate of authenticity. The A5 are 5.8" x 8.25" (14.8cm x 21cm) The A4 are 8.25" x 11.7" (21cm x 29.8cm) The A3 are 11.7" x 16.5" (29.8 cm x 42cm) The A2 are 16.5" x 23.4" (42 cm x 59.4cm) Originals are A3 11.7" x 16.5" (29.8 cm x 42cm) Frames not included in price. Free shipping on artwork to all destinations.

[atempause-art]

good news - i’m currently sitting on a solid enough sketch of the entire comic for the local comic festival i mentioned i want to join

bad news - deadline to submit is in 2 months and i have about one week rn before shitstorm of irl stuff goes down and i wont have the time

[wanderingline]

A commission I've just finished :)

[fizzysound]

still procrastinating starting my comic but like.. it would get expensive so fast.. i want to do it on paper :/

[onedeadlycookiee]

A drawing I'm working on rn for a school project thing, or idk how that's called

So basically, I have a reference in A4 and I have to put it into a A3. It's actually more complicated than it seems, but at least the most complicated part (putting the proportions right) is already done, so I can already work on colouring. But the final step of this project is painting with aquarelles on the drawing, and I'm scared because I'm quite bad at painting ;-;

(Just ignore all the finger marks, it'll all be covered)

[knifebaby3000]

🔍

sesame syrup

[ricoka]

it's so annoying moving into a smaller space and not having everything easily accessible, especially if you're a bit chaotic and didn't have the same priorities when moving....

[jvdbxart]

A Painting of a dreamy Lae'zel in golden hour light, anyone? 🧡⚔️

Find prints of this artwork over in my Etsy Shop - available in sizes A3, A4 / smaller & also as a FineArt print in bigger sizes ✨😊

Wanted to create a more detailed artwork of her than the previous Trio piece I'd done - she has so many beautiful skin details that it was just such a treat getting to paint all the pores & blood splatter! But also, can we talk about how difficult it is to draw braids 🤣 Pfffft. They get me every time. Wishing you all a wonderful weekend! 💖

[mynonjo]

Heavenly Body

Minthara in armor. Period.

Thanks @bloodpraxis for bullying me into drawing a proper armor and XPPen for giving me a chance to try their XPPen Deco Pro Gen2 ♡✧( ु•⌄• ) You can can use 'mynonjo5' to get an extra 5% off on the products in XPPen official store.

Below is my personal review of my new tablet (and a pic of my humble workspace)✌(‘ω’✌)

XPPen Deco Pro Gen2

A sponsoring moment first ᕕ( ᐛ )ᕗ

You can use 'mynonjo5' to get an extra 5% off on the products in XPPen official store. US store CA store

The size: I went for the XLW — the largest size and let me tell you, it's sure is one big boy. It's like working on an A3 sized paper and the tablet takes up a big chunk of your workplace. But hey, that extra space means you can really let loose with your arm swings for some dynamic lines. If that's too much to handle, don't sweat it, opt for the smaller sizes like the MW (A5) and LW (A4).

X-Remote Control: The X-Remote Control might be my favourite feature. With programmable buttons, it's a lifesaver for us shortcut maniacs. No need to reach for the keyboard any longer. The remote also works even without turning on the tablet, which is quite handy.

The Pen Case: This thing is metal, sleek, and just plain cool. Keeps your pen safe when traveling about.

The Pen: Eight extra nibs in two different types? I don't think I'd have to worry about replacements anytime soon. And with the eraser end, one less keyboard shortcut is needed.

Bluetooth: Okay, so I'm usually all about cables for a stable connection. But with my table looking like a cable jungle, Bluetooth has been a lifesaver.

Overall, loving my Deco Pro Gen2 experience so far!

[dunmeshistash]

Interview to celebrate the opening of the Ryoko Kui Exhibition

About Delicious in Dungeon: Story making

Q1. Your first long-running series has lasted for about 9 and a half years. Has it been different from your previous experience drawing short stories?

A1. Compared to short stories, the series has been easier because the same characters appear each time. But I was surprised to find that I got tired of drawing the same characters too many times.

Q2. You have said before that the overall structure of the story was decided before serialization began, but how much of that had you communicated to your editor? Also, what kind of communication did you have during the series production?

A2. The goal was something we discussed and had decided on from the beginning. The goal itself was simple, but the path to get there was more difficult and took longer than imagined.

Q3. Regarding the overall story concept and development, did you write out or put anything down in writing (such as the plot)?

A3. I did, but it was simple.

Q4. Did you come up with the dishes based on the monsters you wanted in the story? Or did you come up with the monsters based on the dishes?

A4. It depended on the story, but usually the story came first followed by the monsters or food. I feel like that was most often the order.

Q5. As you progressed in drawing the series, what elements of the characters, story, or world expanded or grew in the most unexpected way?

A5. Nothing particularly unexpected perhaps. When I used to draw web manga, I tended to think up inconsequential settings. So, from the beginning I tried to restrain myself as much as possible and not expand too much. I was surprised when my editor said "Let's expand it more," in the second half of the series.

Q6. "Delicious in Dungeon" starts with a relatively simple setting, but as the series and the labyrinth exploration continues, the map slowly expands little by little in the readers' minds. It becomes more three-dimensional, revealing the secrets of the world, and taking on a multilayered structure. Are there any sources that you used as a reference, or which influenced you in creating this multilayered structure?

A6. A long time ago, when I was working on my personal web manga (fantasy), I drew it however I wanted, thinking that "Only people who can read this will read it," but I regularly received feedback that it was "unreadable", so I tried to make it as easily. accessible as possible.

Q7. The series combines many elements, including "fantasy", "gourmet", "battles", and "puzzle solving", but I think it's also important that it is a "comedy" which makes people laugh. Could you let us know if you have a creative commitment towards depicting humor?

A7. My hopes are that I can make it fun for people to read.

[page 5]

About Delicious in Dungeon: Drawing manga

Q1. Please tell us about the drawing tools you currently use, both digital and analogue.

A1. In terms of analogue tools, I use a light box, a G pen, a round pen, and a brush pen. And for digital, I use CLIP STUDIO PAINT and a Wacom LCD tablet. Screentone pasting is always done on the computer, so ultimately it all ends up as a digital manuscript.

Q2. Do you have any rules or reasons for using digital and analog separately?

A2. I'm always looking for ways to draw better and save time, so the exact approach is probably different for almost every chapter. Personally, I feel that analogue methods create more appealing lines, but I feel like digital saves time, so maybe I'll do a digital rough sketch and do the inking by hand… I might have been using a G pen, and maybe I'll try out a turnip pen, or this time I'm short on time so I'll draw it entirely digitally, but with digital I can redo it over and over, so maybe analogue is still faster, and so on and so forth. I'm indecisive in this way and so haven't developed a consistent process.

Q3. I understand that you prepare 3D data for your assistants to draw the backgrounds. What kind of data did you make for "Delicious in Dungeon" ?

A3. You could call it 3D, but it's not a proper model, just something to help with the rough sketching. I line up cubes to share the perspective and sense of scale, and they use it as a reference.

Q4. At the beginning of the series, the characters and backgrounds were somewhat simply drawn, and it seems like they became richly detailed over the progression of the story. What was your intention behind using these different styles?

A4. It's simply that my technique isn't stable. I thought I'd put a lot of effort in at the start. I remember being confused when my editor asked me to add more in to the drawing, and I wondered "Where…?"

Q5. Thinking about the food, were there any menu illustrations that you were particularly satisfied with, or which you struggled with?

A5. I've never liked my own food illustrations. But the times when I read other people's manga and thought "That looks delicious," I think it's been more an influence of the movement, the staging, and the situation than the drawings.

Q6. For the world maps and the terrain of each continent, did you refer to any maps of the real world? I feel like the shape of the 'island' is similar to the shape of Fukuoka Prefecture or Kyushu.

A6. I didn't reference any specific geography, but I did try to put thought into things like whether a developed city would be near a river or the sea, and what the coastline would look like. I'm pleased if it feels similar to a real place, because it means my interpretation was pretty accurate.

About Delicious in Dungeon: Other

Q1. Which is your favorite monster?

A1. Nightmare.

Q2. I'm sure you have received a lot of feedback from readers in countries and regions outside of Japan. Please tell us if there was anything from them that made you happy, was unexpected, or which made a lasting impression on you.

A2. When you play foreign games, there are times when you think "Why did they translate it into Japanese like that?" But having been on the side of having something translated, I've realized some things are unavoidable, or endless, and there are many things that don't matter either way from the author's perspective, so it was interesting.

About Ryoko Kui's short story collections and herself

Q1. Dragons are a consistent and important motif in your work. Was there any particular work or experience which inspired this? Also, are there points about drawing dragons which you find interesting or have had to work hard on?

A1. It's less about liking dragons, and more that I'm interested in the worlds in which dragons exist. When I draw dragons, the depiction in itself has a sweet feeling to it. I have never had a pet reptile, so I don't have a very good understanding of them.

Q2. Unomiya University in your story "The dragon's school is on top of the mountain" has a Faculty of Dragons, Department of Environmental Studies, and Department of Technology Studies, and a Faculty of Veterinary Medicine. If you were to enroll in the university, which department or faculty would you like to enter?

A2. I probably wouldn't be accepted….

Q3. The collection includes a short story staged as an essay manga. Are you a fan of essay manga? Please tell us about any genres of essay manga that you like.

A3. I love all kinds of essay manga. I read them often.

Q4. If you were to make your own game, what kind of game would you like to make?

A4. I prefer being a player when it comes to games.

Q5. When did you first start drawing illustrations (doodles)?

A5. I don't exactly remember when I first drew a picture, but I think I started drawing manga around the fourth or fifth grade of elementary school. in my notebooks and had my friends read them.

Q6. What is the most fun part about drawing manga?

A6. Every part is fun and hard in its own way.

Q7. Please tell us if there is anything you "just can't stop no matter what".

A7. My procrastination habit.

Q8. Could you please tell us if there's something you want to draw now?

A8. I've been working continuously since the serialization, so I'd like to take about 2 to 3 months to just draw whatever I want.