#digitally coloured a sketchbook thing

[r7inyz]

happy anniversary to one of my fav moviesssss have this

[poorly-drawn-mdzs]

The Wizard Cowboy War (Wizboys VS Cowards) continues on.

[aulerean]

gem's angler fish? pretty cool.

[emily-mooon]

Happy holidays! Here’s Jonathan in the most devastating au you can put him in: It’s A Wonderful Life au

Colour version↓

[beastsovrevelation]

Fem!Crowley, how she looks in my fics. 🐍

Reference: Teresa Palmer

[catboy-a-day]

catboy 174... moe moe kyun...

[sandcatart]

[nightmare8-420]

to whatever demon thats entered me; thank you for making me work in drawing bc holy fucking shit i feel so good

[cuteniaarts]

@katkastrofa: *writes a single throwaway line in one chapter of Lost and Found that is never referenced again*

Me, completely randomly and with no prompting: Alright, bet–

[keeps-ache]

my HOUSE.png

[ravene]

V Flower sketch

[jupiter-reimagined]

ive reached a funny number in my sketchbook collection: number 34. i have something really funny i could do in this one

[emthelibra]

I’m honestly shocked getting back into traditional art has completely consumed me the way it has. I just hope I don’t burn myself out and get art block

[k0libra]

Hank feels older after the accident. He feels older, not in a "more mature" way, but more geriatric instead. Yet he just looks like a man of his age, he looks like before. He feels a deep disconnect — his appearance doesn't match his perception of time. The world goes around him as normal, his body goes on as normal. Grief doesn't leave any imprint on him, and he gets angrier and angrier at himself and more despaired.

And so, when his roots finally begin to turn grey, in a fit of inverted thinking, he cuts off his hair, leaving only grey hair. Is this proof of his grief? A punishment? A manifestation of guilt? It doesn't matter, and it does not get better. This becomes clear halfway through the process. Although now he has a shitty haircut, here goes the rest of his hair, even if he seemed to like it long. He is ruining everything in his life again.

 art process under the cut

This one was a doozy. Some of you might've noticed that this piece is done traditionally. To be more precise, the format is A3, and the mediums include: watercolours, gouache paints, coloured pencils, oil and soft pastels.

I haven't done traditional art in a while, especially on bigger formats, so my approach had to be more calculated than it usually is.

For the first time in ages, I had to pick up my sketchbook to come up with composition because sketching directly on A3 wasn't working out. After that was done, and I got the idea of how I wanted the things to be placed on the piece of paper, it was time to transfer the sketch.

It went well. I decided to follow the same pipeline I use for my digital paintings, so I did watercolour underpaint.

I wish I had determination to make the paint more saturated, but I was feeling quite anxious.

Then I refreshed the sketch with coloured pencils, which was a smart call on my part because otherwise, I would've definitely lost it when I put down gouache. I also applied masking fluid in some places.

Historically, painting with colour is my weakest skill, I tend to struggle with the feeling of depth especially. That's why I decided to figure out my colours digitally first, so I wouldn't loose my progress irl. I really wasn't in the mood of redoing the sketch and repainting.

You see, I really locked with this one lol

The next step was painting with gouache, I think I was the most impatient with this. I wish I would've taken more time, but alas. In general, it was pretty ordinary - applying colour and then adding definition to objects. But not too much because most of my detailing is achieved with pencils.

After that was done, I redefined the sketch following the photo I took (I was missing conveniences of digital painting here), and it was time for the dry materials. It was just a lot of work, but I had fun with it.

I'm satisfied with the end result. Of course, there are things that I don't like how they came out, but for the first illustration done traditionally in a while, I'll let it pass, hah.

Thank you for reading all of that!!!💖 Here's your cookie 🍪

[siggiedraws]

Hello! i absolutely adore your art and agree with your sonic opinions, you're overall one of the best sonic blogs out there. May i ask how do you plan out and draw your comics? How do you choose the formatting of panels themselves, the composition, the dialogue and so on? From A to Z, please! I apologize if this ask might be inconvenient, but i'm curious because i love your comics and have attempted to draw a sonic comic myself that failed miserably.

Typically the first step I will take is to just rough it out in a sketchbook, because I find it much faster and when working digitally I feel more pressure to make things look nice. This is where I start thinking about paneling and composition. It doesn't look perfect or cohesive at this stage, but at least now I have a rough idea presented with barely legible scribbles that don't make sense to anyone but me.

For paneling, large panels linger more, and small panels indicate quick succession. This is the most important rule I personally follow when making panels. It affects things like comedic/dramatic timing and how the reader will be guided through your comic.

It's important to vary up the composition when it comes to dialogue scenes where not that much is happening. The shot-reverse-shot format works, but remember that once you have an establishing shot and the reader knows where the characters are, you can get creative. I like to do close-ups where not everything is shown to create a sense of vagueness around what emotion the character is feeling.

Don't do this too excessively unless you're trying to create a claustrophobic feeling - let it breathe with a medium shot or long shot after!

In film-making, there's a rule called the 180-degree rule that basically states that in a two-character interaction, there is an invisible line drawn between them. The camera does not cross this line and stays on one side. This basically keeps the characters on one respective side of the frame at all times to avoid confusing the viewer.

This is by no means something you have to follow for comics, but if you want to create something that is easier to follow, it's a good rule of thumb that I consider when drafting! It can also be broken depending on the effect you're going for.

Once I have a draft, I'll typically go into editing and changing things that don't work quite as well as I'd like. This can be done by yourself or you can get it revised by a friend, like I do!

After the draft is finished, I'll get to lining and colouring. To be honest, it's not something I can teach so easily, but rather something that takes a lot of time and practice to learn. I typically draw the backgrounds with thinner lineart so that the characters stand out. Same deal with colouring - the characters stand out from the background colour-wise. There are multiple ways to do this, but for example, here I made the background have less colour contrast than the characters and stick to an orange-ish tone, while the characters are different colours from the background.

For speech bubbles, generally the words should fit the shape of the bubble to the best of your ability. The line spacing should be as close and compact as possible without touching the lines above or below. This is to save space on the page so that speech bubbles don't take up a majority. The tail of the bubble should point towards the character's mouth.

Avoid tangenting! This is when the very edges of two different things touch each other. It creates a flatter effect so you want to avoid it as much as possible.

That's about all I can think of right now. Hope this helped!

[beastsovrevelation]

The Lord of Flies is such a doll~ 👑🪰 Not that she won't kill you.

(I needed a reference picture of Beel with long hair. Should I try and colour her?..)