#i also kind of like how the coloring looks with this lineart

[cokoakeostuff]

AHH Your AU is AMAZING I love it SO MUCH you art style is absolutely BEAUTIFUL(but goodness, that must take a while, your lines are so clean and you coloring is absolutely beautiful, how do you shade so well??? Especially the shiny metal?? Teach me your ways???) also Expressions!!!! They're amazing!! You draw the characters with such personality and emotion, their expressions are so life like they're so beautiful!!(again, how????)

Plot Plot Plot Plot I love botw/totk so much I'm so glad that's where they are/what they're dealing with, I've been playing totk and it's such a fun/confusing game I can't wait to see where this all goes

anyway thank you so much for creating this AU I'm already 100% invested and I can't wait to see what happens!!!

Also have a little minish, he thinks you're amazing too!

THANK YOU really! and yeah it takes a while, only the lineart took me like 22h lol, but I really enjoy making it so it’s absolutely worth it! even more because of sweet comments like yours fr

And metal must be my favorite thing to render, it has immaculate beauty and Its actually so easy to do, I probably should make a little tutorial later because it’s so easy so easy to achieve that effect! (just look at that, metal i love u)

also istg that I would rather eat my toe than drawing expressionless art, it’s just one of y favorite things to do, like i live for that so u have no idea how much I like that kind of compliments, jiggling and kicking my feet.

Again thanks, i already have the storyboard for the next chapter! it’s kinda short but it’s what i can do atm, have a little minish too! u surely r amazing

[radlegowaffle]

happy valentines day! theres probably nothing in that box except a piece of paper with curse words on it

[cowardlykrow]

yeah, and who do ya think knocked em out

[arolesbianism]

Another quick drawing from last night

[malkaviian]

this is so stupid but i actually quite like jayce's skin on this one--- it looks like its supposed to be

[iraprince]

gonna show u guys a little opalescent highlight hack i threw together today

rainbow gradient above your main figure (i usually have all my main figure folders/layers in one big folder, so i can clip gradient maps + adjustments to it!). liquify tool to push the colors around a bit. STAY WITH ME I KNOW IT LOOKS STUPID RN I'M GOING SOMEWHERE WITH THIS

THEN: set it to add/glow (or the equivalent in ur drawing program), lower the opacity a bit, and apply a layer mask. then u can edit the mask with whatever tools you like to create rainbow highlights!!

in this case i'm mostly using the lasso fill tool to chip out little facets, but i've also done some soft airbrushing to bring in larger rainbow swirls in some areas. it's pretty subtle here, but you can see it better when i remove the gradient map that's above everything, since below i'm working in greyscale:

more granular rambling beneath the cut!

u could also just do this with a brush that has color jitter, but what i like about using layer masks for highlight/shading layers is how simple and reversible it makes everything. i can use whatever brushes i want, and erasing/redoing things is super low stakes, which is great when i often approach this stuff with a super trial-and-error approach.

example: have u ever thrown a gradient w multiple colors over an entire piece, set it to multiply etc, and then tried to erase it away to carve out shadows/highlights? it's super frustrating, bc it looks really good, but if u erase something and then change ur mind later, u basically would have to like. recreate the gradient in the area u want to cover up again. that's how i used to do things before figuring out layer masks!! but masking basically creates a version of this with INFINITE undo bc u can erase/re-place the base layer whenever u want.

anyway, back to rambling about this specific method:

i actually have TWO of these layers on this piece (one with the liquified swirls shown above, and another that's just a normal concentric circle gradient with much broader stripes) so i can vary the highlights easily as needed.

since i've basically hidden the rainbow pattern from myself, the colors in each brushstroke i make will kind of be a surprise, which isn't always great -- but easily fixable! for example, if i carve out a highlight and it turns out the rainbow pattern in that area is way too stripey, i can just switch from editing the mask to editing the main layer and blur that spot a bit.

also, this isn't a full explanation of the overall transparency effect in these screencaps! there's other layer stuff happening below the rainbow highlights, but the short version is i have all this character's body parts in different folders, each with their own lineart and background fill, and then the fill opacity is lowered and there's multiply layers clipped to that -- blah blah it's a whole thing. maybe i'll have a whole rundown on this on patreon later. uhhh i think that's it tho! i hope u get something useful out of this extremely specific thing i did lmao

[cup-o-stars]

How to draw like you no borax

Good question!

I'd warn against following my process (at least if you want to learn), but I'll be honest and show you, lol. (Heads up: this is just how I do FAN art. When having fun, I generally care less about the fundamentals.)

1. I slap down super rough sketches, jotting lines/expressions like bullet points of my idea. Pretty much stick figures with just enough detail to remember who's who later. Not shown here, I also move, resize, and add details to express the intended composition if I'm planning something larger. You may notice a lot of curved lines / haphazard circles.

2. I refine the sketch by drawing it with more intention and build structure with slightly blockier shapes. If I'm really struggling with a pose, this is also where I'll find references or look at myself for bits and pieces to fill in the gaps. (When practicing, I would highly recommend using a reference from the start so all your limbs are an appropriate length and you don't need to say things like "that's passable" right before posting. If you're a perfectionist you'll leave that thought with the rough sketch.)

3. I'll decide around here whether or not to leave the sketch as is or commit to lineart (not likely). I guess I'd say I "shape the lines" here by going over some to add thickness/weight, and by adding basic sort-of-shading to break things up a little. Then I'll just fill in space if the page looks empty. (Usually this is where I incorporate the borax, but I hear baking soda works nicely if you're worried.)

4. Onto coloring. I don't feel confident enough to pretend I know what I'm doing here, lol. I just choose my base colors, imagine the general direction of the light source, then add minor gradients to the light and dark layers so they don't look flat. Then I just add some BS highlights and outline them. I've only recently found the motivation to properly practice coloring and just go with the flow tbh.

You may notice that Nami's forearm is too long, her hand looks like a pancake and Chopper has no joints! My kind sibling explained to me once that my anatomy is poor, but cohesive enough that nothing stands out too bad, lol. That's why it is important to use references!! And if you're me, practice all parts of anatomy at the same time with full bodies so that even when you're at a loss, your hands aren't that much better than your feet.

All in all, to draw like me, just have a very hedonistic approach to art, ha. Draw what you want, avoid getting burnt out on any single piece (sometimes that happens when you try to perfect drawings one at a time), and follow my personal motto:

Make fun, not masterpieces.

Idk how helpful this was, but there you have it!

[catmask]

Looked at art FAQ and I hope this isn't too similar to the brush setting question óvò. But one thing I admire is how smooth and confident your lines are!! :0 They're so smooth!! Do you have any advice on how to practice or general tips? Do you utilize the stabilization tool? I've tried to use it here and there but I'm worried about relying on it too much. Also honestly using stabilization makes drawing feel "slower" and off.

i dont actually draw with stabilization on (very much at least. i think ive got it set to like 12%, so it imitates the drag drawing on real paper might have)

personally for learning smoother lineart other than the general rule of 'move fast, make swooping motions, redo it as many times as you need to get a broad stroke' is to draw traditionally in pen!

so like no sketch or anything underneath just Draw in pen. if u mess up either keep going or start over. this gradually kind of forces you to gain a confidence to your lines bc you got no eraser and no undo button.

additionally, i think this is part of why i really dislike youtube sketchbook tours... pretty frequently those sketchbooks are full of really beautiful clean pieces, and no mockups or swatches anywhere! nothing wrong with that ofc but i think culutrally as artists its given everyone a really twisted idea of what a sketchbook is for. theyre meant to be places where you practice and get loose! i sometimes draw the same thing three times on the same page if i mess up.

for example, these are some sketchbook pages of mine ^_^ i draw in colored pencil too bc i like the texture and you cant erase it easy + it doesnt smudge

[meanbossart]

You mentioned how DU Drow‘s quite superficial a few times, and seeing as he’s fashionable (I think) what’s a fashion ‘piece/trend’ that he just hates if there is one?

Also, I LOVE absolutely adore ur lineart, it’s crisp and I just…want to eat it 🥲

Anyway have a good day 💪

That's a bit of a tough one, because to be honest... He doesn't UNDERSTAND fashion, that's for sure. He knows what quality material looks like, and he also knows when he does or doesn't like the look of something, but he doesn't give the reason behind it much thought despite having such strong reactions about most things at a glance.

Generally speaking, I think he likes things that are nice, pretty, but not overly elaborate or overbearing. Ironically, if it seems like it takes more than two minutes to take it off/put it on (armor exempt) he probably won't like it. This means he's not particularly into overly ornamental dresses, suits, things that have layers-upon-layers to them - things that significantly alter a person's silhouette like certain high-class fashions (if we are basing this world's trends off of our own fashion history) or "detract attention from the individual wearing it", as he would probably put it.

He also doesn't like things that are overly dark - or overly colorful. He's big into the look of whites, blues and silvers for the every-day, and reds and golds if it suits the occasion.

In truth, I think there is NOTHING he hates more than someone who seems over-dressed for the gig; If you're sacrificing practicality, comfort, and common-sense alike only to show off. That's an immediate turn-off for him.

It's much easier to list what he does like: things that are a nice mix of flowy and figure-hugging, that seem and feel light, that compliment a person and seem to have been lovingly crafted to suit them rather than to just look expensive.

(And like any asshole worthy of his title, he loves femininity but hates high-heels. He's more of a dogs-out kind of guy, if you catch my meaning. )

And of course, this is all applicable to others but not necessarily himself.

Thank you for the question and for your kind words! I'm surprised at how much this one made me Contemplate The Man and his dumb little brain LOL

[starheavenly]

hiii!!! loving your locket comics!!!!!! just wanted to ask a few questions about your process, if you dont mind :D

whats your general process like?

do you do thumbnails, how do they look like?

roughly how long does it take you to complete a comic panel or page?

how detailed are your sketches? do you do multiple?

do you have any specific techniques for lineart?

do you typically use references for your comics?

generally, how much effort and focus do you put into your comics?

do you have any advice for drawing comics?

sorry for for the absolute bombardment of questions, lmao. just really enjoy your art and comics and very interested in the behind the scenes!! feel free to skip any questions (or this whole ask) well wishes and salutations!!! :D

Hello! I'm so glad you enjoy my comics, and I totally don't mind breaking down the process!

For a normal comic page, I would likely actually write a script since it's much easier to keep track of dialogue and actions. But since these are short, I just write it into my thumbnails.

Step 1: Thumbnails. Easily one of my favorite parts, since I get to throw all my ideas down. I do these comics on a 2-panel grid, so I don't have to worry about actual paneling, and it allows me to focus more on the setup of each shot. Think of it like storyboarding!

Step 2: Add cleaner thumbs if needed. I actually made 3D models of Deadlock and Ratchet's chest in Blockbench, so I often trace them to save myself some time! (It might look insane, but I promise, for me, it's not.)

Step 3: Lettering! I actually like to get the lettering out of the way right away since it can take a while. Ever since I started treating lettering as its own form of art, my skills have gotten better, but it also takes much longer.

Step 4: Clean sketch! I'm just now finding out that people think I��m doing lineart for these? I am not… these are all just clean sketches. Maybe doing the blackwork gives the illusion of lineart?

Step 5: Color! Most of these comics are in black and white to save time, but it also lets me focus on values and shot framing again. I add my glow overlay to the eyes, and boom, done!

Roughly how long does it take you to complete a comic panel or page?

It really depends on how complicated the panels are. I like to step out of my comfort zone. I know the Grimlock and Misfire one took longer because of how many panels there were and the fact that I was drawing characters I’d never drawn before, but I’d say it usually takes around 5-8 hours for a whole page.

Do you typically use references for your comics?

I'm literally the reference GOD- we all know this. But yes, I love using references and doing character studies. I have yet to do a study on LL Drift, but I have a few references of him that I’ve made.

Generally, how much effort and focus do you put into your comics?

I mean, I wouldn't say I don't put in a lot of effort? I put in enough. I don't know… there's a point in the clean sketch process where you can kind of just turn off your brain. I'm passionate about comics, but we can all agree there's a point in a drawing where you just zone out.

Do you have any advice for drawing comics?

I think being able to balance dialogue and visuals is super important. I don't know if you guys have picked up a graphic novel from Barnes & Noble recently, but if you open a page, you'll see a character sitting with the biggest bubble you've ever seen, filled with paragraphs of text. While I get it—being a novel as much as it's graphic—I personally like to visualize emotions more. If it means adding two more panels to make an interesting dialogue setup, I don't mind doing it. Another thing to remember is that not all panels need to have details or 100% effort. Sometimes you need to simplify and move on, and that's okay! Those two extra panels that are giving you a better stage setup might be the ones that need fewer details and less time. I would consider my comic page work and my 4-panel work very different. One is about paneling, setup, and visuals, while the other is very much like storyboarding. Both are skills you learn with practice and study.

[lightandfellowship]

I actually find the topic of "Nomura's evolving art style as he takes on more and more responsibility at Square (and subsequently has less time to Do Stuff)" really fascinating.

Like, If you compare his art from the KH1-DDD era to his current day art, I think there's a noticable difference to his approach: how many steps there are in his art process, how he chooses to finish a piece, and the shift from a clean digital style to a more organic traditional one.

He used to use very clean, black lineart; bold colors; and more instances of defined/hard shading for that digital, almost cell-shaded or vector kinda look. Nowadays he goes for a more sketchy + watercolor style with pencil lineart, broad washes of faded color, and color shading that's a bit more blended and simplified in places (relying more on the pencil shading to create distinct shadows), with the hard edges more often reserved for scattered, bright highlights. (He's made art like this in the past eras too, such as the KH main menu arts which all have a watercolor quality to them, but the lineart was a bit more defined then and less sketchy, and thus slightly different from his current stuff.)

I think the Dark Road key art is a very good example of his current art style. The sketchy, almost brown lineart. The watercolor quality that emerges where two colors meet and overlap. A little desaturated and earthy. Color shading that's very broad, soft, and loose, with sharp highlights here and there.

Both styles have their merits (I personally love this sketchy era of his), but I think it's pretty likely that he adopted this as his "main" art style in order to adapt to time crunch. He doesn't need to do time-consuming lineart and precise shading anymore; he can use the original sketch as the lineart instead. Heck, he can fill in a bunch of the shading via pencil during this sketching phase to save even more time, and then can paint in a more watercolor-y kind of way that allows him to color in quicker, broader strokes.

And then there's the occasional art mistake that has become a bit more frequent in recent years, by my estimation. Which I imagine, again, is due to running out of time to notice/fix those mistakes. Things like Ephemer's arms being a bit too long in this UX art, the Kingdom Key being slightly off-model in this anniversary art, or the ears on this Mickey Mouse symbol being two different sizes on this Utada album art.

(Which isn't to say that he hasn't made art mistakes in the previous eras, for example he initially got the colors of Riku's shirt mixed up in the Re:CoM cover art before fixing it, but I still think the mistakes were a bit less frequent back then.)

And like, hey. I draw, too. Amatuerishly, but I do. I don't blame Nomura for possibly needing to change his approach to making art in order to meet deadlines, nor do I blame him for these little art mistakes that ended up falling through the cracks. I imagine he simply doesn't have the time anymore now that his job has shifted from (primarily) being a character designer/illustrator to (primarily) being a director of multiple, simultaneous projects. Or maybe I'm totally wrong about this and his art evolution had nothing to do with time crunch, who knows. I think his current art style is gorgeous either way!

Anyway, I just think this is an interesting example of someone taking their art and adapting it to a difficult and highly limiting situation, experimenting with new things and finding the means to still make art even when you have less time to do. Also a great example that professionals are human and will make mistakes even in professional products, and it's not the end of the world, it just happens. If you ever obsess over a mistake in your art...maybe take solace in knowing that it happens to everyone. Even people who have been in their field for a very long time.

[leidensygdom]

hello!! i love your art so much, your colors are beautiful and your characters are just so 👁️👁️ and i adore seeing them on my dash :)

i had a question about how you do the details on your fabrics: how do you keep the patterns on clothes on a body looking so,,, clean and readable while also making it make sense on the form under it?

like the cape/sleeve(? idk what it is but it looks cool as hell) on the magnolia commission pattern looks so cool and it's still readable on the fabric (like, if i wanted i could probably do a silly sketch of it) BUT ALSO it seems to make sense with the folds so it doesn't just look unnatural and stiff?

i'm so sorry this is kind of a long ask but like. would you be down to talk about your process for patterns on clothing? it's cool if you're not, that's totally fair, just figured i'd ask

have a wonderful day!!

OOOH Thank you so much for the ask!! I wanna do a more in depth tutorial, but I tend to make patterns in two different ways, with one being fully hand-drawn and the other playing with mesh transforms or the... Uh, liquify CSP tool? Let me find examples

This is an example of a fully hand-drawn pattern. No trickery here- Only trying to eyeball everything. It's kinda a lot of work to draw it manually, but it's the more convenient option if the character I'm drawing doesn't have files for the patterns, or if the files are a bit too different from my usual style, as they could potentially not look great with my linearted or painted style

And then- For cases such as Nolia's cloak, I did the entire pattern as a separate file, then placed it using Photoshop's mesh transform!

Here's a WIP file from when I placed all the patterns after finishing the lineart, where you can see them in full contrast. I tend to keep my patterns in different files- The black parts here are not joined with the base color of the cloth, so I can bring nice highlights and texturing when they're meant to be golden inlays, for example. Now, the Photoshop mesh transform is a bit finnicky to use, and I don't have any proper step by step of it- I could potentially record how I do it someday. But let's take the humble cylinder and demonstrate it quickly:

So, the mesh warp tool is the one on the right- You can see these sort of blue lines creating a mesh. I'm sure CSP has it in it's pro level or something? Correct me if I'm wrong. You play around with the different sections, move it to the right place, and put it on the cylinder. This is a very simplified form. You can make many subsections to your meshes (that's 3x3- you can have stuff such as 20x20) for when you have multiple folds.

And then you can just shade your pattern accordingly so it fits the volume of the drawing, and- ta-daa!

This is by no means an easy method. Sometimes you can get away with the Liquify tool (which CSP has and it's very decent), which I've used when the pattern in question was over a simpler surface with few folds. It takes some practise to use that well, and it isn't gonna be the best for complex ones, but it's also an option. Let me do a lil compilation of some patterns I've done and which tools I used for each!

The tool I use highly depends on the time I have, the level of finish for the drawing, and so on. CSP's liquify is probably the fastest but gives simpler results, drawing them manually works better with some styles and more organic/less geometrical patterns, the mesh tool takes a bunch of time but it's great for small repeating patterns that are meant to be very precise or geometrical.

If people would be interested in it, I may someday do a video tutorial of me doing a pattern and then putting it over a folded cloth. I do hope this can help a bit tho!!

[rutobuka2]

I've been wanting to ask for a while but never was brave enough to. I'm not a very good artist myself but whenever I try to do a comic by the second panel; my art, mind and hand are all worn out from doing one panel.

How do you keep your panels and art style so consistent throughout the comic?

hi!! thank you for being brave to talk to me! I really enjoy discussing technique!

I think comics seem simple and easy to make, but they're a looong process.

👉First of all: start small. like, ONE page small. TWO pages, etc. just tell one joke, or one kiss, etc. it'll make the entire process less daunting. but do think of the beats of the story like...

1- character A is doing a thing 2- character B makes a comment 3- character A gets embarrassed

/ end

something simple, but you can cut up each little beat into two panels if you like, or just keep it at 3 and explain more with the dialogue.

👉for the drawing part, you should really start with a really ugly basic sketch to outline what kind of dialogue and story progression you want to make on each page.

this is a sketch of page 11 of my Bunny Crossing comic:

as you can see, I put a lot of focus on drawing the more delicate moment where Bilbo notices Thorin remembered the comment, so I just actually drew his face in detail there. But the rest was just enough for me to know later where each character is, or if I needed to draw a background, where the dialogue should go, and such.

👉divide your work into days. if it makes you exhausted, you can take one entire day to draw the rough sketch. Then, another day for the dialogue and speech bubbles. Then, another day to actually draw the panels and the more polished sketches of each character. Then, another day for the lineart. Then, shading. etc.

👉try drawing grayscale first. Don't add colors until you're sure you'll have the energy to finish it! It'll get you used to the process, you'll iron out any errors easier.

👉consistency comes from the process itself. I try to be careful while drawing the sketches for my panels, because a good sketch can help you so much in the long run!

👉look for reference on other people's work! manga artists and western artists have loads of footage of themselves drawing online, you'll get inspired for sure!

I hope this helped a little bit! Do respect your own rhythm! 💖 also, if it doesn't help, not everyone likes to draw comics, and that's ok! It IS a very repetitive process. static illustrations are amazing too, and I envy the skill!

[otaku553]

do you have any tips for thin (anime-style) lineart? I always tend to end up with much thicker lines unintentionally X-x

It depends a lot on what exactly you’d like to achieve, but my biggest recommendation would be to change brushes if your lines are naturally coming out too thick. Not just because of brush size, but because the kind of brush you use will change how you line things, technique-wise.

As an example I’ve tried lining a sketch using two different brushes here:

Though they’re both from the same sketch, in the first I used a thin brush with high stablization and almost no pressure sensitivity. As a result, I’m forced to line slightly slower, and it looks slightly stiff but achieves the sort of clean anime look you usually expect to see— almost no line breaks! This is the standard for anime I think because you have to have clean and closed line boundaries so that coloring and shading can go quickly.

On the other hand, on the right, I’ve used one I’m a bit more accustomed to, a round textured brush with a lot of pressure sensitivity. It’s also got lower stabilization, meaning I work quicker, my strokes are a lot more spontaneous, and you see a lot more natural variation in line width. That’s what I mean also by it depends on what you want to achieve— though this is also an anime style you wouldn’t find it as a screenshot anywhere because that line width variance would probably look really inconsistent in animation.

I als only switched to this round brush relatively recently, about half a year ago now??? Previously most of my lineart was done with a rectangular brush which also tended to yield thicker lineart than expected.

I would suggest playing around with different brush shapes and settings, especially in stabilization and pressure sensitivity, since I think those are often what affects my drawing style the most! You can do a similar exercise to this and try lining the same sketch multiple times with different brushes to test which feels best for you. Hope this helps!

[mr-tsuyo]

i love the style of that 3d render of your character! may i ask how you animated the outline and made the whole thing pixel-y? :0

Very glad you asked!

There isn't many tutorials on how to make this kind of stuff so I am totally glad to be the first one.

BLENDER 2.5D TUTORIAL

First of all

Get your model ready and steady, that part is what I ain't explaing, however if you want it to have these colors, you will have to put this nodes in your texture shader

`[ This is for her red jacket, the lower nodes is for her primary colour and the upper nodes are for her shadows, which also has some extra nodes to give it a comic texture. ]

Quick reminder to give the model some lineart yourself to the parts that don't form its sihlouette, for example her shoes.

Now for the lineart, first of all make sure you have created a black Emissive material and that it has Backface Culling activated

After that go to the Modifier Properties and add a Solidify modifier

Make sure to Flip the Normals, set the Material Offset to where the Lineart material is, and adjust a little bit the Thickness of the mesh, then you will get some natural good-looking lineart like hers.

Now, you could easily be satisfied like this, but now we are going to make it feel like each frame is a new drawing by making her model lineart jiggly

First of all create a Displacement Modifier and give it a cloud texture

Make sure to lower the strenght and midlevel, otherwise it will look like this

Now, create an Empty Plain Axes and go to the Displace modifier, change the coordinates from Local to Object and focus the object on the Empty

And thanks to this adjustments, if you move the empty around, it will create a slight jiggle

Now what we want is for this empty to automatically move around without you having to do anything

Create a new screen and go to the Graph Editor section

In here we will be making the empty move with a modifier

Select the empty and press "I" of Italy and select Location, this will create a keyframe for the empty that we will be able to manipulate

Go to the Editor and ONLY SELECT THE Z POSITION, and then go to the Modifiers tab and add a Noise modifier

Make sure to adjust the Scale and the Strength so that it looks more proper for the jiggle effect, make it look like a rollercoaster!

And now, if you did everything right, your empty will be moving up and down and all around by its own

WHICH also means, the model displacement will follow the path of the empty to create that jiggly effect we crave so so much

However...

The model is indeed jiggling, but it's doing it the wrong way, we are trying to make it look like a cartoon not a gosh darnit gelatin

So to make it jiggle the right way we are going to make its noise feel more STEPPED

Go back to the modifiers of the Graph Editor and add a Stepped Interpolation, and make sure it has a Step Size of 5

And now we finally get the choppy jiggle effect!!

Now you can play around the Displace and the Noise to make it more or less jiggly

But nonetheless, if you followed the tutorial right, you will be gifted with the perfect looking 2.5D effect!!!

Now you can go ahead and try to fool everyone into thinking a 3D animation is 2D

And before we wrap up, one more extra for the one who asked how this is made,

We are going to make the render feel pixel-y!

Go to Render Properties, make sure you are using Eevee, and in Sampling put the Render on 1 and the Viewport on 0

Then go to Output Properties and you can do two things:

1) Change the X n Y to a size lower than 1000 px

2) Change the Resolution % to these numbers (8, 16, 32, 64) This way if you wanna do pixel art you are more accurate

For this render I used the 1st option

And last but not least, in the Output Properties make sure you save your files in the right way with these settings

THen render animation, make an image sequence with all the pngs, and TA-DAH

You get a pixel-y 2.5D animation!!!

Thank you so much for checking, I hope this is useful for anyone who wants to do this stuff, if anyone has any questions don't be afraid to ask, I may have explained some stuff badly.

Anyways have a very jolly day

Tsuyo OUT

[notbecauseofvictories]

I've now received four (four!!!) different copies of my fic, bound and illustrated by different artists---and there's still a deep, almost reverential feeling I get when I hold them in my hands, lay them out. Ironically for the subject matter, they feel decidedly holy. After all, where else am I going to get proof that I did this---even if "tell a story about music and the devil" is one of the sillier things you can do to occupy your time.

But to be less vague, this is the kind gift of @fleabitebooks / @kettle-bird! They reached out to me a few months ago, saying they wanted to bind my Devil Went Down to Georgia fic, and would I like a copy too? As I would never say no to a gift like that, I gleefully accepted.

If you've been following me long enough, you've seen their art in my Cornstalk Fiddle tag, and I am pleased to say that the images lose none of their power. I think the choice to stick to a limited color palette works beautifully here---the golden-yellow of the title pages and the larger art almost seeps through the paper. With the crisp lineart and shading, it ends up being both lovely and vaguely ominous, a sign of the eldritch things moving around/beneath the story.

(Also, I realize this is not a major aspect, but....I love how truly awkward-looking the Devil is. He looks like a Southern Gentleman, and I love that touch of weakness in his jaw.)

I also deeply adore some of the design choices---chapter 3 starting with the cornstalk fiddle and the triumphant starburst of golden-yellow? The white snakeskin-threaded-with-gold pattern used to bind the book? The way the paragraph breaks and endsheets are music? Amazing. Just amazing.

Maybe I should revise what I said above. Yes, having your silly fic about a country song turned into a physical book is proof that you did it, finished it---but it's also proof that someone else did too. In this case, @kettle-bird sat down with my fic and carefully copied it, played with fonts (oh, those are fantastic too by the way!) and spacings and margins; they drew art, colored it; laced the book together, made and bound the cover, then shipped it off to me.

Which means....if I did this, then I was hardly the only one.