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

[cowardlykrow]

yeah, and who do ya think knocked em out

[ganondoodle]

maybe i just need to stop writing so much nonsense and just draw whatever, whether i know what isnt good or what is, if it sucks then so be it

[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

[ryescapades]

Imagine Sunarin having those b&w lineart only tattoos and never getting them colored because he likes watching you use his body as your coloring book whenever you’re bored 😭🥺😩

ft. bsf!suna rintarou. f!reader, slight suggestive, overall just fluff. wc ~ 500

hey …. HEY ?? HEY SO :DD is this payback for all the narumi posts/replies i made … :’) u got me Thinking™️ about this god help me

imagining him laying down on his back, shirtless with you just beside him, splayed over his bare torso (kind of like how a mermaid would lounge on a rock lol idk how to desc it) as you spread your creativity on the canvas of his inked skin.

suna stares down at you, one hand beneath his head and the other casually resting on the soft dip of your waist as he drinks in the sight of you like this; so cute and so sweet, looking so focused with those furrowed eyebrows and a little frown on your kissable lips.

his pretty, pretty girl.

not that he’d ever mention any of those thoughts aloud anyway. you’re just his best friend, after all.

suna allows himself to savour the feeling of your nails biting into the skin of his shoulder instead of the strange sensation of the yellow marker dragging across the top of his arm, filling in the empty space between the dark swirls with that bright sunny shade.

“ouch,” he jokingly say, pouting slightly when your hand seems like it’s not going to lessen the grip anytime soon.

you bring your attention away from your art piece, glancing up at suna with a questioning look. “want me to stop?” you ask.

“no.” it’s almost pitiful how immediate his response is.

you give him an almost haughty look before turning back to your work. “then don’t complain, rin,” you sweetly shoot back, grabbing another coloured marker from your collection.

with a dazed smile on his face, he answers, “yes, ma’am.”

suna once again drowns himself in your presence; the familiar heat from your body, the softness of your skin against his, the smell of that subtle note of your perfume, the faint sting of your nails on him.

he wonders if he’d ever get the chance to feel those same nails digging into his back instead.

based on this art. also inspired by a tiktok vid i saw in passing

©🅁🅈🄴🅂🄲🄰🄿🄰🄳🄴🅂. do not steal, translate or repost my work anywhere else !

[laauranenn]

Can we talk about chapter 60? I'd like to talk about chapter 60: A Place I Belong.

I specifically want to talk about the sections with the tightrope. It's one of my favorite parts of Wind Breaker and I could praise it for ages. I know it's a kind of common metaphor for struggles and isn't anything too special, but I really do adore it.

And whoever decided to add that anime only scene to the start of the first episode? Absolute genius and I love them for it. It works beautifully without it in the manga, but I think it's going to add a little extra something to the anime!

But for the tightrope section in the manga? It's so good and so well executed!! I absolutely love the way the style changes throughout the chapter!!

We start with white lineart on a black background. The lines are messy, sketchy, and even the boxes don't have clean lines.

I also want to point out how the only clean lines we get from this section are from the adults in his life, as well as the wind chime and the sprout pushing out from the ground.

The wind chime and the sprout clearly allude to Furin and the way both Furin and the rest of the town have shown that he, too, can be loved and accepted as he is.

The wind chime is also the thing that seems to be the transition to Sakura going from walking along the tightrope to considering that there might be another path for him.

I'm going to be real here and say that I don't have a lot to say about the other adults also having clean lineart. I'm sure there's someone out there who'd have something really smart to say about it, though. If I were to say something about it, it'd be that I think it might represent his shaky sense of self, compared to other people who have it figured out.

After that we get to the middle section, with Sakura in the "real world" again and with the rest of the class. I won't focus on the dialogue itself too much, but I'd like to talk about the way we go between the tightrope and reality.

I really like how the panels with the tightrope are woven in. They show us what's going on inside his head while also showing us how it looks like in reality. We see visual representation of how this feels like to him.

It's shown in how before he speaks, as he's gathering the courage for it, we can see him changing his stance on the rope. We get shown the way this is him preparing for that leap. He also mirrors himself with the way he's clenching his hands both in reality and around the tightrope.

A little later, as he's talking, we can see him directly mirror himself in both realities.

We see the way he's holding on preparing for that leap, as well as the way his face is split in two here. It doesn't directly match up, but it doesn't have to, because it already works so well here. I'd maybe even argue that I prefer it this way around as opposed to if this was a direct split of his face.

And then we see the leap itself, the way he throws himself into the unknown.

And then he gets called out on his bullshit, gets told that he's insane for thinking they'd cast him out. That they love him as he is and that they want him around. They actually want him. For maybe the first time in his life, he's wanted, appreciated, and needed.

And it's just this "Oh." moment for him. You can see the way it just clicks for him.

And after this we get to an absolutely beautiful scene, the part that makes me love this chapter so much.

We see that it all isn't so terrible after all, that there is hope. The tightrope isn't a drop to certain death, just a drop.

The colors have changed and we're now looking at Sakura on a white background with black lineart. Though at this point Sakura himself is the only part of the scene with messy lineart. The field of flowers and grass, as well as the edges of the panels, are all cleanly lined. Except for Sakura. Even if it's still messy, I'd say it's definitely a little cleaner than it was before.

You can see the way he's a little more faint, a little less solid than the rest of the lineart.

And then we see Bofurin, the rest of his class specifically. They're all there and they're all cleanly lined. And as Sakura reaches out to grab the hand he's offered, his lineart becomes clean. His lineart is no longer messy, it's no longer a sketch. This is him finding and accepting himself.

And as he grabs that hand, his clothes also change. Before all he was wearing was a plain shirt with plain pants, nothing remarkable, just plain clothes. But as soon as he takes that hand, his clothes change to a Furin uniform.

This entire chapter is so beautiful and I cannot wait to see it animated. I really hope the anime does it justice. From the lineart to the colors swapping around to the dialogue, it's an amazing chapter overall. I know I didn't really talk about the dialogue, but it's also good :)! I don't have much to say about it, though.

Moral of the story is that I really love this chapter and just wrote around 900 words about it.

[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

[ohno-the-sun]

Oh uh forgot to ask in the previous ask (the one with the digital piece of candy and scurrying and stuff)

How do you draw art so good

Like

Is there a method you use or is that just the style you've gotten over time?

you've activated my trap card

I'm just gonna preface that this tutorial is from someone who was not professionally trained and didn't have a lot of free time for art, so a lot of the tips I have is short cuts I use to get the best results quickly

If you genuinely want to get better at art then please look at references and practice that is always the best

However if you are like me and only really do art for fun but want to go faster then these are for you pfppt

Overall I'd say my style is influenced by speedpaints I would watch when I was younger, I like analyzing how people do things and what makes something look "good" to me

I always recommend watching them because they will often have techniques you've never seen before or do things a certain way that you can try out yourself

I consume good art, it feeds me

but seriously it can be super helpful when developing your own methodology, or just generally trying something new

Usually it starts with me pulling some references from artists I really admire and sort of sketching out how they do the things I like

For example 8um8le has like super good anatomy and poses so I focused on trying to replicate how they do that

venemous-qwille is super good at color and pulling focus so that's what I focused on in my study of them

In general I'd say my process is sketch -> silhouette -> color -> shading -> render

I really don't like doing lineart lol

I'd say for the sketch the most important part is using references and just kind of fudging it until it looks correct anatomically/physically

General rule of thumb is spend time on areas of interest, and keep non important areas light (like the stitching on his pants)

I don't do lineart because I think its unnecessary for most paintings I do

I naturally tend to put more time and focus on areas of interest (like hands and feet) and if you use a brush with opacity for the sketch, those areas are naturally going to be darker in the final sketch

Of course this is gonna be different for everyone but it's what works for me

Sometimes I do a really really sketchy layer underneath my sketch/lineart, just so I know where everything is going

Use thumbnails! They are great to help figure out the general layout of things and what pose I wanna do

Next is what I call the "silhouette" layer

This is super important for me cause it helps me refine the figure and make sure the pose/anatomy looks correct, also depending on what color I choose for the silhouette helps guide what colors I'm going to use on top

This piece is a good example of how it works. The silhouette shows me how the figure interacts with the background, how the pose looks and if its any good

The silhouette layer doesn't have to be super clean, as long as it follows the sketch decently well and shows where the figure is then its fine

I also sometimes make the silhouette layer multiple colors to help guide shading and vibe

Next is the coloring layer. I usually make this a clipping layer on top of the silhouette layer, or I change the silhouette layer to alpha lock, either way it saves me time on coloring everything in

Sometimes I am super rough with the coloring too, using like an airbrush or my fav watercolor brush just to generically block in color where I want it

Works out cause most objects have like a bounce light to them from surrounding objects, so this is sort of a cheat I use to get that effect without all the work lol

Also don't be afraid to have the lower silhouette layer shining through, having multiple colors sort of subtly shining through the piece helps lots

Next is the shading layer, this is usually another clipping layer, usually set to "multiply"

The colors I pick here is usually within this range, any color works, just depends on the piece and vibes.

Since this piece is set in a sunset forest I choose a more desaturated orange for the shading layer

I know there's a whole thing about multiply layer being a crutch (and it kind of it) but it is a useful tool when you just want some darker values across the piece but don't want to go through the process of color picking every single darker shade

Also in my opinion it looks better than picking a darker color and setting it to a lower opacity, idk I just think the color has more "depth"

Next is the hardest to explain, sort of the vibes layer

Usually its just a layer of more concentrated color on top of the normal color and I fudge with the settings and values until I get a result I like

Next is the longest step, is the "extra" or the render stage.

Usually I add a background before this step so that if I need to merge the figure better with the background I can

If I render with a white background but he's supposed to be in a dark forest, its going to mess with the lighting severely

Also this is when I add more "vibe" layers on top to get the figure to match the background better

Backgrounds in general I recommend checking out @/derekdomnicdsouza on instagram he's got lots of great tutorials for breaking down backgrounds simply

I'd say general rule for the rendering layer is to focus on the areas of interest and spend less time on areas you don't care about

I even blur stuff out on the edges I don't want people to see, partially to save time on fixing mistakes in areas I dont care about (oop), but mainly to help draw the eye to the areas I do want people to focus on

Theoretically parts of the background should like mesh with the characters, parrallel lines are a no no unless they are directing a viewer to look somewhere, things that are perpendicular help bring things together

tbh I'm still not the best at layout and probably need more practice, but overall this is what I like doing

Overall this is what my layer set up ends up being

Sort of a sandwich with the lineart/sketch as the "meat" lol

Color and basic shading below the sketch, clean-up and rendering on top

I like this method cause it's super flexible if I ever want to try something different or try to replicate someone's style

I can make each step less or more messy depending on the end result and can add a lineart layer if need be. Also if there's a part that is straight up not working or needs to be removed its super easy to do cause I can just paint over it on the "extras" layer, color picking from the surrounding area to get the same vibe

Generally rule of thumb for my style is: get the initial layout of colors, form and shading to look good, then the rendering should be smooth sailing

Really the best advice I can give to get better at art is to enjoy what you're doing and become very very obsessed with drawing a silly little guy

You'll eventually get very good at drawing them pfptpf

[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!