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ikroah · 4 years ago

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Whiskey river, take my mind, don't let her memory torture me. Whiskey river, don't run dry, you're all I got, take care of me. —“Whiskey River,” Shotgun Willie (1973)

It Keeps Right On a-Hurtin’ #15 - Vegas Outskirts

Collaborative Issue! Guest Colorist: @malpaislegate / @socksual-innuendos

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Notes / Original Pencils / Transcript:

Notes:

MAN that’s gotta hurt!! Volume 2 kicks off with a bang, literally if you count the gunshot and honorifically if you count Socks’ knockout color job on this issue. Look at those lovingly rendered bullet wounds!! Muah!!!

It’s been a relief having a month off from the comic as I handled a bunch of other things but there’s a lot to look forward to in Volume 2, as you can probably tell from that very forboding fist clench at the end there. Will Agnes and Cass get the revenge they’re looking for? Can they make it big in Vegas? Will it keep right on a-hurtin’? Find out next ish as Cass leads Agnes to meet the first of their new “friends.”

Original Pencils:

The pencils for this issue are like an autopsy report of all the things that can go wrong with your art if you don’t plan ahead and pay attention. Listen, friend, to my tale of woe, and learn from my mistakes so they don’t become yours!

First, you can see a lot of places where there’s floating objects, empty backgrounds, and incomplete heads. Part of this is because I always intended to just copy and paste repeated elements across each panel instead of drawing them multiple times, but other times I was forced to just because of my lack of planning. The top three panels on page two, for example, required me to draw the background I’d use for them on a separate page.

Second, you can probably tell that I actually had to flip the two raiders around in the final lineart because I forgot to keep the hands their were holding their guns in consistent—and since I couldn’t flip the middle panel on the second page without ruining the composition, I decided to flip all of their other appearances so that they’d be lefties. I doubt you even can seamlessly wield those particular guns left-handed.

Third, the size of the cart that Agnes and Cass are kneeling behind changes CONSTANTLY and is dramatically oversized from the third page onward. After inking these pages, it took a lot of work to correct the inks and shrink that cart in each panel, but fortunately it came out looking good.

And finally, I completely redrew the second panel on the fifth page because it wasn’t until I had already handed he pages off to my colorist that I realized having a second profile shot of Cass so soon after a first one was just...redundant and lazy-looking. So I went back to my sketchbook and whipped up a much more unique, striking angle (I also just wasn’t satisfied with the quality of my art on that panel, so I’m very glad I redrew it). But again, my failure to plan ahead bit me in the ass and my redraw attempt wound up taking up a lot more space than I thought it would, so after inking it I had to basically surgically remove it from the other inks.

I’ll be honest with you folks: part of the reason that I work in such simple, thick, high-contrast lineart is because it’s very easy to make corrections and adjustments with stuff you could technically color in Microsoft Paint.

Transcript:

EXT. SOMEWHERE IN THE MOJAVE, morning. AGNES SANDS and ROSE OF SHARON CASSIDY stand over the wreckage of a caravan, scattered over a dirt road.

CASS: Hell.

EXT. SOMEWHERE ELSE IN THE MOJAVE, midday. Looking over a second wrecked caravan, at the bottom of a ditch.

CASS: Fuck.

EXT. PRE-WAR HIGHWAY OUTSIDE OF VEGAS, mid-afternoon. AGNES and CASS survey a third wrecked caravan.

CASS: Shit. The proof is in the pudding. Or the pile of ash, rather. These attacks were done with Van Graff guns for Crimson Caravan caps. I'm sure of it.

As CASS explains her theory to AGNES, a short distance from the caravan two RAIDERS peer at the two of them from inside a barn at a ruined farmstead. They have snake-bite tattoos on the sides of their shaved heads and are holding rifles.

CASS: The scorchmarks and residue in the wreckages? That's energy weapon shit. Plasma and laser. Silver Rush special. Not like it'd be the Brotherhood. And Crimson Caravan must have bankrolled this fucked-up little hunting trip themselves.

The RAIDERS move out from the barn, sneaking up on two passers-by who’ve stopped at the caravan wreckage.

CASS: That explains why they bought me out...they needed the last loose end to saddle up back west with a tidy sum.

(NOTE: *Agnes delivered it and Cass signed it in IKROAH #7—Lou.)

CASS: It's a racket, Agnes: torch the local competition and it's win-win for both the f—

SFX: KRAK

A gunshot rips out from one of the RAIDERS’ rifles and sears across CASS’ shoulder.

CASS (gasping): —uckers.

CASS slumps down beneath the overturned caravan wagon on the road, clutching her shot shoulder.

CASS: —Aaggghghhhhhhh.

AGNES: Cass! Are you—

CASS: Fuck! Agnes, get down you moron!

AGNES ducks behind the cover of the wooden caravan wagon just as another gunshot splinters the top lip of it.

SFX: DTHWAK!

The RAIDERS advance on CASS and AGNES’ position, firing at them from off the road.

SFX: KRAK

AGNES leans over the top of the wagon with her pistol, returning fire.

SFX: BTAK BTAK BTAK

AGNES lands a shot right in one of the RAIDERS’ guts, and she drops her weapon and falls down.

SFX: SPLUT

CASS, leaning out the side of the wagon, takes as careful of aim as she can with her shotgun by holding it with her good arm. Trembling, she fires, connecting with the other RAIDER.

SFX: KBLAM

The would-have-been RAIDERS are dead.

AGNES: ...were those the Van Graffs?

CASS: No. Just some vultures.

CASS leans back behind cover to sit against the bottom of the overturned wagon again, wincing from her shoulder injury.

CASS: Ugghhn.

AGNES (slipping off duffel bag): Cass, your shoulder—

CASS: Yeah, it's been shot. I'm pretty fucking aware.

AGNES (unzipping bag): Quick, can you take your shirt off—

CASS: What!?

AGNES: —so I can dress the wound, Cass!

CASS: Oh! Good! So you weren't coming onto me on what remains of Griffin Wares Caravan.

CASS starts removing her shirt while AGNES produces a bottle of something from her duffel bag, and dampens a rag with its contents.

CASS: And since when are you a fucking field medic, anyway?

AGNES: 2269. NCR Certified.

CASS: What?

AGES: Yeah. I've been one kind of doctor or another since I was six.

CASS: What?

AGNES: Now hold still, this is antiseptic.

CASS: Since you were six!? I...shit, wait, hang on, Agnes—

AGNES pressess the rag onto CASS’ shoulder wound, and CASS winces instinctively. But, confusingly, there isn’t any pain.

CASS: ...isn't this supposed to sting like hell?

AGNES: No, not really. It's an acetic acid solution. Vinegar, basically.

AGNES begins cleaning the wound with the rag.

CASS: I thought you put alcohol on wounds to clean them.

AGNES: That's...a common misconception. It's good for tools, maybe, but too strong for skin. And it can complicate healing if you apply it directly.

CASS: So you're telling me, all my years, I've been wasting good whiskey only making my boo-boos worse?

AGNES: I mean...it's better than nothing in a pinch, but...

CASS: Well, then. Thanks for the lecture, doc. Can you just pass the whiskey anyway? Shoulder still hurts like hell regar—

AGNES hands her the whiskey bottle. She’d already gotten it out.

CASS: —dless. Oh. Thanks.

AGNES unspools a roll of bandages in her hands, then begins wrapping it over CASS’ shoulder and across her chest..

AGNES: So. It's a relatively minor wound, more of a deep graze than a real gunshot.

CASS: You'd know all about real gunshots, huh?

AGNES (unfazed): Uh-huh. I can suture it if necessary, but for now, these bandages will be fine. Just hold still. How do you feel?

CASS: I feel fucking pissed, Agnes!

AGNES recoils, taken aback slightly.

CASS: As I was saying before I got shot in the shoulder—which, however "minor" the wound, is real fucking close to my head, Agnes—this wasn't some random attack. These caravans, my caravan, got hit by the Van Graffs and Crimson Caravan. It ain't just some tragedy anymore. Now I've got names. Places. Faces.

AGNES resumes bandaging CASS.

CASS: I told you—ow! Don't pinch my tit, dammit—

AGNES: I said hold still.

CASS: —I told you, when you told me about this guy who shot you...when I let you drag me out of that fucking outpost...and when we went to Boulder City...that I would do the exact same thing in your shoes. Now, it is the exact same thing. This fucker shoots your eye out, these fuckers ash my caravan...these same fuckers I sold my own goddamn name to on a piece of paper. I mean...what else are we doing out here, Agnes? Getting shot at by Khans and Raiders just for kicks? Are we just fucking around?

AGNES finishes bandaging CASS, then leans back, pensive.

AGNES: No...no, I really guess we’re not.

CASS: That's what I thought. Your friend in Vegas can wait. Help me get mine, and we can get that shitheel together, and that's a prom—

CASS raises her arm to shake her fist as she speaks, straining her shoulder injury.

CASS: —mmmmmmghhhh. Ooww, oww, oww, oww...

CASS grabs her shoulder in pain while AGNES looks off in the distance and stands up. She looks out towards the horizon—towards VEGAS, and the pre-war casinos and hotels that still gleam and glitter in blinding sunlight.

Her fist clenches. Her brow furrows. Her body tenses, all over, staring at that city, that place.

The caravan wreckage remains alone on the highway, brahmin bones long picked clean by scavengers.

AGNES SANDS IN: IT KEEPS RIGHT ON A HURTIN’

VOLUME 2: MAKE IT BIG IN VEGAS

#fallout new vegas #fallout #courier six #rose of sharon cassidy #volume 02 #15 #ikroah archive

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mxtcha-tea · 4 years ago

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Lines.

✎desc; how I would rate haikyuu character's drawing.

✎team[s]; fukurodani, inarizaki

✎genre; crack

✎language[s]; english

✎chef note; okay, first off, I'm not a professional drawer but I can still rate drawings. This idea just came to me like a minute ago and I had to do it now, so enjoy :)

fukurodani.

Bokuto

Aight, I see that we started off greatly.

In all honesty, he have no idea how to draw,

And of course his drawing would look,,,, quite terrible i'm so sorry bokuto lovers

He's that kid in art class where's when the teacher already told them what to draw,

Bokuto sat there on his chair, staring at the canvas

Like, what is he suppose to do? Draw?

Well, yeah technically but what???

I can totally see him frustratingly erase the sketch if it can be called as a sketch

And then proceed to try to copy other people's work

Keyword; try

It's bad but at least he had an effort to finish it

4/10, there I said it

Akaashi

His drawings are not that professional but it's pretty

Have you ever seen a drawing that you wanted to stare at it for hours until you're satisfied?

That what's his drawing are like

Not typically an art kid so he's fine when student's from his art class asked him to draw for them

And is feeling pretty neutral with his talent (he actually won't call it a talent but more like a hobby or sum)

And just say 'thanks' if peoples compliments his drawing

Let say his drawing is, a good 8/10

A decent drawer in conclusion :)

Konoha

Not a bad drawer but he rather keep it basic

Konoha's prolly too lazy to draw something over the top so he's just gonna draw flower or something ksndnzkj

Sometimes sleep during art class and had to ask what they had to draw

Proceeds to decently draws a scenery

He's totally not the creative kid so whenever the teach tell them to draw something, he'll always go with basket of fruits, like,

Man, I appreciated the drawing but at least put some effort on thinking what to draw

The art teacher also kept telling him that he have raw talent and should enhance the skill more,

But that never happened, no

"Sorry ma'am, I'll just stick to volleyball, thank you,"

One part of the art room has a section of konoha's basket of fruits drawings but in different mediums

Rating is 7/10

Washio

IS actually an art kid and you cannot convince me otherwise

Has a small sketchbook with him and he'll always doodle when he's bored or in a middle of a lecture (while taking notes of course)

His main skill in drawing tho is painting

The colors blends in so well with one another and he's good at picking color palettes

Also, he doesn't really get that annoyed if some kids from his class ask him to teach them how to draw

Or even look through his sketchbook

He'll just nod and hand it to them without a second thought

Ajsjdhsijsi Washio get so blushy when someone compliments his drawing,,,,

I’ll give a 10/10 :), congrats

Sarukui

The best that he can do is doodles of owls and other shits but other than that, he cannot do

But the doodles are kinda cute doe ngl

He’ll have his moment where he’s in class and have no idea what to do, and just doodles a bunch of stuff

Once he draw his whole teammate including his coach and himself, he thought to himself,

“Huh, this looks good,”

And then take a picture of it for memories (cause he might throw the book he’s doodling in away)

Speaking of that, he doesn’t have an official book for drawing and just draws in his english or math’s textbook or sum

His juniors eyes are blessed when they got his textbook

Sarukui just vibes in during art class, draws and that’s pretty much it

The drawings,,,,,eh,,,, not that good, he only specialize in doodling as I said

so in conclusion,

drawing? 2/10

doodling? I’ll give a solid 5/10, good job

Komi

I’m gonna say this and I’m prolly gonna say it again

He hates art class

Like, even with him trying his best to draw, it’ll always gonna look strange than what he planned

mf cannot draw a straight line in art class

This dood can draw a nice straight line in any other class whether it’s for a graph or others,

And then proceed to shakily draw a straight line during art session

Totally not an art kid and will never be one

His drawings,,,,

I’m so sorry but it looks so bad

It’ll prolly look a lot better if he put more effort, but it’ll still look bad no matter what

Komi hates art class and can’t draw even a decent doodle so unfortunately, I’ll have to rate it 0/10, sorry :(

Anahori

His drawings are eh

It’s not good but also not bad?

Sometimes you’ll just stare at his drawing for a good minute and be like, what did he just draw just now?

What I’m saying is that his drawing’s are unexplainable

Maybe if you stare at it a little bit longer then it’ll make sense and you can see the beauty in it

But honestly I can’t really see anything, not in a bad way, but like, literally nothing

You’ll be staring at his canvas as the mario kart rainbow road music started playing inside your head

But Anahori is always proud of his drawings no manner what

So, I’ll rate confusion/10

Onaga

Just like Komi, he sorta hates art class too

But lemme tell ya, his sketches are GODLY, like, have you seen those pinterest hand sketches?

That’s what his sketch would look like

It’s so yummy to look at what

But he sucks at lineart so JAHGSDSHD

Onaga cannot properly hold the black pen and do the lineart, it’ll always turn wonky and he had to throw it away

Like, if he spend even hours tryna outline it all, and then erase it

It’ll look so trash

And he’ll just stare at it for a couple of minutes before crumpling the paper

He’ll also suck at coloring

Mans cannot understand how the color blend in together

And I think I’ll rate,,,,,6/10 just cause he suck at coloring and lineart lmao don’t worry i suck at coloring too

Kaori

Another decent drawer and her drawings are almost the same as Akaashi’s

But instead of it looking pretty, it looks cute

I have a headcanon that Kaori have a journal and does journaling so that’s prolly the reason why her drawings are cute af

But honestly, her drawings sometimes depends on her mood,

If she’s mad or frustrated, her drawing would look kinda rough and not that cute anymore

If she’s feeling happy tho, It’ll look so nice and cuddly does that even make any sense

Isn’t necessarily an art kid but would love to try be one

And she totally have drawing sessions with Washio aaaaaa,

Just imagine both of them sketching in the same sketchbook while talking about the volleyball club or anything else

She’s getting an 9/10 just cause her sketchs looks clean <33

Yukie

She doesn’t draw at all

Like, you’ll never see her drawing at any kind of time so you have no idea what it looks like

Yukie would still attend art class,

But never draws

She said that she’s pretty lazy to draw it and said to draw it at her home later

But no one even saw that drawing after that

Yukie doesn’t show her drawings nor EVEN draw for once

So I technically can’t rate :/

inarizaki.

Ginjima

LISTEN

The only reason why I started with Gin is because he have some amazing drawing skills

He admit that he’s not an art kid but draws godly as if he had been thought since he was a kid,

Well, actually yes

I think Ginjima actually wanted to be a drawer when he was still a little kid way before he started his 3rd year of middle school

So he practiced a few and became a nice drawer since then,

But he kinda quit being a drawer and decided to go with volleyball

And guess what?

His drawing talent is still there

He totally specialize in pencil drawing cause that’s the first thing he started learning

The lines are smooth and the shading are so yummy what is wrong with me

The Miya twins and Suna are so sh00ked when he saw his drawing during art class

ngl he’s pretty smug about it too but doesn’t brag about it

I’ll give this boy 12/10, mwuaah

Suna

I hate this man for this sole reason

Suna is too LAZY to draw so he doesn’t give any effort in his drawing

I can guarantee myself that I’ll get an eye strain when I saw his drawing

And...

*wipes away tears*

He draws too many dick

–2/10

Don’t come for my head Suna lovers

Atsumu

OMFG

OKAY, OKAY, I KNOW THAT ATSUMU MIGHT PUT ON SOME EFFORT IN HIS DRAWINGS,

BUT WHY IS IT STILL SO BAD?????

He’ll prolly think his drawing would look good but no, it’s not

No matter on what perspective you look his drawings at, It’ll still look bad

AND HE DOESN’T EVEN NOTICE IT

Osamu laughs a lot at his drawing and they started fighting for that only reason smh

Atsumu, I appreciate your effort so SO much,

But please, just stick to volleyball

–10+/10

I put a plus there because of his effort and because of pity

Osamu

He draws in ms paint, with a mouse

But he can draw some foods tho

But all of it looks wonky af

1/10

Akagi

A pretty decent drawer

Akagi always draw happy and cute drawings so you’ll also get happy when you saw his drawings

Puts on a big smile when people compliments his drawing and shyly scratches the back of his neck

“Nah, this just look normal!”

But he draws oddly thick lines sometimes

Sometimes it looks good in some drawing

And sometimes it looks, bizzare in others...

But I think his drawing would look nice <3

Overall, I’ll give a,,, 7.5/10, keep up the good work

Oomimi

He’s from class 7 AND I really think that he’ll be good at drawing

Well, he can draw a few things but he struggles drawing other things he never accustomed to

But!

Oomimi is that kid who’s good at drawing scenery

He knows basic color palettes and which is cold and hot colors

So the scenery drawing would always look good

He get a lot of compliments for the drawing (50% of it from Akagi)

I think he doesn’t have that many time to relax and draw freely but when he does have it, it’ll just be small and simple doodles

um, let’s go with 8/10 <3

Aran

I truly believe that Aran can draw peoples face but in a pretty decent amount

He’s also good with anatomy teach me your ways king

But as much as he’s good at that, he kinda sucks at drawing any kind of background drawings

Mans can’t draw a scenery I’m telling you

As if the background doesn’t even exist in his mind lolol I’m sorry Aran lovers, I didn’t mean that in a bad way

Mainly uses copic markers to color and color pencils to shade

The first time he use the copic marker, he got really frustrated that the marker stain the other pages lmao

And he never uses digital drawing applications or softwares

Aran just doesn’t

I think I’ll rate him, 8.5/10

Kita

Okay, I know that Kita’s a top student and never fails in anything

But he’s not typically a good drawer that much

His drawing still got good marks but when you look at it, it just looks normal

I just know that the Kita lovers gonna get me after this

It’s not that bad and not that good, just a nice balance in between

I personally think Kita’s not that godly in drawing but rather a neutral drawer

He draw what he can and does shading and coloring when it’s needed

The colors are all basic colors, no pastel, no neon

And the shadings are pretty basic

Just a normal drawer here

Ya’ll gonna fight me for this but I’ll give Kita’s point,

7/10

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tatsujunblog · 6 years ago

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NEW RULE AS OF 4/20: Due to the number of identical requests being submitted, your 1st tier request may be skipped if it’s already been assigned to someone 2 or more times.

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What is this event? This is a gift exchange event for the Persona 2 fandom, in the style of a Secret Santa. When you sign up, you anonymously request a gift (in the form of fanart or fanfiction) from another event participant. You will also receive an anonymous request and be responsible for making a gift for someone else. Once the event starts, all gifts will be posted and all identities will be revealed, except for those who asked to remain anonymous. Is this a general Persona 2 event? Yes. This event has no specific theme or shipping focus so anything goes as long as it’s related to Innocent Sin or Eternal Punishment. Where will the event be hosted? The event will be hosted on the @p2xchange twitter account. All art will be uploaded directly but fics will be uploaded as a google doc, then linked to (fics will come with a screenshot preview). Who can sign up? Any P2 fan can participate so long as you fill out the form and have a twitter, tumblr, or email that I can use to contact you. Am I giving up ownership of my work or anything like that? No, the gift you created is yours. You can reupload it or do whatever else you want with it once the event ends. Who’s running the event? Me, the same person who runs TatsuJunBlog. You can contact me in the following places:

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★Sorry, you can’t change your gift request once you submit it. However, I might be able to reassign you a new request if you really hate the one you got, so contact me quickly and I’ll see what I can do. (Please be considerate and don’t reject your request for a frivolous reason, though.)

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#persona 2

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pretzalec · 6 years ago

Text

Picture Imperfect

Pairing: Romantic Moxiety

Summary: Virgil draws to cope with his feelings, which could spell trouble when Logan accidentally finds out how he feels about Patton.

A/N: So I posted this a long time ago in four separate parts, but tumblr decided to be garbage and made it invisible on the tag search thingy, and I couldn’t save it. Instead, I decided to wait a while to calm down and repost it all-in-one so people can (hopefully) see it. I’m also tagging the people I tagged before so they know what all’s happening.

Warnings: Big panic attack/disassociation thing at the beginning and a minor one later, text is heavily altered when Virgil’s voice distorts (in case that bothers anyone), two sentences of suicidal thoughts, Patton almost cries a couple times, a single curse word, hot chocolate is mentioned twice, did I miss any?

Words: 3887

Chapter One: A Dark Corner

His fingers clenched the sleeves of his hoodie. They don’t want you. You only hurt them. You bring everyone down. He tried to focus on breathing. No, they care. You’re not the villain anymore. You ruin everything when Thomas is happy. That’s all you’re good for: ruin. He tried to calm down, but nothing worked. Things were shapes, words were sounds, his fingers gripped tighter, but the feeling was just fuzz, it’s not even fuzz the noise isn’t here it’s somewhere else my chest is tight where’s my heartbeat how do I breathe everything’s broken they know they know everyone knows he hates you he hates you you don’t belong here why do you even live anymore it’d be better for everyone if you were just dead

A faded voice tried talking to him. Odd-but-familiar shapes reached for him, a distant embrace that he didn’t know if he welcomed or rejected. He sensed a rhythmic motion; the only stabilizer he had to count his breaths.

In, 2, 3, out, 2, 3, count in head, stay in tune, chest is loose, steady now, breathing deeper, hold them closer, let them help you, you’re not alone, you are wanted here, do not worry now, it’s all coming back, shapes becoming things, these are someone’s arms, these are Patton’s arms?

Breathe. The world pieces back together. As he rests his head on Patton’s shoulder, he could hear his gentle voice more clearly.

“Are you okay, kiddo? What happened?”

The inevitable question. He opened his mouth to say something, but he closed it and sighed when nothing came out. How could he tell him? What could he tell him, without making things weird again? And the shaking – still shaking, even after he recollected himself.

He took a moment to organize his thoughts just to tell him anything at all, but his voice was still distorted. Doesn’t help that Patton is part of the problem. “I̵ l̵e̷f͢t.͏..so̸me̵thi͏n̸g̴ im͟pór͢t͞a̶nt ̛on̛ the҉ c̷o̧unt́e̸r ̷w͡hen ҉I̶ was ̕i͟n ̷the͏ k̢i̴tche̷n̴. Lo̷gan found̶ ít̷,̸ an͞d.̛..go̶d̸ ͢i̵f Ro͞ma͞n͡ ̵͘͠f̵̀ì͜͢ndş͘ ̀͘o҉͜u̧̕t͝͡,͢ ͘̕t̀ò҉̷ó́,͞ he’͡͏l͡͏̨ĺ ͢n͡ev̶҉é̷͟r ş͘h̴u͟t́ ͟u̸͠p̨ ͏àb͝o̵ut̶̡́ ̶̕͜it̨!̵̨͠” The distortion worsened with his anxiety. If Sir-Sing-A-Lot gets ahold of that drawing, he’ll either tell Patton – no, everyone – about Virgil’s biggest secret, or tease him relentlessly about it.

“What was it?”

An even worse – but also inevitable – question. “̸̵͡I͠͏..͞͝.͝͏Į c͡a̴͘ń̸̵’͝҉t ̴̶̡t̸͢e҉͝l͢͡l̴̸͠ ý̡o͝u̸̕.͠ ̧I͘̕͢t̶’̕s̡͘, ̴̧u̢h͟,͏̛͢ ͜pe͡r͡s͡o̵̷̢ń͞a͘l̛̀͠.͘” He wished he could calm down again; his voice in this condition could give him away just as easily as his sketchbook.

“Well, maybe I can talk to Logan about getting it back?” he gently offered. “He probably just thought it was his and hasn’t noticed yet. I don’t think he meant to upset you...”

That proposition could go one of two ways: Patton could get the sketchbook and immediately return it to Virgil without looking through the pages, or anything would happen and he’d find out about the drawings Virgil made to cope with his feelings for him. The latter seemed more likely, and he knew Patton would reject him, anyway. But he couldn’t talk to Logan himself; a million more things could go wrong if he tried. All options were risky. The more time he spent thinking about it, the more he felt trapped into one option.

“.͢..̡fin͡e͏.͘” The distortion was fading. ”Ju͜st- ̛pl͢eas̢e ̛don͞’t ope̵n it, okay?”

“I won’t. You said it’s personal – I don’t wanna invade your privacy.”

“Thanks, Pat.”

Silence fell between them. Virgil’s body slowly loosened, letting him lean further into Patton’s embrace. The warmth inside him swirled around, it’s intensity matching the warmth against his body. He could hear his heart beating; slow and gentle, yet strong and somewhat loud at the same time. It seemed to almost match Patton’s in both pace and power.

He lifted his head to say something to Patton, but his gaze flicked from his beautiful eyes to the dark shadows growing underneath them. A twang fear shot across his heart. “You should get out of herè,҉ P̷a̢ţ. Th̷e̢ ro͢o͟m̸’̨s͢ s̵t̷a͡rtin͞g t̀o ͠c͞o̸rru̕pt̢ you̸.” The distortion started to return, this time from gaining power over Thomas instead of his own anxiety.

“Are you gonna be okay? You can come with me to my room, if you want...”

“I͡ th̡ink ̡I’̨ll͏ b̛e̷ ͟f̷iné. Yo̧u̡ ̧shoul̨d͘ ͠go,̷ ̀t̢ho̵ugh͘.͠ Q͜ui̕c̀ķly.͝”

Patton nodded, squeezing Virgil tighter for a second, then releasing to sink down and away. The silence left behind was strange and heavy. All too familiar for Virgil. He stared at the spot Patton was in, a looming sense of things shutting down without him. Stupid feelings. Stupid room. Stupid Virgil.

Chapter Two: But How Much Do You Know?

The detail is astounding. The anatomy is impeccable. The colors are absolutely stunning! Who knew Virgil could create masterpieces like these? The way they were crafted, the things they express, the mastery of every aspect in each picture – it’s almost inconceivable! Perhaps he could talk him into letting him keep one or two for his room?

He turned the page, careful not to ruin the delicate medium. The picture on the right was much more colorful than the left, but he wanted to keep his consistent left-right-left-right scanning of the pages. Except, the left page was blank. The smudged colors that transferred from the other side attracted his attention, making him falsely believe a picture was there. He looked back to the right, and saw a finished drawing of...Patton and Virgil? No, that’s definitely them. They were watching the sky, Patton leaning against Virgil, who had his arm across Patton’s shoulders. A small heart floated above them, teaching Logan something he didn’t know about-

“Hiya!”

Patton’s sudden appearance almost made him drop Virgil’s book. “E equals MC scared!”

“Oh, sorry, teach! Didn’t mean to square ya!”

He groaned at the pun and pushed his glasses back up. “Must you shout so loud when you rise? I could’ve attacked you.”

“Sorry, I just needed to ask you something.”

“Ask away.”

“Do you happen to have a, uh...something of Virgil’s? He says he put it somewhere and you took it, but he really wants it back because it’s very important to him.”

Logan felt something strong inside him. He knew it was about the sketchbook, but that one picture raised so many questions he was afraid of asking. However, he shouldn’t have investigated the pages in the first place. He already knew he’d done wrong, but perhaps returning the book could correct what he did...yet the questions drive him to learn.

He handed Patton the book. “It’s this. I thought it was my notebook, but I hadn’t opened it until now.”

“Thanks, Logan!” he exclaimed with purity. “You didn’t look in it too much, did you?”

“Not at all,” he half-lied. While he did look at more than he should, it couldn’t have been more than 7 pages. “But there is, um, a question I have for you. Regarding Virgil.”

Worry spread on Patton’s face. “What about him?”

“Do you, erm…” He realized asking such a question is much harder when you don’t understand many feelings or emotions. “...do you, perhaps, feel...a certain way about Virgil?”

Worry shifted to panic. “H-how did you know? Did Roman tell you? He said he wouldn’t tell anyone! Oh my gosh, please don’t tell Virgil! I-”

Uh-oh. Feelings. “Don’t worry, Patton. Roman didn’t tell me anything.”

“Then who did? How did you-”

“You did, just now.”

Patton felt like his entire body had turned to glass. One wrong move, and he would break into a million painful shards. “You...didn’t know?”

“No.” He wanted to say more, but for once, he had lost his words.

He absentmindedly gripped the book tighter. “...then why’d you ask?”

A million answers rushed through Logan’s mind. Instead, he adjusted his glasses and told him, “I believe Virgil could answer that much better than I can.”

He looked away, thinking. What Logan said...that could mean anything. It means Virgil could’ve seen him staring when he thought he wasn’t looking, then got suspicious and asked Logan to find out. It means Virgil wasn’t interested, but Logan didn’t have the heart to tell him. It means someone else wanted Virgil, someone he’d like so much more, and Logan wasn’t sure who’d be the lucky one to date him. It means...Virgil could like him, too. The book had something about Patton in it, but they were both afraid of rejection, so he didn’t want him to see. He didn’t want anyone to see. Now Logan has seen it, and it made him wonder if Patton felt the same way Virgil did.

No. That couldn’t be possible. There’s no way Virgil would...would he?

He looked at the book in his hands, the tip of his thumb grazing the edge of the cover in temptation. Virgil said not to look. Anything could be inside…

He said goodbye to Logan, then sunk out. Keeping Virgil’s trust is more important. Even if it means he’d have to prepare for heartbreak.

Chapter Three: A Piece of the Puzzle

He finished the lineart, then stared at it. Of course the first thing he did when Patton got the sketchbook back was make another picture of his romantic fantasy. At this point, it was just pathetic. He knew he should stop doodling these things, especially now that his secret almost got out, but he loved being able to spend a few moments living in an impossible world where he and Patton could be so close and comfortable with each other. At the end, he’d always have to return to reality. The reality where Patton could never want someone like Virgil, and the drawings would stay fantasy.

Logan rose from the ground in front of Virgil’s bed. “May I speak with you?”

He kept coloring, refusing eye contact. “Why?”

“I...have questions. Some of which regard Patton.”

His pencil stopped. He glared at Logan through his bangs. “What’d he do?”

“Nothing yet, but it’s only noon.” He straightened his tie, trying to figure out how to say the dangerous things on his mind. “I, uh, must admit – and apologize – that after I mistook your sketchbook with my notebook, I did...look through some of the pages.”

Virgil’s head snapped up. “Why did you do that?!” he growled.

“Your skills are unlike anything I’ve seen before. The anatomy, the lines, the colors…” He cleared his throat, getting back on track. “I was captivated by your work. However, I did see one thing that I know I shouldn’t have, and-”

“Don’t tell anyone about anything you saw,” he hissed. “They can’t know.”

The aggression startled Logan for a second, but he continued. “I won’t. I shouldn’t have intruded in your personal secrets, but I’ll see that it never happens again.”

“Good.” He went back to his drawing. “You should leave. You’re starting to get eyeshadow.”

Chapter Four: Royally Screwed

“I just don’t know,” he admitted, gently tugging the sleeves of the cat hoodie around his neck. “What if he doesn’t like me like that?”

Roman sighed. “Even I cannot understand how you could fall for that storm cloud –” He felt Patton’s glare. “– but I have seen the looks he makes at you! I’ve seen his smile for every joke you make! And now, even Logan of No Emotion has brought it up, and you still wonder if he’d turn you away?”

“I mean, he probably just wants to stay friends! Maybe he’s not ready for a relationship like I am, and I don’t want to force him into something he doesn’t want!”

He grabbed Patton’s shoulder. “He does want this, Pat. Would Thomas help y-”

“No! Please don’t tell Thomas,” he begged, “Virgil would hear everything! I can’t-”

Roman cut back in, “then do you want this love to eat at you with every move he makes?”

“I...no, but-”

“Are you going to sit back and admit defeat, letting your heart shatter when he moves on because you didn’t take a chance?”

“...no…”

Roman’s voice boomed dramatically, “do you love him?”

“Yes,” Patton answered, gaining courage.

“Do you want him close to you?”

“Yes!”

“Then you march over to him and tell him how you feel!”

He jumped up excitedly. “Yeah! I’m gonna go to his room!”

“Yes!”

“And I’m gonna look him in the eyes!”

“Yeah!”

“And I’m gonna cry!”

“Ye- wait-”

“Because he’s so cute!”

“Uh, Patton-”

His voice grew fragile. “And I love him so much…!”

“Woah there, papa bear,” he said calmly, standing up to hug Patton, “we can do this. You can do this.”

Tears welled in his eyes. “I can’t…”

“Yes, you can. Come, let’s try again.”

Chapter Five: Shading in the Lines

He switched to a darker color, thoughts racing as he shaded. Logan’s the smartest, but he doesn’t understand feelings. He doesn’t really like Roman, but he’s creative and knows a lot about romance. Either of them could be equally helpful or disastrous, but who else could help? He can’t ask Thomas, either – he’d help the most, but everyone would hear what they’re saying! That would humiliate him, or worse!

The drawing was finished. He took a moment to admire it, smiling slightly as he imagined being in that world. Lying in Patton’s warm embrace, listening to his gentle heartbeat, playing with his fingers as they drifted into sleep...coming back to reality was more than crushing. With a heavy sigh, he stood up to put the supplies away. He triple-checked to make sure the colored pencils were all in the right spots and put them in the drawer first. The normal pencil went into its box with the others, and the eraser was just tossed into the drawer. It’ll turn back up eventually, just like the other erasers strewn about the drawer.

He turned to grab the sketchbook, which belonged- oh shit.

Patton had entered the room at some point while he was distracted. The sketchbook was left open, with the picture of Virgil’s recent fantasy left out for him to see. He held the book carefully, wide and curious eyes glancing all over the image.

Virgil felt his heart drop when the page turned, knowing another image of them together was on the other side. His hands began to shake. Tears blurred his vision. He wanted to do something to distract Patton; to delay the inevitable heartbreak. Yet, he couldn’t move. Anxiety crept up, he wanted to run, grab the book, his breathing changed, the shaking-

Through the blur from his tears, he saw Patton smiling. He forced himself to wipe his eyes and saw the softness of Patton’s expression. Adoration. Patton adored the drawings, taking in every detail, perhaps even trying to live for a moment in that world as Virgil had done so many times before.

He finally noticed Virgil looking at him and gave him a beaming smile. “Did you draw these? They’re so cute!”

A jolt of fear ran across his chest as he stammered out an answer. “I- uh- yeah, I-I did…”

Patton continued to talk about his art style, but his vision had focused on the shadow growing under Patton’s eyes, which was more alarming than whatever he was saying. He didn’t want to be rude and interrupt him, but he can’t stay in this room for too long! If he does, Thomas will-

He snapped back to reality when Patton said his name. “Virge? Is something wrong, kiddo?”

There wasn’t a choice anymore. He stammered for a bit again, then finally replied, “Pat, you need to get out of here.” Patton made a heartbroken face, opening his mouth to say something, but Virgil kept speaking. “You’ve been in here too҉ l̀on̢g.͡ Th̕e r͜oo͟m̕ ̢i̕s ̧co̴rr̨u̵pt͟in͠g͏ yo͡u͝. ̛Ỳo̸u ̧n͏eed t͠o ge̶t ou͟t̢ b̧efo͏re̕ i͝t gèt̶s ͝w̨ors̴e͝.”

His eyes flicked around the room and the sketchbook. “Come with me,” he pleaded, grabbing Virgil’s hand on impulse. It only took a second for him to receive a nod in agreement.

Chapter Six: Finding that Edge Piece

Rays of sunlight beamed through the windows, illuminating every corner of the room. Sparkles of light seemed to float around like autumn leaves in gentle wind. Birds could be heard chirping happily outside, singing sweet songs. The couch they were sat on held them perfectly; not too soft, not too firm, not made of leather. It was almost inappropriate how wonderful the room was after what happened earlier.

Patton teased the edge of the closed sketchbook, waiting patiently as Virgil struggled to find his words. He already had an idea of what he was going to say, but he wanted to give him a chance to talk. He always deserves a chance.

Virgil broke the silence. “I’m sorry.”

“Sorry for what?”

“I, uh...I could’ve reacted better to…” He gestured vaguely to his eyes. “Y’know.”

“Aw, Virge, you were just trying to keep me safe!” He looked at the sketchbook, running his thumb on the edge again. “I’m sorry for looking in your sketchbook without asking. You said it was personal, and I promised I wouldn’t look, and then I did anyway…”

“Don’t worry about that,” he sighed. “You probably would’ve found out somehow.”

Patton withdrew slightly. “And if I didn’t, you would’ve,” he mumbled.

“...what?”

He sat up quickly, shocked that Virgil heard what he said. “I- uh- the pictures- um- well- when I-”

“Hey.” He gently rested a hand on Patton’s leg, quieting him. “Take your time.”

The speed and energy of how Patton talked went entirely against what Virgil just said. “I just- I really, really like you, and I didn’t know if you liked me, and when I saw what you drew, I got super happy because I wanted us to do those things, too, and I- well- I just-” He let out a pitiful whine, then went quiet.

Virgil simply smiled at him. “I didn’t think you felt the way I do. You definitely deserve better than me, an-”

“I will physically fight you!” he shouted, tackling him with a hug. “You’re perfect and beautiful and amazing just the way you are!”

He chuckled. “Are we still talking about me? I feel like you’re just listing facts about yourself, now.”

“Virgil, that’s very sweet, but I also want you to love yourself!”

“Can’t, I’m too busy loving you.” Patton responded with a frustrated whine. “...how about a movie?”

He perked up, smiling brightly with hope shining in his eyes. “Can we cuddle?”

“If you want, that’s-”

“Yay! I’ll go make the popcorn!”

Patton dashed into the kitchen, a happy bounce in his steps. The floating sparkles in the room seemed to follow him for a bit. In Virgil’s eyes, they only accentuated his beauty. With a gentle sigh and a soft smile, he felt the warmth in his chest grow as he fell further and further in love.

Chapter Seven: Framework

The sunlight shone on Virgil, giving him a golden glow while he slept. Patton gently ran his fingers through Virgil’s purple hair, enjoying the soft and silky feel. The butterflies in his stomach still haven’t gone away. It had been over an hour since they made their relationship official, but he thought the glittery feeling in his body would change into something...smooth. Maybe warm. Like hot chocolate!

Virgil sniffed, scratched his face, then moved closer, practically laying on top of Patton with his legs draped across his lap. He buried his face in his neck, hummed softly in content, then fell back asleep. Patton almost wanted to cry; how else could he express just how madly in love he was with someone so adorable?

His arms wrapped around Virgil’s body. He felt warmer without his jacket on, but his body was still somewhat cold. Is he always cold? Maybe that’s why he wears the jacket all the time; he just needs to keep all of his warmth in one place.

It was then Patton noticed he had spaced out, staring at Virgil’s face and rubbing his back. The staring may have been kind of creepy – he’s just so cute and peaceful when he sleeps! – but he knew Virgil was generally comfortable with him rubbing his back. It usually helped him calm down when he was panicking, or it made him feel better when something was wrong. Either that, or being pet on the head.

Patton’s hand moved as memories came back, gently petting Virgil’s head the way he did the first time he let him. He remembered the way Virgil relaxed, slow-blinking like a cat when he realized he actually liked it. Since then, it sort of became a way for Patton to show him that he was loved, even before he, well, loved him.

“Cold,” Virgil mumbled, bringing him back to reality.

Without missing a beat, Patton grabbed a blanket with his foot and pulled it up to cover them both. He felt a cold hand rest on his arm, and a small smile appeared on Virgil’s face with a quiet hum.

“Thanks, ba-” His body tensed up slightly. “Um, Pat.”

He knew what he was going to say. He knew Virgil was about to call him babe, but he stopped. He knew, and he wanted to say it, too, but he wanted Virgil to be comfortable saying it first. That way, they could use other cute nicknames in the future.

“You can say it,” he coaxed. Virgil shook his head in response. “Why not?”

Virgil started fidgeting. “...isn’t it kinda...early? Like, we just got together…” His voice trailed off as he tried to find other things to say. “Wouldn’t it be...a bit weird?”

“I don’t mind, but if it makes you feel weird, then that’s okay. It doesn’t have to be now.”

“...you sure you’re okay with it?”

“Of course! I’m your-” he giggled- “your boyfriend now.” He giggled again, vibrating with excitement. “Wow, it feels really good to say that!”

“I’m glad, because I’ll be saying it soon, too.”

“Aww, Virge!” He tightened his hug. “And if you ever wanna say any, y’know, cute nicknames, I’m totally fine with that. Just as long as you are, too.”

He scratched the back of his thumb, then rested his hand back on Patton’s arm. “Thanks...babe.”

With another giggle, he placed a kiss on Virgil’s head. “Anytime, sweetie.”

His smile grew a little brighter. “...can you keep, uh, doing the thing?” he nervously requested. “Please?”

Patton continued to pet him, letting him melt into his body with a contented sigh. After a few minutes, Virgil was limp, and his breathing became steady. Once again, he had fallen asleep in Patton’s embrace.

The sunset shone on them, giving them a golden glow while Virgil slept. Patton gently ran his fingers through Virgil’s soft hair, comforting him in his dream. The butterflies in his stomach had gone to bed, and the glitter in his body became smooth and warm, like hot chocolate was flowing through him. He was nervous – and he knew Virgil was, too – but as the world pieces back together, they will make a different picture than what’s on the box.

Taglist: @randomslasher @musikasworld @soft-transboy @fandersfic-moxiety

#moxiety #romantic moxiety #virgil sanders #patton sanders #sanders sides #Picture Imperfect

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theansweris-a · 6 years ago

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Commissions for an Emotional Support Dog

I have struggled with anxiety for most of my life, however I only realized it about three years ago. A year and a half ago, I was officially diagnosed with Social Anxiety Disorder. I also have been experiencing episodes of depression. My therapist at one point in time recommended that I get an emotional support dog to aide in coping with my disability. Due to my dad's allergy, the dog needs to be hypoallergenic, and it turns out that poodles make really good ESAs. I’ve also found that Bichon Frises, while needing a lot of grooming, seem to have a lot of the traits that I’d like in an ESA. I looked into it, and it turned out that both of these dogs are pretty expensive, especially considering how. Now that I have a job, I am ready to start saving towards one. I am still in Highschool, so it will take me a long time before I have enough money to get either a poodle or Bichon Frise. Because of this, I've decided to open commissions in order to help me reach my goal a little quicker. Even if you can't afford to get one or don't want one, I'd appreciate if you spread this around so that as many people as possible see it.

All art will be sketched in pencil, with anything else done in Firealpaca.

Can do: Humans Humanoids Anthro Feral Robots Ghosts Monsters Aliens Canon characters Fan characters Original characters Gajinka or humanized versions Gore

Won't do: Pairings** Sexual content Moles, makeup, jewelry* Hate art aimed towards any person or group Demons** Swearing Drug content Homestuck** Realism Inflation, vore, or anything along those lines

*If your character has these, it doesn't mean I won't draw them period. I simply will not include that aspect of their design. This is because of some personal reasons, sorry!

**Due to personal reasons

Pencil Sketch

Lineart

Flat Color

Shading

-Bust- (A character's head and shoulders) Pencil Sketch - $1 Lineart - $2 Flat color - $5 Shaded - $7

-Halfbody- (A character as seen from the waist up) Pencil Sketch - $2 Lineart - $3 Flat Color - $7 Shaded - $10

-Fullbody- (A character from head to toe) Pencil Sketch - $5 Lineart - $7 Flat Color - $12 Shaded - $15

-Portrait- (Two or more characters in a scene) Pencil Sketch - $10 Lineart - $14 Flat Color - $18 Shaded - $20 Every Extra Character - $5-$10 depending on commission type

-Backgrounds- Single color, gradient, two to three color pattern - Free! Simple scene - $2 (Included with a portrait) Complex scene - $5 (+$3 with a portrait)

-Other Add Ons- White outline - Free! Background silhouette - Free! Text - Free! Simple Texturing - $1 (Included with a portrait) Detailed texturing - $5

I am also willing to draw for comics, games, and books, and do concept art!

-Important things to note- •Part of the money must be paid up front before I will begin drawing your picture, and the rest after the final product is finished. Once full payment is received, you will be able to see your picture. This is so that I can't be cheated out of my time. •I reserve the right to refuse or refund any commission with or without reason. •Once the commission is completed you will be able to use it for whatever you like, but please do NOT repost it to your own account or claim that the art is yours! It hurts me as an artist because it takes away potential viewers. •How long it takes for me to finish the art mainly depends on the complexity of the art piece, my workload between school and my job, and my mental health status. Nagging me to finish will most likely make it harder for me to complete the commission. That being said, I will work as hard and as fast as possible to finish it and get it to you. •You can order as many commissions as you like at a time, but they will need to be paid for and delivered as a group. The more commissions in a group, the longer you will have to wait to receive them. •Other than for concept art, I cannot work from a written description of your character or of a color. I also cannot work from a photograph or a realistic 3D model. I will need a reference that is a 2D picture with easy access to the necessary colors if the commission will be colored. If possible, a separate color palette will be greatly appreciated! •Every dollar paid for commissions will go towards the dog. Once I have the dog I'll use any extra money I earn to pay for its living expenses such as food and vet visits.

Commissions will likely remain open until I'm able to afford the dog. Shoot me a message if you're interested, and we can discuss the details! Thank you for reading, and I hope you have a lovely day!

#commissions #art #digital art #art for sale #important things do not lose

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norowareshimono · 7 years ago

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Gray Log: The Innermost Secrets of Manga! (Part 1)

I’m translating the text version of this interview, that can be found here, given that the manga version included in Gray Log isn’t as detailed. For now, I have no intention to translate the latter, as it would be redundant in my opinion.

Other DGM Translations

《1》Making the storyboards lead around by the characters

Hijihara: I’m a newbie mangaka, Hijihara Erubo. As a great fan of D.Gray-Man, I also had the pleasure of watching the Nico Live* stream from the other day. I’m really, really nervous, but I look forward to working with you!

*Hijihara is talking about the Nico Nico Live that took place in 2016 January 1st

Hoshino: So, you watched it! Thank you so much. I thought that maybe you could draw me with the stream’s Hoshino BOX*, so I came wearing the same clothes I wore back then (laugh). I’m not sure if I can tell you all anything useful, but I’ll do my best. Thank you for having me here.

*The handmade cardboard box that Hoshino wore over her head in the stream.

Hijihara: Let’s start right away then. Could you tell us how do you make your storyboards?

Hoshino: The process is basically like this: I first create an outline in my head, then I have a briefing session with my editor, and then I finally make the storyboard. I always start with a thought-out outline for the chapter, but even so I end up with something completely different every time… The outline takes into account the flow of the story, and I honestly want to follow it. However, when introducing the characters, the story goes in a totally different direction. They won’t listen to me, even if they’re my own creations (bitter laugh). However, I know the principles behind their actions and why they behave as they do, so I’ll abandon the original outline if I can accept the new direction they’re taking. After that, I remake the events of the story.

Hijihara: So, your characters lead you around?

Hoshino: Exactly. The initial outline makes the story neat and coherent, but leaving it to the characters makes the story develop in a more exciting way. But then I often end up in situations where there aren’t enough pages when working on the storyboard with a mind on the characters’ will and opinions like that (laugh). Of course, the conclusion will also be completely different… Whenever my editor looks at it and goes “this is completely different from the briefing,” I’ll single-mindedly persuade them to keep it. Most of it stays due to my stubbornness, but I do revise the parts my editor won’t accept no matter what.

Hijihara: Is it better to stick to your ideas for the storyboard?

Hoshino: It may be difficult for a newbie to speak their mind to their editor, but I think that in the end it’s better to carry it out in a way you won’t regret later. For me, the harsh schedule of weekly serialization became an excuse to reach some compromises over my storyboards that made “D.Gray-Man” diverge a bit from the story I had first conceived. I regret that immensely to this day, and I think about how nice would it have been if, instead of giving up that easily, I had insisted and gotten to draw it as I’ve wanted… That’s why I believe we should have a strong stance regarding our manga.

Hijihara: How detailed are your storyboards?

Hoshino: I currently work in digital from the storyboard stage, drawing them in a style that is detailed enough to be used even as a rough sketch. I’ve looked up to Tite Kubo from Bleach since I heard he makes them like this. However, I wasn’t up to the challenge at first, when I was serialized weekly, and I only changed methods to my current one when I started to work in digital. I made use of simplified drawings before, and the characters’ faces were as complex as the “heno-ji*” emoji (laugh).

*An emoji made with the letters へのへのもへじ, as seen here.

Hijihara: Back when you drew traditionally, what did you draw the storyboards in?

Hoshino: I used a variety of things. I worked with whatever I wanted or felt like I could draw on, so it wasn’t like I had a notebook saved for only that purpose. I’ve used sketchbooks, sketch pads… Once I even drew it on the back of a photocopy I found around (laugh). Even if I did decide to use a particular notebook, for example, I would just end up being like “I have to work this month too… Woah, it’s so white… I can’t look at it anymore…” each time I saw it. Then, I would choose to abandon the notebook I didn’t even want to see anymore and get another sketch pad to draw there.

Hijihara: So that’s how you stay motivated. Did you work at home?

Hoshino: When I lived in Ochanomizu, I mostly drew the storyboards in this café (the one where the interview took place). It’s one of my favorites, and the owner is a wonderful person. The coffee is delicious and, on top of that, the indirect lighting the shop uses for ambience makes the pages appear a soft sepia instead of white… I suffer a lot from white page syndrome, so when there is something there, no matter how small, it helps me relax (laugh). Isn’t the same for you too, Hijihara?

Hijihara: Yes, I completely understand the fear of facing a white sheet…

Hoshino: You could also smoke here and, given that I hate tobacco, that meant I couldn’t stay here for too long. Thanks to that, I could focus and finish my storyboards in a short period of time. I would’ve slacked off if I were too comfy, which is why I think the ideal working place for this type of work is somewhere “comfortable but difficult to stay in.”

《2》The advantages of digital drawing

Hijihara: You said this before, but you’re working in digital from the storyboard stage, right?

Hoshino: Exactly, but I also drew traditionally until a year ago. I think that the first storyboard for chapter 219 of D.Gray-Man, which appeared in the first issue of the CROWN magazine, was made half traditionally, half in digital. The storyboard that I showed to my editor then was a mix of both mediums. Thereafter, I got used to it gradually and moved to making my storyboards in full digital. The tablets I’m currently using are WACOM’s “Cintiq Companion” and the recently released VAIO’s “Z Canvas.” The “Z Canvas” is an excellent tablet that can process even heavy files that use lots of memory, like videos or graphics, smoothly and with no freezing. I bought it after watching a video of Nakamura Hikaru, the author of Saint Young Men, working with it. I immediately decided it was for me because, to be honest, I’ve felt an affinity with her over our shared birthday.

Hijihara: You seem to work in Clip Studio Paint, but what was the reason for going from traditional to digital?

Hoshino: I was an advocate of traditional drawing at first, but I changed sides after facing problems with my work environment. When I worked traditionally, I had created the ideal conditions for me to draw at my workplace, from the angle of the desk to the way the light fell on the manuscript. However, at a certain point I had no option but to work on my manuscript outside of my own workplace… and doing so in an environment different from the usual proved to be surprisingly difficult, so I decided to make the change to digital, for which location doesn’t matter. I’m the type to act as soon as I decide on something, so I soon bought a liquid crystal tablet and, without any practice whatsoever, I immediately started to work on the next manuscript. My first experience with digital drawing had been a failure and I thought I wouldn’t draw on a computer ever again given my little to no knowledge about it. My deadline was close, so I remember being totally absorbed into the task and sending it to print despite having no idea of what I was doing. I was in the middle of serialization, so I didn’t have time to practice at all (bitter laugh).

Hijihara: Didn’t you resist to changing to digital?

Hoshino: Once I made the decision, I didn’t waver at all. I had bought an expensive tablet and software to be able to work in digital, so I was determined to not waste all the money I had invested (laugh).

Hijihara: Did you struggle replicating your line work in digital form?

Hoshino: I wasn’t aware of it, but I did. Do you know how in digital you can zoom as much as you want, unlike paper? I didn’t take the zoom rate into consideration at first, so the lineart ended up being thinner than expected and the drawings didn’t turn out well. I was like “I’m inking just as always, why is this happening?!” (laugh).

Hijihara: By the way, how many people are working in D.Gray-Man at the moment?

Hoshino: Including me, there are three people working in it right now, but at times the number increases for the last spurt. Since I moved to a trimestral magazine, I have some leeway with time, so my assistants stay at their homes and work from there with what I send them. The main advantage is that the commuting time can be used for working. Back when I was serialized weekly, I lived in the city center so my assistants had no transportation issues, but there is no need for that now that they’re working at home and for that I’m grateful. However, everything goes smoother if you are talking face to face. I do talk with my assistants through Skype, but a lot of the time they misunderstand me and everyone ends up frustrated and annoyed.

More in part 2

#dgm #d gray man #d.gray man #d.gray-man #dgnetwork #dgm translations #gray log #katsura hoshino #hoshino katsura

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resbang-bookclub · 7 years ago

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AMA Transcript: Leap Year

Next up, @blinkfl0yd, @ahshesgone and @innocentcinnamonbun stopped in to answer questions about their Resbang, Leap Year! Here’s some of what went down!

*Please be advised that this AMA contains one (1) small spoiler for the unpublished part 2 of Leap Year :)*

Q: My first question is for Inno and Ash! How did you choose which scenes you wanted to draw! :)

Inno: Ahh I usually like to draw scenes that have a big emotional impact or are just really funny (Which a lot of scenes in Blink’s story made me laugh out loud pretty hard) I also like to make book cover-like pieces for Bangs I do.

ahshesgone: Ohhhhh I was so in love with that first scene with Spirit and Maka, I HAD to do it, because it set the tone so perfectly for both of them. Then it was mentioned that Blair babysat Maka and I Had To also, bc that right there was a dream I had and I realised it when I read it, and Stein and Marie were just impossible to pass up. Blink writes so vividly, I would draw forever if I had the time.

Q: What was the inspiration behind this story? I always love stories about the adults and we get them so rarely!

BlinkFl0yd: Honestly I just really like the adults haha, I just thought they needed some love. I'd been playing around with a college AU for the adults probably since before Resbang was announced, but I think the biggest thing that kind of inspired where it was going to go was probably learning about anesthesia awareness?? Which is pretty much exactly how it sounds and is actually really terrifying and made me think of Spirit and Stein which is pretty much what kickstarted that whole plotline. So that was sort of the basis for the whole fic. After that it was just... coming up with different shenanigans. The horse head was totally a spur of the moment thing.

Q: This one is for everyone: did you guys have fun working together? Was there a lot of communication? :D

ahshesgone: I really liked working with both Blink and Inno!! They're the awesomest. I guess we could do with more similar timezones though, tbh.

BlinkFl0yd: Oh gosh seconded. ash and Inno are so cool and so talented and it was so much fun working them them.

Inno: I had such a blast working with ash and Blink ;;;u;; <333

Q: Was there anything that you wanted to add but couldn't? Or anything that originally wasn't going to be there that ended up going in?

BlinkFl0yd: So the thing is, as a result of splitting it up for Resbang, I now get to sort of rework some concepts that I had to originally cut out because of the time crunch. I think the biggest thing is that I originally had a whole plotline planned out for Medusa and White Star that I had to cut out or rework for sake of time, but now I get to add it back in and I'm really excited.

Q: bb Maka is SO CUTE AND I LOVE HER, how did you go about characterizing her?

BlinkFl0yd: Oh gosh yes, baby Maka was fun but difficult. I have no idea how children work so…

Q: Yeah like, you didn’t make her too babyish which is a problem I see a lot when people write kids.

BlinkFl0yd: I am honestly not very good with kids, but yeah, it does irritate me when people write kids super babyish, I deadass once read a fic where a ten year old was still making baby sounds and even I know that that is Not Right. I think that's the one thing that helped me with baby Maka and the rest of the kids.

Q: Favorite character to write and favorite scene to write?

BlinkFl0yd: It was a lot of fun to get into Stein's head, and I also had a lot of fun writing Blair's appearances. I also enjoyed Sid a lot more than I thought I would, and Nygus.

Inno: You wrote Stein so well, it made me cry tears of joy.

ahshesgone: Omg I loved them both so so so so much. [And] OH MY GOD Azusa.

[there is much joyful screaming about Azusa]

Q: Artist chans, what was your arting process like once you decided what you wanted to art? I think you both did digital, but I bet there are a lot of differences in how you work!

ahshesgone: Hmmm well my process for these ones was pretty all over the place. They were all started around the same time but I finished all of them at different times so I think all of them came [out] looking pretty… dissimilar? I wish I had made the Blair one look less digital because I think that's what I needed for my art for Leap Year, for it to look??? tactile?

BlinkFl0yd: I honestly cried a little when I saw the first draft of the Spirit and Maka picture.

Inno: Ahh I lay out a gesture sketch, then a normal sketch, then I lineart the sketch, fill the whole canvas with a color that pertains to the mood of the piece and use a low opacity brush to lay in colors then just start blending colors from there to form lighting and shade. After that I sometimes air brush some more color into the piece. :,) Other pieces I just color in the lineart and add basic cell shading :,,) I hope I answered right :,)))

BlinkFl0yd: BOTH OF YOUR ARTS MADE ME CRY A LITTLE.

Inno: Couldn’t have made it without such an outstanding source material blink ;;u;;;;

Q: For all of you, do you think Resbang helped you hone any skills/get better at something, maybe something you decided on trying to work on or something you surprised yourself with?

BlinkFl0yd: Honestly, yeah. I've never never actually worked with other people before for a fic, I've never even had a beta before until Resbang? So that was new.

ahshesgone: Oh, I used a really weird way to sketch the steinmarie thing which I was very impressed with myself for. I think I crosshatched the silhouettes and then just erased where I needed lighter areas?

Inno: I've been trying to get better with perspective and comics as well as drawing backgrounds and resbang definitely helped out getting my butt into gear to practice drawing those things. I did pretty well too on it.

Q: Do you feel like your writing has changed or improved at all during the course of writing this? I'm just curious if you felt that your techniques or style had changed at all.

BlinkFl0yd: I'm not really sure if it's changed much? I think if anything I’ve gotten better at working under a time crunch. I'm kinda a perfectionist, which does not go very well with Resbang, so I guess if anything I've gotten better at just word-vomiting first and editing later.

Q: Were there any particularly difficult scenes or roadblocks you needed to work through?

BlinkFl0yd: Hmmm. I think some of the trickiest scenes to write were the ones with Shinigami and Kami. We know so little about [Kami] so she was probably the hardest one to write. I was coming up with a full-on backstory and personality for her as I was writing, so that was both kinda fun but kinda difficult. And Shinigami is… Shinigami.

ahshesgone: OH BUT THEY WERE SO GOOD. I was shaking when I was reading that fight in the car.

BlinkFl0yd: oop. SPOILERS.

Inno: LOL.

ahshesgone: SORRY.

BlinkFl0yd: That's one thing that'll be in the next parts haha.

ahshesgone: Oh my god sorry I read so many versions of it I’M SORRY.

BlinkFl0yd: It's fine! Lol, call it a teaser.

ahshesgone: t-tt-tadah!

Q: Totally not rushing you, but do you plan on posting some of part 2 soon???

BlinkFl0yd: Hopefully soon. School has actually been horrible.

Q: After this, do you have any other projects lined up? And artists, what're you working on next? >:)

BlinkFl0yd: There's a lot I want to do!

Inno: r e v e r b.

BlinkFl0yd: Oh gosh, REVERB.

#AMA transcripts #rbbc #resbang book club #leap year

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comicteaparty · 5 years ago

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August 10th-August 16th, 2019 Creator Babble Archive

The archive for the Creator Babble chat that occurred from August 10th, 2019 to August 16th, 2019. The chat focused on the following question:

What is your process for planning out the paneling/layout of each comic page?

kayotics

I’ve finally gotten my process down to a process that works for me. For Ingress Adventuring Company https://www.ingress-comic.com/ I start with scripting the whole chapter out. Step two is thumbnailing the whole chapter out, so I can figure out pacing and paneling. I started to do thumbnailing on sheets of printer paper, which has been easier to figure out my drawings and to see how the comic flows on paper. Once that’s done it’s pretty straight forward. Panel borders in pencils > rough sketch & balloon placement > letters and tight sketch in pencils > ink letters > ink bubbles and borders > ink the rest of the page. Then I scan it and do the colors. With the thumbnail process I kind of do the chapter twice in pencils but it ended up being way easier in the long run, since I hate doing panel layouts and doing that work in the beginning is way easier.

Steph (@grandpaseawitch)

Afraid there's no scripting for https://oldmanandtheseawitch.tumblr.com/. It's all pretty much in my head but I go over it literally every day, and I have a few roleplays archived to keep things on the right track, but that's about it. Thumbnails are done in big batches. Last batch was about 20+ pages done at once. Thumbnailing is also where I figure out composition and such. Just detailed enough to give me the idea of what I want, with enough leeway to do as I please on the page itself. Thumbnails done, I make a batch of empty pages, and go in and make all the panels for the 20+ pages. Since I already know the composition from the thumbnails and I have digital guides set up on each page, that's super easy. With all of those done, then I just go back in, do rough sketches for each page. Cleaner than the thumbnails but not too clean yet. Once the rough sketches are done, this is actually where I'll add text and balloons, so that I know what the bubbles will be hiding and don't have to waste extra time. After that, I do as much in large batches as I can, usually cleanup sketches, then inks, maybe flat colors. But after that point, I just have to sit down to work on individual pages until they're done. And voila!

authorloremipsum

http://signsofthreecomic.webcomic.ws/comics/ For Signs of Three, I always start with the script, get the basic idea of what I'm going for in the page. Then panel layout and gesture sketches of people and the environment. THEN! BEFORE I START DETAIL SKETCHING! I LAY IN THE SPEECH BUBBLES. Seriously speech bubbles are critical to controlling how readable your page is and so so many people don't seem to see that. They must lead from one bubble and panel to the next in an easy to understand way or your reader will get lost and confused. So I always make sure to put bubbles in during thumbnailing. After that it's just basic refining the sketch, lining, coloring, and shading.

AntiBunny

Typically in AntiBunny http://antibunny.net/ I thumbnail a page first to decide what needs to happen. After that I look at those event and decide panel layout based on how best to depict them, factoring in what needs to fit, who needs to be there, and how time will pass. I'd say time is the most important aspect, followed by emphasis, and then content. Typically bigger panels depict more time passing, but that's not a concrete rule. A big panel can depict a very short moment in time. The amount of population has a big play in that as well. A lot of action in a big panel can be a short moment in time that's just heavily emphasized. A big panel with very little movement depicted is great for dwelling on a single moment, which is great for slowing down the pace of reading.

heroesofcrash

I used to not have a script at all, but now I tend to write out scripts in advance. I keep a four-panel format in mind (2x2) when I write a strip, but I'll sometimes combine or split panels depending on the flow of the story. (I'll place some sample strips below, showing a "default" 2x2 strip, and a few that combine or split panels based on that structure) I then draw guidelines in Manga Studio (I have the CD, not the digital version that became Clip Studio Paint) for where each panel will be. I put the dialogue in each panel, sometimes editing for space or to fit it nicer in a speech bubble. I can usually visualize how a speech bubble will generally fit in a scene; it's easier for me to draw around the bubble than to draw first and add the words later. After I sketch out the panels, I may move the words around to fit in the scene a little better. I may even tweak it a little when I draw the speech bubble around the text, if I don't like how the text fits in the bubble or how the bubble fits in the scene. As I mentioned earlier, here's two strips. One has four panels (which is the most common for me), the other has six. The latter is made by splitting the upper right panel into two skinny panels, and breaking the bottom half into three panels rather than two. Not only does it give me enough panels to do a complicated visual gag, but having panels with a similar layout next to each other makes the action easier to follow, and thus makes the gag flow better.

Desnik

For http://ask-a-warlock.tumblr.com/, I make tiny thumbnails to quickly go through layouts. I tend to have a few different ideas and doing small/quick is a lot easier on the revisions

LadyLazuli

For Phantomarine (http://www.phantomarine.com/) I've gotten into the habit of thumbnailing each chapter extremely roughly in a sketchbook, then bringing the pages into Photoshop and shifting the panels around to improve the flow throughout the chapter. I put in rough dialogue bits to anticipate balloons, then I get going on rough sketches and color placement in Procreate, then clean up and paint the sketches, then bring them back into Photoshop to finalize the page. It's honestly really haphazard, just because I tend to change details and dialogue around a lot, depending on what I feel is working/failing - but that core chapter flow doesn't change too much, just so I don't get caught needing more pages in one part. So... I keep the roughs very rough, but I adhere to them quite strongly? The details are where things get experimental (edited)

JUNK

I am a fool who hasn't been doing thumbnails lately, so my process is the typical script>sketch>inks>tone.

MJ Massey

I start with my storyboards, which are just skethcy first drafts of the pages in a sketchbook. I have a vague genreal story outline, but this is where I really figure things out--both the layouts and the script.

In my head, I tend to see things as if they were an animation, so I am usually trying to catch that sense of movement in the comic panels. I try to keep things interesting and thinking outside the typical grid layout, usually resulting in some pretty crazy stuff. It's easier with action scenes, but I try to mix up everything. I do my final pages on 9x12 bristol (I used to work on 11x14 but that was...too big for markers), but there are many times where I will scrap the storyboard and do something totally different for the final page, or add or take away things. But it's good to have that first draft down as an idea, it's easier to adjust from there if I need to

FeatherNotes

@LadyLazulii love your process ahhh!!!

LadyLazuli

@FeatherNotes MERCIIII

Nutty (Court of Roses)

For Court of Roses http://courtofroses.thecomicseries.com/ I mostly sketch out thumbnails, scan them in, and lineart/color. Like most of y'all, I have a general story outline, and specific scenes get more detail as I work closer to them. If there's a scene that has emotional hits and I want the right dialogue for it, I'll script it. If there's lots of exposition and detail, I'll script it. Just, largely winging it on my end!

Tuyetnhi

I usually work from loose script dialogue for a chapter, to get the feel for the page, then start thumbnailing. After thumbnailing tho, I redraw the thumbnails on csp, sketch, then change/define panel layout or render till finish. Often, my thumbnails don't give me enough info till I start the page. And that's good for me since it's still under a set guideline but I don't feel rigid on "Oh gotta make it exactly like this" or some sorts. Same goes with dialogue/scripts too since I tend to go back and correct panel layout if i don't think it was strong enough on the first go. Idk, I treat it more of a fluid process that I can go back and fix due to how I digitally paint/render things. Still the process depends on the page i'm working on, how strong the thumbnails are, dialogue, and color scheme theme I had with certain pages. Most of it is 40% gut feeling tho. Images shown here how I got OIYD! Ch. 2 - Page 15 to be to its finished form. [thumbnail-> Rough sketch -> add with color -> final render with dialogue]

ErinPtah (Leif & Thorn | BICP)

I took scans/notes about each step of the BICP page-making process back during chapter 5: http://www.bicatperson.com/comic/step-by-step/ ...and then again, seven years later, during chapter 28: http://www.bicatperson.com/comic/the-webcomic-page-making-process/ The art has gotten better, but the actual workflow...basically hasn't changed. (If it ain't broke...)

snuffysam

First I have the script for the entire book, which I'll have finished ahead of time. At the start of each chapter, I'll divide the upcoming script into pages based on how I want the comic to be paced - e.g. making sure the setup and punchline to a joke aren't on different pages, making sure there's not too much dialogue to read on a single page, etc. Then, when it comes time to do the page, I'll split things up into panels. That's pretty easy - I generally want to keep things to one line of spoken dialogue per panel, or one "action" per panel. Sometimes there'll be beat panels, sometimes two people will talk in one panel, but that's the general rule. Next I... put together the panels. I don't really use thumbnails to work this stuff out - important panels or panels with more dialogue are bigger, less important panels or ones with less dialogue are smaller. I try to make sure panels don't intrude on each others' vertical space, because i've always found that complicates things in a web medium - but that just means there's less for me to worry about. I make sure the panel layout is different from the previous page, and if there's an action I need to emphasize I'll do something weirder than just a rectangle. If there's not enough space on one page for the panel sizes I want, I'll make it a double-length or triple-length page. As for the actual artwork - I try to make sure the reader's eye line is led along the page. So panels on the left would have the characters generally facing to the right, and panels on the right would have the characters generally facing downward and to the left. I try to leave enough space for word bubbles - and in general, the characters on right panels will be placed lower than characters on left panels, because i want the speech bubbles to move downward as you read across a row. And, well, that's basically it!(edited)

authorloremipsum

finally someone who considers the eyeflow (am joking, mostly)(edited)

snuffysam

i didn't always, but a reviewer once told me how one specific action scene was really difficult for him to parse because the eye flow was just completely in the wrong direction, nearly every panel. so since then i've been making a conscious effort about it :p it's tough when there's two characters up against a wall and you need the page to flow the other direction from how they're standing though, lol.

#ctparchive #comics #webcomics #indie comics #comic chat #comic discussion #creator interview #comic creator interview #creator babble #comic tea party #ctp

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death-trap-exodus · 6 years ago

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any art tips?

Oh. Well, I can try to give tips? I’ve never really done that before honestly. My level of arting is nowhere near professional and I haven’t tried a ton of stuff to have opinions on them, but I can try.

This kinda turned into a supply list, but for my own drawing process look at the bottom of the post!

Paper

Since I am a traditional artist over a digital artist, paper is kinda a big deal. My current personal favorite is the Strathmore 400 Series Sketch 9 x 12″ fine tooth surface sketchbook. The thickness of the pages keeps it from getting ripply as you work with it, hard coloring in with pencil does not cause bubbles, and pens/markers do not bleed onto the next page. However, it will leave an indent on the next page if you press too hard.

I highly advise against standard 70 page spiral notebooks for anything more than little doodles. The pages are much thinner than they used to be, and will ripple, bubble, fall apart under heavy marker use, and indent many pages. Heavier paper is honestly just the way to go, plus no annoying blue lines.

Price-wise, I know the standard spirals are usually extremely cheap and easy to buy in bulk, but I can’t remember the price of my Strathmore. It’s not too terribly expensive though.

Pencils

Honestly? Pencils aren’t a big deal to me. I use a variety ofcheap, basic mechanical pencil brands. My current preference however, seems to be Bic. Any brand should work fine, but if the lead constantly breaks, I’d suggest moving up to a larger lead size, or buying a different, stronger brand of pencil.

Personally, I never use 0.5mm lead. It is far too delicate, and I have never found myself needing such a small point to draw with. I find 0.7mm to be the best, as you can achieve both thick and thin lines easily, and press fairly hard with it. I mainly use 0.9mm, as I can press veryhard for dark lines, sketch large and clearly visible soft lines, and it compliments the exaggerated features of my casual art style.

Pens/Markers

So this one is a doozy. I use a very large range of pen products with varying standards of quality. For black pens, the Pilot Precise V5 was my trusty pen for many years before the ink ran out. Now, I currently use a 3 pack of Sakura Pigma Micron pens (specifically 01 (0.25mm), 03 (0.35mm), and 05 (0.45mm)) and previously also had a 005 (0.20mm) Micron as well. The clarity and ease of lines with Microns in my experience is excellent, but the ink quality itself, not so much. It is quite pale compared to other inks, and can be worn away by an eraser even after fully drying. Overall though, it’s quite nice.

My general rule of thumb with pens is that the point shouldn’t indent the page, and if the ink is black,it should shine black under a light and not purple. (Lower quality inks will shine purple when tilted to face a light).

With colored pens my use isn’t as narrow. My favorite is my Uni-ball Vision red pen (I also have a green one), but I also use Bic intensity pens, Inc R-2 Blast pens (careful with these, they release a ton of ink), and even Sharpie pens.

For markers, I can’t really suggest what to stay away fromand what’s good, but I can tell you what I use. On the higher quality end, I have a trio of Prismacolor Premier markers which I’ve found have excellent color, and cover space quickly, but can spread and bleed easily. But what do I mostly use? Sharpies. You have to be careful with these. Sharpies bleed very easily, and will darken very clearly when you overlap it, so coloring has to be very neat and a one-time thing unless a darker color is desired. The color range of Sharpies from what I’ve seen, also isn’t very diverse if you don’t go hunting for the stranger colors, so if you use them, have something to color over them to adjust to the color you desire. In my case, I often use a mixture of Sharpies as a base color, and colored pencils over it to adjust.

I won’t make it’s own section about it, but the brand I use of colored pencils is also Prismacolor, as they work really well with the Sharpies, and can even solidly color over the marker. The larger the set the better, as it gives you more colors to adjust with. However, they’re not cheap.

Technique?

So this is less tips I guess and more my own personal routine with drawing. Feel free to draw your own way, or if you think the way I do it may help you improve your own art, go ahead and try some of the stuff I do! This by no means is any standard of a good art practice, it’s just personally how I draw.

I always start with a sketch, as many artists do. I make sure it’s very light that I can erase it, but clear and visible even after erasing it. Which is the odd thing I do? I erase a sketch immediately after I finish it. My sketches are less posing and positioning than they are quick, sloppy, simplistic versions of my final product. I do not usually draw basic shapes and lines for anatomy and poses, but I do sometimes. If you struggle with anatomy, I suggest still using basic shapes, as they help a lot.

Here this can go one of two ways. If I decide to ink the piece, I do not erase the sketch, and simply clean it up while doing the new lineart. This can be risky, and can result is messy lines or concave shapes that weren’t intended, so redrawing in pencil first can always be helpful. If I decide to not ink the piece, I erase the sketch, leave it visible, and draw a much darker and more visible clean version.

When it comes to colored pens, I usually only use them to supplement the drawing, blood being the most often example. Coloring large areaswith pens is messy, and a waste of ink, and I advise against it. Coloring in a pencil piece with colored pencils is also a big no-no to me personally, as it will cause the colors to blend with the gray lead, can smudge said lead, and they will pop much less against the lead as opposed to ink.

I hope this means something/helps I guess? I’m not very good at the whole tip thing, sorry!

#art tips #anonymous #I tried

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