#i wanted to try something new with the lineart and shading i think it turned out pp nice

[kawareo]

The Strike timeline

At the first one (and when he joins the cult) he's about nine and in events of bg3 he's thirty seven, he met Gortash at twenty two

[cheresha]

While I was working on my last drawing I thought it would be fun to make a post explaining my process like the one I did for my digital art! This is mostly an excuse to gush about copic markers because they are my absolute favorite medium and I feel like working with them has helped me improve a lot in a short period of time! It's also really fun to take something that isn't made for realism and try to adapt it to my style.

This is in no way a tutorial because I still have a lot to learn and improve upon but I will be sharing some tips that have made my drawing process way easier!

I'm putting the rest under a read more because I'll probably end up writing a novel length post lmao

Now, let's start from the basics - this is the sketchbook I use because it's made for markers and allows you to blend the colors smoothly while giving you a glossy finish.

Please ignore its sorry state, it's relatively new but it fell apart almost immediately 🙄 Not to sound like a grumpy old person but my old one I got a few years ago was of much better quality but it is what it is I guess. I'll still continue using it because it's still the best I've tried. It's also really good for color pencils.

Moving on to the markers - I have quite a few, mostly skin tones and pinks because that's what I need for the result I'm looking to achieve but if you're just starting or are not interested in drawing realistic portraits, this set is pretty much all you need to draw people and you can get whichever other colors you see fit. I have a few bright colors I use mostly for backgrounds.

About the price - they are expensive, yes, but if you are like me and use them 2-3 times a month they can last for a really long time. The one I use the most lasted me for over 1 year so in my opinion they are worth giving a try if you have the budget for them, especially because you can easily mix the colors to create new shades instead of buying new markers.

Moving on to the process itself - I try to make my drawings relatively small, as you can see here.

That's because copic markers dry really fast and you have to work quickly if you want your colors to blend properly 🥲 The smaller the drawing, the easier your life will be (his right arm was pretty stressful to draw ngl). Also since the paper is really thin be careful with your eraser because if you damage it, the marker ink will turn that spot into a weird looking splotch that you won't be able to fix 🥲

I have to admit that lineart is not my favorite thing to draw because I have shaky hands and tend to make mistakes but I think it makes my drawings look better so I try my best to practice more and always do warmups before I start. I got these fineliners from my local art supply store and like them quite a lot since they don't smudge easily. I use the 0,2 one for the drawing itself and the 0,5 one for the 'frame'. I like to wait for at least 30 minutes for my lineart to dry before I start coloring. Also, most of the time I don't ink the eyebrows at this point but prefer to draw them on after I'm done with the rest of the face because I will go over them so many times with my markers that I might end up smudging them pretty badly.

After my lineart has dried, I like to get the background done first because if I leave it for last, it can smudge the hair and stain my marker which will alter its color and that annoys me a lot even though it's fixable. Also, this is probably the only time I use the broad tip of the marker because it's perfect for bigger areas. Otherwise it's not very precise so I use the bush tip for everything else. I usually go over the background twice to make sure it looks as smooth as possible.

Okay, moving on to the face! I like to start from the midtones because it helps give structure to the face from the very beginning. After that I go in with the palest shade I have - pale fruit pink (E000). I use it mostly for blending and for the highlights since it's barely visible and really helps you achieve a smooth look. I like it way more than the clear one they sell specifically for blending, it's such a waste of money and leaves weird discolored spots all over your drawing 🙄

Here we make a pretty big time jump because I was fighting for my life (trying to blend the shadows). I recently got the cool brown (E71) and love it so much, it's perfect for the darker areas, also the hair and eyes! But you can achieve a pretty similar color if you go over E11 or E93 with BV31, I use it a lot because it makes the transition between the different shades way smoother and I feel like it gives extra depth to the face!

And the rest of his face is done! For some reason mixing a decent lip color is not easy for me because they tend to end up looking really cartoonish/unnatural but I feel like these 3 colors gave me a pretty okay result! Fortunately his eyebrow turned out okay too, I went in with the cool brown (E71) first a couple of times to establish the basic shape and later added the eyebrow hairs with the 0,2 fineliner.

I used the same colors and technique for his neck - nothing new to add here.

Same with his arm, except I used only the lavender color for the darkest parts - you can't really see it from the picture but irl it looks almost the same as the cool brown.

Time for the hair! This is probably where I need to improve the most since it always looks the most cartoonish out of the whole drawing and it really doesn't look that good compared to the more realistic skin. Black hair is especially difficult for me since you can't really blend the black marker and trying to go over it does nothing but stain my lighter markers. That's why currently I start from my higlight color - it also doesn't have to look neat since it will get covered by the black later and the uneven strokes help add some depth to the finished hair :))

I think I did a decent job overall and going over some of the highlights with this darker gray helped, too. Sometimes I like using a white pen to add a few more details but here I decided against it since I wanted to keep things simple.

I loooove adding stray hairs but I think I went a bit overboard here ahah I also need to get a 0,1 fineliner for them since this one seems a bit too thick.

As I mentioned before, his other arm was pretty hard because I had to work extra fast but I ended up liking how it turned out! I especially love drawing the small details on the hands so I had lots of fun, too. Also, I used the same colors for his pants minus the pinkish one (E93).

And now it's time for the final boss - the cardigan. I've never drawn such a detailed outfit before but it was pretty simple in terms of colors so it wasn't that difficult in the end and I got to practice drawing two very different types of fabric. I also forgot to add it here but I went over these 2 colors with a light warm gray (W-1) a couple of times to give it a softer look.

Here's the finished cardigan - I also added the black details with my marker instead of a fineliner because I didn't want it to look too precise/neat.

I also added the shadows under him with these 2 colors.

And finally I used these 2 for the sheets!

Thank you for reading this whole thing (if you're here you deserve a prize fr), I love talking about markers sm so if there's anything else you're curious about please don't hesitate to let me know!

[amerricanartwork]

Current digital art process!

Acting on @shkika 's request because making my redraw for this post actually ended up giving me more confidence in my digital art process! As such, I'm gonna use it as a reference. And if this walkthrough of sorts turns out nice, I might do it again as my process evolves!

I started off with a quick sketch of sorts, trying to focus both on movement and volume, and get the general idea of where each element is located. I edit the image dimensions and placement of things a lot in this phase, as my ideas often tend to change once I actually begin drawing them. In this case, as I got it down, I decided I wanted it to look like some cheesy animal motivational poster, so that influenced where the text was.

From there, I began to clean and sometimes edit the sketch, mainly by thickening the lines to make the shapes more definite, and erasing what wasn't necessary and interfered with other parts. Volume is one of my biggest focuses in my drawings, so I try my best to get the volume of each character at least hinted at with the lines. This is something that will probably remain in my process for a while, as I quite dislike doing separate lineart and like the messy, sketchy feel anyway.

I also wanna mention, in addition to having references and such in other windows, I've recently begun having a second mini window of my current drawing off to the side so I can see what it looks like overall more easily, regardless of how much I zoom in on and flip the main window. It's quite helpful!

For reference, this is what the final sketch looked like:

Then, I went on to add the flat colors. Another tip: I almost always set my sketch layer to "Lumi & Shade" because I think it makes the line colors a lot richer, but since it's based on what colors are underneath, it colors the lines a lot more individually than changing the sketch color as a whole. Here's some comparison to a version without the effect (left):

Then, I add some shading using a (really nice) marker brush. This is honestly one of my favorite parts of the process, just trying to carve out all the volumes, especially since I usually use a pretty blue color for shadows!

Sometimes, I honestly just leave drawings finished at this step, because I adore the sketchy look so much, and because I really don't like the tediousness of more realistic rendering in the painting process; from what I've seen/experienced, it often involves having to basically paint the entire image over again, which I've realized I find REALLY boring (and is also why I clean the sketch instead of making a new lineart layer). As such, one of my hopes is to reach a point where I could almost completely avoid having to clean up the image in a traditional painting method, instead being able to lay down lines and colors so well that they convey nearly all the volume necessary on their own, still have that sketchy appeal, yet also look finished and professional.

Alas, I did do a bit of clean up on this image, but I think it still turned out alright!

Here's the finished drawing! I'll have to practice with this process a bit more to truly solidify it as my digital go-to, but nonetheless, I think this came out adorable! Thanks again shkika for the ask, and thanks to @mintscampi for the sweet prompt! I hope you guys like it!

[creaturing-your-faves]

(If you're comfortable with this) could you make a tutorial on how you make your creations??? It'd okay if not, thank you for making them :D

WAA i can try!! baby's first tutorial ft. this guy

🐾 first, a picture of your blorbo

i use waifu2x to up the quality, not always neccessary but it makes everything a bit easier and prettier. i use firealpaca to edit but you can use whatever you like, im not your mom

🐾 probably get a reference

yeah i dont always do this. but you should! i should! so google whatever creature you want to turn blorbo into and maybe scroll for a bit to get a feel for what they look like :3

try to find one at a similar angle to your blorbo picture and paste it/open as a layer. look this is close enough ↓

🐾 onto the actual editing! human ear surgery

in case you prefer just one pair of ears. you have to understand the style so you can imitate it.... so look at their hair, maybe theres more colors or gradients than you can see at a glance or something ! i colorpick a bunch of them and put them over their ears, then blend them together with a low opacity watercolor brush

ALSO, notice the.. lighter glowy aura thing around his ear in the og? i try to imitate details like that too, used watercolor for this again

now maybe you wanna make it look like theres something covering that spot, since theres kinda nothing there now. soo if that looks weird to you, (open a new layer and) put some hair over it. i cant tell u how to imitate Any style so just. study it and keep trying

with enstars here the lines are pretty soft, so i go over it with watercolor brush after doing the general shape. with a higher opacity you could probably just use a softer brush from the start, i just like starting with the basic pen

🐾 the lines!!!

nowww i lower the blorbos opacity to around 50%, bring the reference somewhere i can see and just kinda... start sketching. lot of redrawing and transform tooling here sometimes

TIPS 1. you can clean the lines up at the end so dont stress

2. think of your blorbos new ears as a real tangible part of their body and how they fit on their head since you dont wanna make it look too flat !

3. and for the placement i always end up at roughly one human ear length above their og ears if that makes sense. tried to visualize it

as for inner ear fluffs phew i dont know either. draw a circle and start from there? maybe there are actual animal ears in blorbo artstyle out there you could reference

🐾 coloring 🏳️‍🌈

finally some progress huh. i color the lines in a contrasting color first so i see the lines properly and dont miss anything, then fill it in with the actual color :3 OH and for gradients i just use the airbrush at the ear tips or sides

noww shading! new layer, basic pen brush and try to follow the shapes in the og art. it's best if you pick the colors from the actual picture!!! take notes mentally and just do your best i dont know how to explain this more

taking this as an example, the shading is mostly in pretty simple wider areas, so not a lot of seperate strands in there. and its again pretty soft around the edges of shades and highlights, so i'll go over it with my beloved watercolor. keep things like that in mind so the creaturing blends in well :3

if you like more detail better you can still go with that. or less detail on a complex artstyle. the world is your oyster

🐾 and the rest

what else could there be???? making the lineart more cohesive for example ★ oftentimes it's not one solid color, thicker or thinner than yours, things like that.

for things like piercings or fangs you can just draw them on top i believe in you <3 if its like an intricate earring use the lasso? magic wand? the one that lets you select an area to copy and move on top of your ear layers

+ remember details like shadows, if you put a tail on top of say blorbos leg there's gonna be a shadow under it! put a layer under the tail ones and freehand draw the shadow, OR copy the tail layer, put the copy under the og one and change color/opacity until it fits

[quirinah]

how do you get your colors to look so nice and your lineart so red and vibrant? i love it

omg anon thank you!! 😭 im going 2 be honest I am Not Great with color theory... but i like having my sketch pages look cohesive to me...

BUCKLE UP this is going to need a readmore bc i like talking.

I always sketch in neon colors it's a habit i picked up from an old teacher but I'll think of a color usually on a whim and draw with that. and then if i want to draw something else ill pick another color that i think goes well with the page. usually most of my color schemes r analogous (colors right next to each other on the wheel)

yanked this from recent dunmesh post; i kept most of my colors within the pink/red/orange range.

i wouldn't recommend doing everything in monochrome or analogous palettes though because it's sort of a guilty crutch of mine XD.

sometimes when im coloring ill change the layer mode of the sketch. color burn gets you either very very bright or very very deep colors depending on the color of the flats underneath. multiply and linear burn do the same thing but they're a lot tamer and generally always return darker colors. im sure there's some technical bits behind this though. ill either color my lineart afterward to compliment the color of the flats, leave it as is, or mess with layer modes if i feel like it. my favorite trick is color burn + linear burn + some combination of two lineart layers and just fiddling until i get a nice burn effect.

mithrun was done with crimson red on color burn.

coloring... like 999% of this is relative color which is like. kind of the idea that colors look different when placed next to each other. if you eyeball it a bit it's pretty noticeable.

what i used to do a bit ago was i would fill in the area i wanted to color with one big mask of color, make a new layer that has a clipping mask down to the flat layer of color, and then draw my actual flat colors. the color of the mask helped me pick my flat colors bc if I picked a color i think stood out too much next to the mask i could kind of just adjust it until it looked a little more cohesive.

old ish drawing next 2 a canon reference. i ignore local color a lot...mea culpa....but my overall color palette here was a light pink, so the shirt here is actually a desaturated pink? or violet i believe. if you shift sort of that purple color far enough into the gray area of your color wheel it can take on a blueish or even greenish hue. it being next to a lot of warm pinks/fuschias helps.

a neat thing that kind of helps is that if you desaturate or saturate certain colors they can kind of take on a certain hue? not sure if this makes sense. sort of how orange here turns tealish blue the grayer it gets. so if im drawing something that's predominantly orange and i have a blue color i can just take an orange color and desaturate it until i get a color that sort of looks like blue. and that way it kind of looks more harmonious? at least to me XD

shading. i don't apply serious lighting to a lot of my drawings, but a helpful bit is that the shadows tend to be the opposite of whatever color the lighting is? i try to think first about the "mood" or the main color i want to go for in the drawing and then i pick a shadow color opposite of that. so for here, i wanted the lighting to be a coolish magenta so the shadows r lime green. if there's anything off i fiddle around until i get something i like. the shadows on the skin here were too green initially so i shifted them a little more orange.

there's a "band" of color going on between the transition of the shadows to the light. generally this could be for a lot of reasons and i tend to use it differently (core shadow? overexposure? etc etc). but this is a color post so ill try not to go too off track.

but generally digital doesn't "mix" colors the same way traditional colors do if you use RGB (cmyk is a bit better with this but is kind of a pain to get used to), so to make blending a little less muddy, i sometimes add an intermediate color to smooth things out a little. for example, mixing digitally blue n yellow tends to get you gray, but generally, blue + yellow makes green, so if im making a blue->yellow transition ill slap some green color in the middle so it flows a little better.

I do a lot more cel shading nowadays. if you've been on here for a while earlier this year i have another style of coloring but it's not really accurate to how shadows really work so i wouldn't recommend looking at it. it's mostly to add zest and texture to the underlying flat colors.

coloring your lineart does a TON to helping your colors look vibrant, though its like the garnish on a dish to me (same with shadows). i think it's good to try and play with your flat colors and try to make sure those look in order first before adding flourishes. usually ill leave it a dark, saturated color that again matches my overall palette but sometimes i go in and color them by alpha locking my lineart layer and picking a color that matches the flat colors underneath? not sure how to explain it properly.

i used a darkish purple for shuro's ponytail to match the dull red of the flat colors (more relative color! trying to simulate a black/brown while keeping the pink palette there) but a lighter crimson for laios's blond. the light was this super intense like blush pink so i thought it might be cool to add this neon salmon red in the areas of that light to really give off that vibe of a very bright intense rim light.

sometimes you could also tweak with gradient maps or color balance, which adjusts hue based on how light or dark a color is. these r fun to mess with as a final touch but i need to watch using them because they can become crutches real fast XD but those are also just tools to help you. in the end just developing a good sense of how color works and how you want to use it is the best place to start.

LONGASS ramble but yeah. tldr just kind of train ur eye for color and look at what you like best. which is unhelpful and a little sucky but it really is just observation and practice and maybe some personal zest.

happy drawing!

[spacemimz]

What is your process when doing fully rendered art! I've always loved looking at how detailed they are

I can show you with a couple screenshots of a current wip

1. I start out with a super rough sketch. For people it's a basic skeletal sketch of where what body part goes. For background sketches it's just vague shapes in the places where I'd like them to be.

2. Clean up time baby!! That's the stage where my vague shapes turn into full shapes. It's also the stage where I settle on details.

This is what a clean sketch looks like. Mind you not every detail I sketch is something I do in lineart, some things are just colors

3. Lineart woo-hoo!

This is what finished lineart looks like for me. What I also do is paint in shadows on my lineart layer for more depth and to give myself visual clarity too

4. Colors. For big pieces like this one right here I already color code the setting, give the whole thing a vibe

See this? No shading, that's all just coloring. Coding the colors this way minimizes the amount of layers I need to shade plus I tend to work on max. 3 color layers anyway. What I do for big pieces like this is color normally, then adjust the value and all that with a separate layer and merge everything. The minimum layer approach is something I picked up on when I was using ibis paint x on my phone in 2014 I think? Back then I had 3 layers to work with and I made that count and I guess that never left

5. ~shading~✨️ aka my favorite part aka the part where everything comes together. The shading really depends on the vibe and thing I'm drawing. Some shading is complex and some shading is simple. It's definitely the most fun part

6. Detailing. That's what I do afterwards stuff like rim lighting or texturing! Tho texturing is something new im trying. I'm kind of sick of my art looking flat sooo I use a variety of brushes to help with that. Genuinely think it looks good, makes my stuff look more alive

7. Sign it. I cannot stress this enough. SIGN YOUR WORKS!!! WHATEVER IT IS, SIGN IT!! I put my signature in places it's difficult to remove because you never ever know if some bloke wants to steal or not. Protect your creative property and sign it, watermark it. Make sure that people know it's yours and yours only

Wow that got long I'm sorry! But that's basically my process from start to finish, wait I forgot the collapse after I'm done oh well not that important hahaha

[diezmil10000]

Hi hi, hope you're doing well!! Wanted to ask if you could explain how you pick colours! They're always so appealing to look at... (If you could also explain how you pick blush colours it'd be great! I never manage to pick good ones, no matter how hard I try :'))

hi anon, i'm doing fine!! it's summer right now where i live and that's healing all my problems (⁠◡⁠ ⁠ω⁠ ⁠◡⁠)

i have recorded the process of some of my drawings and everything is posted in my youtube channel (in twitter too), so i'll drop the link here and try my best to explain the coloring part to you. the short answer is that none of the colors you see in my drawings are similar to those i initially picked.

i try to keep my lineart loose but i pay attention to the outlines so i can quickly select the outer parts, invert the selection and fill it with the bucket tool. my base colors are all 100% opaque and i don't use any fancy brushes here.

as to how i pick colors, i never use the color picker tool, i eyeball everything. that's important for me because i tend to make all of them warmer: the greens are dark yellows, the pinks are light reds, and everything that's close to blue is very desaturated. i do this even for drawings that turn out much different later, unless i have a very specific vibe in mind from the beginning. i also never use pure whites for anything, and if something is black i make it part of the lineart.

then i always color my lineart!! there's no trick to that, the layer is in normal mode and i just paint it with a darker color than what's below it. i usually add the shadows and highlights at this stage of the drawing too. you're going to kill me for this but shade with gray set in color burn or linear burn (never multiply). i just don't want to think about color variety at this stage because it makes things more difficult for later. sometimes i add textures and some basic color correction here (curves, color balance, layers set in overlay, etc.) but i mostly leave that for the next part.

as to how i choose blush colors, i usually pick the base color and move it towards the saturated end of the color wheel, and a bit more pink. sometimes i add a multiply layer and airbrush hot red over the base colors at low opacity. coloring the lineart with hot colors surrounding the blush areas helps a lot too :)

i also almost always duplicate the lineart, blur it and set it in linear burn (i paint this layer in a light gray). this adds a lot of depth to the drawing, especially if later combined with the bloom effect.

the key to why the colors in my art pop so much is that i don't enjoy drawing as much as i enjoy postprocessing pictures 😂🤣😅👌✌️👍 once i'm satisfied with the "base" colors i merge everything except the background, open a new canvas and go crazy with filters and textures. that's why i use ibispaint X even if i do the lineart elsewhere (krita), and even if it works a bit wonky with big canvases.

i do something different for each drawing here, so first i'm going to explain my reasoning so that you understand my process: i used to have a problem of using very strong colors that overshadowed my beloved lineart into which i had put a lot of effort, so my goal nowadays is to make everything look less contrasted without losing the visual impact of saturated colors. that way the lineart remains a strong point and not just a way to separate one color from another.

what i usually do is duplicate the new merged layer, set it to exclusion mode, add a gradient map and play with the opacity. then i duplicate that and do the same thing with another gradient or another blending mode. i tend to add like 3-6 layers of bullshit over my drawings, including textures and other filters like "bloom" or "sharpen". i understand everything that's going on there but i don't think too deeply about it, i just pick whatever looks best.

for the final touches i always pull up the saturation and contrast (since a lot of it gets lost in the process), and i usually have to manually change some colors (ibispaint X has a filter to do that) or tweak the curves. then i add chromatic aberration, noise set to overlay and little polka dots set to linear dodge.

here are some comparisons of the before and after of recent drawings. the 1st one is very subtle, but you can clearly see how much warmth and depth it gains it gets after all the postprocessing. the 2nd one is so different that i understand why you're curious about how i pick colors. i don't think i can replicate that look just from picking nice colors, there's a lot more going on!! the 3rd one personally feels like it had potential lost (i liked the yellow highlights), but the colors were too strong and all over the place, so the finished result looks more intimate and calm and i like it a lot more.

thank you for the interest anon, i'm very happy that you like the way i color things and i hope i have explained myself. good luck with your own journey!!

[soumic]

4, 9, 21, 24!

So many of them wow thank you!

4. Fav character/subject that's a bitch to draw Ohhh my god idk if this counts but I love HANDS I think they're so sexy and I've dedicated SO much study to them, probably more than anything else. I'm always trying to hone in on a stylization and rhythm that feels good for them but I just asdkfjs aim high I guess so it never feels quiet where I want it to be. I know hands are infamously hard to get right so I try to cut myself some slack... one day I'll get there...!!

9. What are your file name conventions So, I'm pretty anal about my file organization, I go by folder moreso than file name, but usually I try to name an image with at least the name of the character and one other descriptor. But where I'm EVIL is that in my usual process every few days I make a new file called "doodles mm-dd-yyyy" and stick it in a big "doodles" folder. And I do all my warmups and ideating in there, and half the time I just finish a piece in it's entirety inside that doodle document??? Which is bad for resolution/aspect ration purposes, but what's the WORSE is that half the time I don't even crop and export the image?? Especially if it's just a sketch or a WIP. I just. take a screen grab of it so I can send it to my main discord server??? Like so many drawings of mine are only found in these tiny crunchy images hosted on discord which is soooooo diabolical I have to get better about it asdlkfjs

21. Art styles nothing like your own but you like anyways Ahh I always admire people who can do really tight/polished cell shaded styles with very clean lines, but I don't think it's something I'd love doing for myself. The type that you typically see in comics or like, fanmerch. I have a tendency to get veryyyy lost in the details and will spend way too long on lineart, and half the time I just turn my sketch into my lines anyway because I tend to overwork it lsdkfjs

24. Do your references include stock images Mmm it depends on what I'm looking for! I actually take a lot of my own ref images for poses cause often what I need is pretty specific sdlkfsj there's so many awkward and unflattering images of me in my camera roll because of it :P For bigger pieces for clients, espc when I'm doing design work, I often make reference boards with pureref and if I'm grabbing stock images that's where they'll go. Usually they're of specific lighting scenarios or refs for costumes or props! I like to have lots of refs together in those cases so that I'm getting more of an amalgamation instead of pulling from one specifically.

[lagomorphics]

hi majora! your art is really cute, and I hope you don't mind if I ask about your process? I'm new to art and yours is an inspiration! I wanted to ask how you learned? and your process, because you seem to draw near daily! also any tips you might have for me? thank you!

HI ANON!!! ur very sweet thank u so much WAHH <33!!! idm being asked abt that at all!!

in terms of how i learnt; i've kinda always been drawing for as long as i can remember? been posting art online since around 2013-ish so i got a big big catalogue of stuff to look back on

but learning in specifics of like, how i learned to shade n draw bodies etc etc. i studied! theres a lot of resources out there that'll break down a lot of the 'basics', i dont have any i can name off the top of my head except for morpho; whole bunch of books about body types and anatomy.

im not really good at providing tips for how to learn (bad memory </3) but studying, drawing things over and over (i do with reference and then without, and try to draw in different angles/perspectives) is very useful!

ALSO VERY IMPORTANT: literally do not worry at all if what you draw the first time around looks wonky or "ugly". being negative towards yourself about your art only serves to stunt ur growth!! shakes you (and anyone reading this) by the shoulders. it can be very easy to slip into hating your art and not enjoying anything ur drawing. this is me telling u to try and draw something youve never drawn before. experiment. it may not look perfect or even "good" but it will refresh ur brain!!!!!

MY PROCESS...... oh man i really have been drawing pretty much daily huh? i do draw every day but its been a hot minute since ive been doing finished pieces haha

but basically what i do is; start with a few warm-up doodles! just anything to get me in the groove

then over the course of the day i slowly chip away at whatever pieces im working on (lined stuff will usually take me a few hours, rendered stuff takes a day or a few....)

i cannot really assist in like "so how do you draw?" because i honestly just go Lights Off Its Drawin Time! but i always do a rough sketch of an idea i have, refine the sketch, refine that sketch, and then if its rendered i'll make a palette for myself somewhere, but if its lined i'll start on the lineart and then fiddle around with colours.

i draw for fun, so if i dont like how somethings turning out, i'll stop drawing it. no use frustrating myself over a piece to the point of hating it!!

(this ones just forfun and just for me) i keep a small little doc full of notes about my own pieces! i like analysing stuff, and also enjoy talking about why i draw something in a specific way, so this is just a nice little thing for me to have fun with. also helps me avoid potentially slipping into "hate this. bad" mindset bc im specifically noting things that i Liked (i do obviously have a bit of chatter like "hmm i think i couldve drawn this better, i should keep that in mind" but its only when its helping myself. the jora does not talk bad about its art)

aaand then i do some cool-downs to get any last little doodles outta my head so i can relax in bed

in terms of tips? do stretches, walk around, TAKE BREAKS! draw at your own pace, and also Have Fun With It. experiment with different colours, limited palettes, different styles!

seriously though do make sure you take breaks and stretch im lookin you in the eye okay?

I HOPE THIS MADE SENSE AND IS HELPFUL IN A WAY i ramble. far too much. and im not the best at articulating my thoughts!! but i hope u have lots of fun drawing very cool stuff <333

[reflingthefox]

I wanna share my story about Krita pencilbrushes.

To clarify: in default setup Krita, among the brushes, there are three pencil-like brushes next to each other. Those ones.

It's a mixed thing in art posts I usually see: part of them say that brushes don't matter, that what does is technique/practice; part of them are ecstatic about trying new ones. My take's on the side of brush positivity here, and maybe it also helps someone.

A short disclaimer: I am not a trained artist. I didn't have any sort of art classes if you exclude primary school, and didn't have a lot of mixed medium training. I, however, took a biology course where you were supposed to depict a lot of samples and schemes, and you had to adhere to illustration rules. This lands me into being much more confident with pencils and liner pens than anything else.

Digital drawings were a big hurdle for me for a while, because while there are so many pens and effects, I often found myself struggling with them. Mostly - because digital doesn't Feel like traditional. Lineart was a big issue for a long time, but it was circumvented with lining in trad, scanning, setting the scan layer to Multiply and coloring like that. (Bonus papery texture for your art, too!)

But coloring was something that I'd want to do in digital (mostly for hues and editing) and kept struggling with. The cool effects I hoped for fell flat.

At some point I was trying different brushes and stumbled upon the pencil ones. I used them before couple times, for "fuzzy" lines, but this time I was just on short schedule and afraid to color. The lineart was scanned, of course, and I thought "maybe pencilbrush could look good with trad?"

First, it was, and it fit well.

Second, even though pencilbrush wasn't real pencil, I could achieve very similar feel with lower pen pressure. And it really boosted my confidence. At this point, I was brave enough to try and shade it without layer properties, just using different colors like in trad, and it suddenly soothed a lot of nerves.

Third, which I discovered a bit later, was that I could edit the trad lineart with those. The erased part gets patched with texture from another part of the sheet, the exact shade gets color picked from lineart, the texture of digital line is close enough. I'm pretty sure no one else is looking close enough to spot where I did it, and it fixes the biggest drawback of trad lineart.

Turns out, the biggest issue was accurately translating my existing experience, and finding That One Brush helped. I don't use it exclusively right now, but a lot of other brushes got designated to specific jobs of sparkling up the pencilbrush job.

I'm not saying that this specific one is the best one, go-to for everyone. But the idea of finding something the most familiar/giving out the most familiar feel is important for art drive, I think, and if you're a pencil artist like me, it could be something to try out.

[aztrareia]

[Working title: a-z || cendent]

Hello! It’s me, i’ve been asleep for—maybe not the most of my day. I’m still fortunate that I’m able to sneak in some wip updates, and quite a bit on linearts, edits. One thing is for sure, my cold is sorta worse now. More sneezing, my throat feels dry (pls I’m almost about to finish the throat lozenges), and just now, a runny nose.

So, what’s happened with this so far?

Clothing details—better ruffle details, a bit of change to some of the details, yadda yadda please refer to the attached photo (above). The left leg, I am very tempted to add fishnet stocking details. But I tried a little bit and it looks a bit cheap? So I might leave it as a sheer white color layer, or just skin. I’d agree it’s a strange stocking design but I’m happy with it. Sort of. I’m working as fast as I can but in moderation since I’m also trying to stay not too sick.

Elongated nails of death—I wear the shortest nails irl (longer ones interrupt with concentration) and some details of this chara (long nails, the funky eyebrows) are vestiges of the past chara designs. I also think it gives her a sort of menacing vibe?? Pretty but don’t mess with me sort of mysterious lady. But very much a softie. I just—like to dress her up okay? The dangly bits are inspired from the MV for [Honey], by Solar. Any sort of dangly bits on nails look cute imo, function-wise I think it’s a nightmare.

The overlap of nails + veil + hair is going to mess with me in the coloring stages, especially that veil. I’ve temporarily put color overlays on them so I don’t get too confused when I start cleaning layers before coloring.

I also need to start putting down the details on the—torso, what do you call this? I’ve also began to think the logistics of how the thing should stay up if the sleeves are that low—I might add a few supports. As sexy as she looks right now it would be quite unfortunate if we run into wardrobe malfunctions. I also think of dumb shit like this when I draw.

The arms are sort of inspired by those Henna details on hands, but these are definitely made of silver or gold material—I like that kind of simple design with jewelry. Just long strands of metal, we all good.

There’s also an abundance of teardrop gem pieces. But I am not about to go into a meta discussion about tears becoming blah blah blah blah blah—

Imagine coming here for an art breakdown just to walk into a sob story. Which it is not, by the way, I just don’t have the strength to go into that detail right now. I’ve turned this part into a bulleted format because neither you, nor I am very fond of big blocks of text.

[In other rambling news]

I’m still quite disappointed with a new book I’ve gotten recently. It was supposed to help me figure out my coloring dilemma but all I got was a bunch of instructions that showed really okay photos. But you don’t really get much out of, “add shading,” without showing you where or how—I’m stupid. I really don’t understand how or like putting shadows on my art. I’m not a fan of the gloomy look it sometimes gives. Even if I use something like a brighter color—it just reminds me of how I shade my other art style [see: “Wounded” series a few posts below, makes the shit look cute, but for this art styles I don’t really want it to look cute…]

I’ve since tried to reach out to people if they are interested in taking it off of my hands. I don’t see it as a waste—the book really just wasn’t for what I needed it for.

[spoonie-ritsu]

this took FOREVER but i!! finally did a draw for @hydrachea‘s adorable takeritsu AU (in which they are in love and also married)

[asjjohnson]

Just talking about skill and creativity

I haven't been in much of a creating mood for awhile, but I thought I would try drawing something despite that.

So, two days ago I tried making a rough sketch from the A Christmas Carol-based fic idea I'd had. However, it just didn't look good at all, and I just felt like I couldn't draw them right, and I closed the program. Sometimes I think I can draw pretty well, but other times, especially if I haven't drawn anything for awhile, it's like everything I try drawing turns out ugly, and I can't get anything to look the way it's supposed to.

But, well, I tried again yesterday. I tried sketching with shapes instead of lines to see if that'd help. I resketched Dan a few times, trying to see if I could get the angle I'd been imagining (a not-quite-from-the-side angle that kept ending up too far one direction or the other). I looked up some pictures of Vlad to see if I could come up with a pose that wasn't so stupid and awkward for him.

And then I sketched some lines on top of the rough sketch, and started coloring. At that point I got excited about the picture and kept going for a few hours straight. I hadn't wanted to stop, but needed to go to bed. Today I added a few last things to Vlad that I hadn't been able to finish yesterday.

Although, today I'm feeling slightly down about the pic again. It looks rougher than I remember. The lines are really sketchy, and the colors aren't perfect, and it really needs some kind of background. But... I can see some potential in it. If I took my time and made some clean lineart, adjusted their expressions, added a background, and experimented with the coloring and shading more, I could see it turning into a good pic (maybe even close to the scene I'd imagined in my head). I'm currently debating on whether or not I want to take the time to make it a good pic.

But I thought I would mention it on here. I'd started out thinking I just can't draw it - the poses are too hard, the faces, expressions, it'll all be wrong, wrong, wrong. But after trying, I got to a point where I don't feel as bad, and think it might could turn out good if I keep going. I should probably force myself to work on my writing, as well. And if it doesn't come out perfect from the start, then just keep trying, and if it still isn't working, then try approaching it from a different angle, until it does work.

(Maybe I should make a New Year's resolution related to creating more stuff.)

[distinguished-slacker]

you.

Y O U .

about your post (link below), about the art style of the characters,

YO IVE BEEN WANTING TO TALK ABOUT THAT BUT SO FAR YOU ARE THE ONLY ONE IVE SEEN NOTICE IT. After reading the last few chapters, I did notice the art style of the series has been changing. At first I thought it was a different illustrator or a new assistant or something but I didn’t have a recent book to check. Maybe the guy is stressed with deadlines but he BUTCHERED a couple of the characters. Kimizuki I noticed the most since I uh- pay attention to him a lot, but the pictures you added really sealed the deal for me. I do hope it can “go back to normal”, since the art was part of what made me check out the series. I just feel like it doesn’t look as refined as it used to, and I definitely missed Yu’s old expressions. The eyes drew me to the characters. Maybe they’re using a different way of drawing things, like switching from traditional to digital, which could explain why the eyes aren’t as detailed anymore. I’d like to know which chapter you think this started in, as I’m looking though my physical copy of book 15 to see if it’s different around then. hopefully it gets turned around, but there’s obviously no guarantee. I really appreciate you posting about this.

https://distinguished-slacker.tumblr.com/post/650704413986521088/dont-you-miss-those-old-days-when

Hi :3

First things first, I just want to tell you that the artist, Yamato Yamamoto sensei, is not a ‘he’😅 Their gender is unknown but it’s most likely that they are a woman.

Now, onto your question, I think you are looking through the exact volume where I think the art style started to change. Volume 15 contains chapters 56 to 59. Chapters 56, 57 and 58 possess the same art style as those of the previous volumes and it’s right at the end of this volume, in chapter 59, where I notice that the faces and eye shapes started to become rounder.

However, you would barely notice this very subtle change unless you are looking through the chapter with the intention of dissecting the art😭 The panel where I go like “Yes. The art style is definitely starting to change.” is this one right at the end of chapter 62⬇️

I can notice it since usually Mika would have sharper features. Artstyle started to change since the early chapter 60s but it wasn’t until the 80s that the quality started to downgrade and especially the recent ones suffered a more severe blow.

I really don’t want to break your hopes but I am still going to speak and say that it’s highly unlikely that the art style will go back to what it was once :(

There is a difference between art style and art quality. Art quality is dependent on the choice of the brushes, the level of shading and of course, tiredness. If you compare these recent chapters with the ones from years ago, you can notice that the brush Yamamoto is currently using for drawing the lineart seems blurrier and so less defined. It seems like, as you say, Yamamoto changed their method of doing art to digital, and this problem can be easily changed if they try another platform or a different method. Then, level of shading can be improved if more time is given to focus on shading (therefore less tiredness).

However, art style is not something that can significantly improve with more free time. Art style is like handwriting; it either changes over time at a very very slow pace or it doesn’t change but it never abruptly changes to something different (it requires a lot of time to change your handwriting and get used to do it like that all the time). The artstyle has been changing since the early 60s, which were written like 4 years ago. Those are 4 years of Yamamoto getting used to drawing like this, with stiff positions, lack of body curves, excess of eye brushes lashes and more which has been getting worse as the manga progresses… It’s hard to expect them to draw like how they used to 5 years ago.

Still, the current artstyle is much better than many shonen mangas out there and I know the artist works very hard but when the plot narrative is being executed so poorly, you at least want to rely on the beautiful art of the manga…but…you know… ;-;

Anyways, I am glad that you liked my post (I really chose some good pictures right?😋) and even if the possibility is low let’s hope that at the very least Yamamoto realises that this is not how Yuu’s face looks like😂💔⬇️

[tyrantisterror]

THE A.T.O.M. CREATE A KAIJU CONTEST 3-D!!!

YOU THOUGHT YOU WERE SAFE!  YOU THOUGHT THAT THE TIME OF MONSTERS WAS AT AN END!  BUT YOU WERE WRONG, FOR NOW YOU MUST WITNESS…

THE A.T.O.M. CREATE A KAIJU CONTEST 3-D!!!

That’s right, it’s back!  Celebrating the publication of The Atomic Time of Monsters Volume 2: Tyrantis Roams the Earth! (which in turn completes The Ballad of Tyrantis arc for this series), I’m holding another monster design jam.  The third of such jams, in fact!

Like the first A.T.O.M. Create a Kaiju Contest, the aim of this contest is to create kaiju that would fit within the setting of my big kaiju story series, The Atomic Time of Monsters.  Think of it as me letting you into my sandbox to play with my toys for a bit, or like you’re being put in the director’s chair of a new ATOM-verse kaiju movie.  That means your entry does have to fit into ATOM’s world, which in turn means that yes, there are limitations to your creativity here.  But limitations can be good sometimes - they can make us explore options we wouldn’t consider when given completely free rein to do what we want!

(also you don’t have to make a three dimensional image or anything, the title’s just a pun on how the third movie in a monster movie franchise will often be a 3-D film)

Read below the cut to learn the rules and whatnot:

THE RULES:

1.  You are limited to one entry per person.  Work hard and make your entry count!

2.  Your kaiju must have some sort of description of its physical appearance and its personality - you can submit a drawing or a written description (or both!) for the physical appearance depending on what you’re most comfortable with.  Using the same template/format as my official ATOM Kaiju Files (https://horrorflora.com/monster-menageries/atom-kaiju-files/) isn’t required, but it was cool when people did it in the last contest, so feel free to do so this time too!

3. The kaiju you create must specifically be created for this contest  - no repurposing characters you made for other, wildly different stories.  This is not “trick TT into drawing/canonizing my main OC” time.

4. The kaiju must fit the setting and aesthetics of ATOM.  I’ll explain this in more detail down below.

5. The kaiju should add something meaningful to the world of ATOM. The more unique and interesting your kaiju is, the more likely you will win the contest.

6. Don’t make your kaiju too dependent on pre-existing ATOM characters - no “Tyrantis’s long lost evil brother who’s the strongest kaiju in the world.” These should be to Tyrantis’s story what War of the Gargantuas is to Godzilla’s movies – heroes (well, monsters) of another story in the same world.

THE REWARDS:

I will make pencil sketches of the top 5 entries in the contest.

I will then make fully rendered illustrations (lineart, colors, & shading) of the top three entries.

The winning entry will be made into a model ala the ones I’ve been making for ATOM’s core 50 monsters, which can then be shipped to the person who created it (should they be able to cover the shipping costs).  That’s right, your kaiju could be brought to life in THREE GLORIOUS TECHNICOLOR DIMENSIONS!  (Hey, we worked the gag title in to the prizes!)

THE DEADLINE: All entries must be submitted by July 3rd, 2021.  You can submit it here on tumblr, via the horror flora e-mail, or any other channel you know how to reach me through.  I’m in a lot of places.

THE GUIDELINES (TO HELP YOUR ENTRY FIT THE RULES AND WIN):

The smartest thing you could do if you want to win this contest is familiarize yourself with the world of ATOM by, y’know, reading all the material I’ve published on the subject.  In addition to the many kaiju files that are free to read on horrorflora.com, there are now TWO, count ‘em, TWO novels in this series for you to peruse, both of which establish many of the rules of the setting as well as its general themes and tone!  You can get them in either paperback or e-book formatting (I’d recommend the former over the latter since I lack the technology to make a really nice ebook, but if money is an object, the kindle version is only $1).  Here’s the links again if you missed them:

Vol. 1: Tyrantis Walks Among Us!

Vol. 2: Tyrantis Roams the Earth!

However, since I know reading a bunch of stuff is, y’know, not something everyone is inclined to do, I’ll jot some good bullet points for you in an attempt to outline how ATOM works in a brief, easily digested way:

ATOM is an homage to the monster fiction of the 1950’s and 60’s (i.e. the Atomic Age), and is set in those two decades, albeit an alternate universe version of them where, y’know, monsters and space aliens exist.  If you aren’t familiar with the monster fiction I’m referring to, there will be some reference material provided at the end of this post along with some recommendations for further research.

Kaiju/giant monsters in ATOM work under very specific rules.  There’s a full description of those rules at this link, but here’s the jist:

ATOM Kaiju are created created by the radiation of a mineral called Yamaneon, which naturally converts harmful radiation into its own unique energy.  In natural circumstances, it takes hundreds of years of exposure to Yamaneon radiation for a creature to become fully transform into a kaiju (luckily, Yamaneon radiation slows the aging process while speeding up the healing process).  However, an explosive burst of energy - such as the geothermal and kinetic energy released by an earthquake, or the blast of a nuclear weapon - can speed up the process, turning a normal animal into a kaiju within a matter of seconds.  

All ATOM kaiju can heal grievous wounds within minutes or even seconds, are supernaturally strong and durable, and can convert harmful radiation to harmless energy that they then feed off of.  Kaiju do not have an equivalent of old age, and can theoretically live forever (though their violent lifestyle means that few do).

ATOM Kaiju generally don’t need to eat unless they are severely injured, getting most of the energy they need from solar or geothermal radiation - but many still have instincts that drive them to seek out food from time to time.

Most ATOM kaiju stand roughly 100 feet tall (depending on their body shape), i.e. smaller than the original 1954 Godzilla.  There are exceptions to this rule - younger kaiju can be smaller, while exceedingly old kaiju can be significantly larger, but these are rare.

In general, ATOM kaiju are significantly more intelligent and emotionally complex than people expect animals to be, though most are incapable of speech or complex tool use.  There’s a reason ATOM Kaiju Files have a “personality” section.

Most ATOM Kaiju are tooth and claw fighters - ranged weapons are a rarity in this setting.

While the terrestrial monsters in ATOM look strange, they are intended to fit within the taxonomy of animals in reality - reptiles, mammals, fish, arthropods, molluscs, etc.

ATOM’s mesozoic era was dominated by a fictional clade of crocodile-relatives called retrosaurs, which are based on the outdated paleoart that one would find in the 1950’s/60’s fiction - i.e. when dinosaurs were viewed as trail dragging lizards instead of strange birds.  You can learn more about retrosaurs here (https://horrorflora.com/2016/11/15/atom-kaiju-file-bonus-a-guide-to-retrosaurs/).

Kaiju appear on every continent in ATOM, but certain areas tend to be dominated by different types.

North America is mainly besieged by retrosaur kaiju and giant arthropods.

East Asia is technically also mainly plagued by retrosaurs and big arthropods, though they tend to look more fantastical and mythic - and, often, oddly well suited to being portrayed by a person wearing a monster suit.

Russia is beset by prehistoric monsters that seem to come from the Cenozoic, particularly the Ice Age.

Western Europe is plagued by creatures that vaguely resemble creatures from myth, if they were also prehistoric.  Dragon-y lizards, fiery birds, etc.

Towards the mid-way point of ATOM’s timeline, earth is invaded by a coalition of aliens from different solar systems called the Beyonder Alliance, and as a result a bunch of alien monsters can be found on earth.

Mars and Venus both host (or hosted in Mars’s case) animal life.  The surviving Martians colonized Venus, and sent some of their kaiju guardians to earth to help us fend off the Beyonders (who are responsible for the destruction of Mars’s ecosystem).  Martian and Venusian kaiju have specific anatomical quirks, which you can see by looking at these kaiju files:

Venusians:

https://horrorflora.com/2017/01/03/atom-kaiju-file-29-karamtor/

Martians:

https://horrorflora.com/2017/01/17/atom-kaiju-file-39-kemlasulla/

https://horrorflora.com/2017/01/17/atom-kaiju-file-40-podritak/

https://horrorflora.com/2017/01/17/atom-kaiju-file-41-sombarvot/

https://horrorflora.com/2017/01/17/atom-kaiju-file-38-ullawdra/

Giant robots exist in ATOM, but are big, bulky, and incredibly expensive.  Fancy beam weapons also exist, but are similarly clunky - there are no sleek, elegant machines in ATOM.

Since the fiction ATOM takes inspiration from was made at a time when interplanetary travel was only just beginning to be possible, its scope is significantly smaller than modern sci-fi.  Alternate universes/dimensions were pretty uncommon because the idea of alien planets still held a lot of wonder to it.  So, as a general rule, don’t try to go farther than the one galaxy.

ATOM is a setting for stories that are focused on humanity learning to coexist with monsters, rather than humanity destroying them.  A certain level of sympathy is put into almost every creature of its canon, even the ones that are meant to be villains.

REFERENCE MATERIAL

Here is a playlist of 1950′s monster movie trailers.  

Here is some reference material from various monster comics of the 50′s and 60′s. 

Good movies to track down to understand ATOM’s inspiration and tone include Ghidorah the 3 Headed Monster, Son of Godzilla, Destroy All Monsters, Them!, The Black Scorpion, 20 Million Miles to Earth, Gamera, The Giant Claw, and The Lost Skeleton of Cadavra.

And here’s the intro cutscenes for all the different giant monsters in the PS2 videogame War of the Monsters.

[cqtlatte]

damn your art style is so pleasing to the eye :0

do you use any particular art software, brushes or technique? I'm a beginner at digital art, so I'll take all the advice I can. thank you for your time!

Hi anon!! Thank you so much, it really means the world to me <3

There’s so many tangents I can go on to give different advice for you, I think because we often think there’s a concrete formula to improve. I hope the advice I give here will help down the road, and that I don’t sound too all over the place here! (lol)

As for programs and such, I use Clip Studio Paint EX. I used to be a PRO user for quite some time but upgraded for the extra features (mostly for webtoon creators/animators), it isn’t a necessary switch at all if you only want to focus on illustration.

Paint tool SAI is also a good lightweight alternative! Before I got a better laptop, my old HP couldn’t really handle CSP; it lagged a whole bunch.

---

I tend to jump around a LOT between brushes to toy around with effects and stuff, so it’s hard to give a specific set, however I use these the most:

https://assets.clip-studio.com/en-us/detail?id=1697201

https://graphixly.com/products/theonewithbear-sumi-brush-pack-for-clip-studio-paint

Along with the darker pencil (default brush in CSP)

and a few brushes from the DAUB brush pack.

I don’t use every single brush in every set all the time either though! Usually when it comes to picking brushes for yourself, it 100% relies on how comfortable you are with using them. You'll definitely know what feels good for you, and what doesn't when you try them out!

Some people (like me) enjoy more textured brushes, and others are comfy with clean brushes for lineart, and others like soft watercolor brushes or oil brushes.

Don’t be afraid to tweak brushes either! It takes some time to learn how to do this, but there are lots of tutorials out there.

---

I think the most important thing is to first find something that you enjoy drawing/painting a lot, and experimenting a bunch on that. Don’t be afraid to try new things!! You don’t always have to follow the basic workflow of sketch > lineart > color > shading. Mix it up a bit! Include colors in your sketches, paint over your sketches if you don’t like doing lineart! If you do like making super clean lineart, work on different types of lines to make it more fun! Art is like a form of play and messing around, it shouldn’t feel stressful. Be willing to make lots of bad art (even though that can be hard sometimes), so that in the future there’ll be less bad art and tons of good art! Don’t worry too much on developing a style, since this will come naturally the more you draw.

---

(also, a word to those who post art on social media!) -

Don’t ever forget to draw what YOU enjoy, rather than focusing on what you think others would like to see!

For a long time before this year I felt like I was constantly hitting a brick wall, and I didn’t know why I didn’t like drawing as much as I used to, and why my character art felt so boring to me. When the covid pandemic hit, I was forced to take a loooong look at my art, and decide ‘I still have a long way to go..’

Something clicked when I sat down to work on some acrylic paintings on canvas for my uni portfolio: I wasn’t allowed to include fanart, since the university didn’t accept that. I also didn’t want to only include digital art either, so that I could add some variety! So, I painted.

I was forced to think more about colors (something I was neglecting, since it’s much easier to color digitally and hit the undo button 10000000 times when I wasn’t happy with something)

During that time, I found that I really REALLY liked painting landscapes and working with bright colors, so I also started to incorporate that into my digital art. Turns out other people enjoyed that as much as I loved creating it, so from there on out, I’ve just been toying around and experimenting on new things ever since!

---

Anyway I hope this doesn’t sound too abstract. This is my first time giving formal advice so my brain is going into overdrive mode.