#im trying to change up my workflow

[echolocalia]

ermmmm accccshually 🤓☝️

hes my fave ever

[newttxt]

hi quip! i really like your one piece comics and i am curious how you do them! i'm not good at comics and want to be better at drawing them! how do you learn how to make comics?

thank you!

uh oh... im afraid u have caught me at the perfect crossroad of "bored at work" and "unrelated task ive been meaning to do but keep putting off."

this is long. i hope you like reading (and grayscale progress pics). and of course!!! disclaimer before we begin that this is just how I, personally draw comics. there is no "right way."

quip's comic-making process!

Switching my typing to make this more legible...

My process can kinda be broken down into 6 steps:

Brainstorming

Thumbnailing

Sketching

Panels & Text

Lines

Tones/Colors

1. Brainstorming

My brain is a leaky sieve on a good day, so I sloppily jot down ideas in my phone notes the moment I have them. This helps me when it's time to draw too, because if I feel art blocked, I can look through old concepts and see what catches my interest.

Otherwise, I love drawing for other people's writing. :) And if worst comes to worst, doing manga/comic page redraws in my style teaches me new things every time.

Once I have my idea, I'll usually make a bulletpoint list of "plot points" or "story beats" I want. Then I plan the comic with this format that I've adapted from a tutorial I read once. I'm going to use my most recent comic (original comic post) as an example.

I start in the third column, writing notes of what I'd want to see in each panel. I also include the dialogue (in this case, I didn't have to write the dialogue! it's from the fanfic linked in the original comic post!). I usually write the whole name like [Luffy:], but at this point I've drawn so much of these guys, just the first letter works.

I like to handwrite these notes to get an idea for how much text I'm putting in a single panel.

After I describe all the panels, I go back and separate them into pages. I can't tell you how to know how many panels to a page. It's whatever works for you. I just kinda know about how big each panel will be, and so I can feel when I'm probably running out of space. (Also. You can change things later. I don't in this example, but I add/drop pages/panels all the time.)

2. Thumbnailing

Thumbnailing—as the name suggests—should be done tiny. Too tiny to accidentally get sucked into details.

This is about marking down blobs where items/characters go, and figuring out the paneling. I'll draw and redraw these a bunch of times too.

This is also the most time-consuming/brain-working part for me. If I were in a zine that did progress percentage, I'd try to finish thumbnailing around the 50% mark (but I'm also a moderately fast artist, so your mileage may vary).

I think the terrible quality makes them charming, actually. I really like how silly they look. :')))

I will add, when you draw your "page" rectangle, make sure it's the same proportions as your actual canvas for the final image. You want an accurate idea of how much space each panel will take up, especially if you have a lot of text.

3. Sketching

This is my most recent change to my usual workflow, and it's saving me a lot of time. I make my thumbnails a bit bigger (each one about half the size of the final canvas), and I sketch these basic body forms right over them.

It just helps give me placement for my actual lines!

I usually draw these in a paleish color so I can lower the opacity and not get distracted by them while lining. The random darker parts are to either help keep two forms separate (like when two characters have their limbs all over) or to better define sections that were too sloppy/poorly proportioned.

I also think this helps my poses stay looser, because I have more dramatic/wriggly shapes that aren't too bogged down by proportions yet.

Sidenote: I CANNOT show this here, but sometimes this is when I take videos. Of myself. I prop my phone camera up and shoot a video of me acting each panel. :/// It looks really dumb, but it also shows me fun body language ideas like hand gestures, expressions, weight distribution, etc. Just pretend you're an overdramatic cartoon character, and try not to worry about your roommates or mother walking in on you doing odd things. (You can also use the video for anatomy reference later, but I usually just capture the vibe and don't try to copy the actual video frame.)

4. Panels & Text

Oh, boy. So, the panels are usually just straight lines (though it's fun to make creative exceptions, like a round panel to mimic looking through a spyglass), but there are some fancy rules that I don't strictly adhere to.

I believe (I have no technical training in this. Take everything I say with a grain of salt) the vertical gaps (between two side-by-side panels) should all be a consistent width and the horizontal gaps (between two panels on top of each other) should be another. The vertical ones? Should be thinner? Because you want the eye to easily glide between them, whereas the horizontal gaps should be a visual barrier to keep you from jumping ahead. Just something I've vaguely noticed.

There are lots of fun "default layouts" you can look up. Or keep it a consistent grid. I think it's fun to sometimes have characters/objects sticking out of panels and overlapping others. This is just a matter of taste, creativity, and inspiration. (Read Witch Hat Atelier... It has some of my favorite paneling...)

You may also notice I have already done the speech bubbles. This is, to me, a crucial step. This helps me catch early if I don't have enough room for all the words. It also lets me plan the art in each panel with the speech bubbles in mind. There's nothing worse than working really hard on a panel, and then you realize there's no room for the bubbles.

I also try to lay them out in a way that guides the eye! Even without art, can people tell where to go next? Better yet, if I want people to look at panels out of order (aka not left to right, in my case), can I use the speech bubble path to make them? Here's just a vague example of what I mean.

As an added bonus, doing speech bubbles early also allows me to be lazy! :) Ignore the comic; I'm not supposed to post it yet oops,, There's a whole lot of drawing to do on each comic page, and I am not wasting my time on stuff that will be covered up. So yes, if I hide my bubbles, there are a lot of unfinished lines trailing off into nothing. (As a bonus, if there's a part of a character you're struggling with—and it won't look weird to do so—you can move speech bubbles to just hide the problem area yayyy)

Making the actual bubbles could be their own whole tutorial, tbh, but there are some general guidelines I use.

Zoom out when you choose your font size. You want to know how it will look to the average reader, so it isn't super teeny tiny or way too big. You generally want to keep the same text size for all your pages/bubbles.

When I draw bubbles, I try to size them about one vertical letter height (and some change) around the words [left side]. This isn't always the case though, because humorously large or funny shaped text bubbles can convey different feelings [right side].

On Procreate, I set my bubble lines to Reference and just drag-and-drop the white fill on a separate layer below the lines. (Remember to turn Reference back off again when you're done, or your fill bucket won't work right when you're drawing.)

To get the white outlines I use to keep the bubbles from cluttering up the art, I literally just Gaussian blur an all-white copy of the lines + fills... and then I copy and merge it 5 times until it's opaque enough. This is a terrible way to do it, but it works for me. :')

5. Lines

This is the part that I can't tell you how to do. I literally just. Draw right over my wacky sketched body forms. Boom. Comic drawn.

I'll make three suggestions:

Don't focus on making every panel perfect. Give a little extra love to big ones or ones you want people to linger on. Otherwise, know that people are typically speeding through the art. It's way more important to focus on storytelling than art technique. In my opinion, a good story that's told well will always be better than a beautiful one told poorly. (Some comics are beautiful AND well-written... Alas, I am just a hobbyist who needs to get the ideas out of my head at top speed.)

Put your background lines on a different layer. Put your foreground lines on a different layer too, if you have those. Basically, I try to keep the main part of each panel (usually a character or object) on my lines layer so I can erase background/foreground/etc lines to ensure clarity/focus.

You can make background lines lighter colors too. I have too many numbers sorry. (1) Background. The stuff that's farthest away. Lightest lines. Few details; more focused on shapes and the suggestion of a background (I'm not good at backgrounds). (2) Midground. Same distance away as the characters are. Lines can be black. (3) Also midground, and also the same distance away. But they're very detailed, so I lighten them so they aren't so distracting. (4) The characters. Black lines for focus. For people who haven't seen the comic, I swear they are just hugging. This is SFW. D:

6. Tones/Colors

Do not. Do NOT ask me. I don't understand colors. I hate working with them, but I try because I want to improve. I hate doing anything beyond the simplest grayscale shading. Please go elsewhere for your coloring/tone advice. This is how my color picker looks 95% of the time. I have pre-set "percentages" of black that I got by lowering the opacity of a black layer and just color picking it. I don't even know the exact percentages I used. Good luck out there. Be better than me.

7. Sharing

This is a bonus step that I didn't mention earlier, but it's actually the most important of all of them.

You need a friend. Or maybe a groupchat or discord. A family member or coworker if you're really close like that. I don't know.

Find SOMEWHERE you can spam wips and be cheered on. Drawing comics takes a while, especially if you're trying to tell longer stories than I'd dare to attempt. If I don't force someone to praise me for every line I draw, I shrivel up and die.

Also if and when you post online, add alt text. I'll admit I'm the first person to complain and drag my feet on this, and I literally use a screenreader myself when my eyes hurt (strong prescription glasses wearer). Comics should be accessible, because stories are fun and everyone should be able to enjoy them.

***

Learning???

And I guess lastly, how do you learn to make comics? Two steps: 1) read them and 2) make them. This is the tragedy of creating things.

1) Reading them: I grew up reading comic strips, western serialized comics, and webcomics. I've always loved graphic novels too. Then in late middle school, I started reading manga (Death Note and Haikyuu were my first two), and now I'm trying to read more webtoons (sorry im so slow bree)!

I also... mass-consume doujinshi, thanks to proxy mailing services and bilingual friends/Google Translate/knowing some Korean. (I have an entire bookshelf of doujin, actually,,)

The thing is, it's not usually enough to just read comics. You also need to be thinking. :/ I notice paneling, comic devices, clever comedic timing, etc. as I go. It's just a lot of studying/learning while also enjoying the story.

2) Making them: You just have to start. :( Even if you think they're "bad." My first comics were actually just drawings placed randomly all over the page, connected by speech bubbles (yay... I was already practicing how to place bubbles to lead the eye around the page...). I was going to post a pic here, but I'm a coward. Backscroll my account and you can find some older ones though.

I also know my art in general improved dramatically when I did ten comics in ten weeks for my friend's fic. Don't do this. It hurt my hands/wrists. But do practice in moderation.

***

If you actually read all that... I hope it made even a modicum of sense. And maybe it was even helpful? Just know at the end of the day, there is literally no right way to draw a comic.

And if you aren't ready to go for it yet, you can start by just adding a couple speech bubbles to your illustrations or doodles! It's a way to add storytelling and dialogue writing to things you may already be making.

Yay. I love comics. :))))

[skunkes]

for me, the loveliest parts of your drawings are the construction. like veryyy inspired and true to anatomy but very clearly your own flavor. your pdf has really really put that "spark" for me in drawing again 💖 especially since I also draw doodley & small. unfortunately, with my ADHD/current workflow it's a real uphill battle to not give up a study despite desperately wanting to get better at construction. :(

if you use studies a lot, do you have any tips on how to keep studies fun? What sources have worked for you in the past? (especially for fat/wrinkles/clothes)?

This is getting to be a pretty specific ask haha sorry if it's a lot. I hope some of it made sense tho :)

hi hi so idk that i'd endorse it per se but what worked for me was only focusing on stuff i was interested in for years LOL

so in high school i loved drawing hands and arms... so i only ever focused on hands and arms...

i literally did not start fully focusing on/trying to learn Legs (for example) until the last 2 years. you can see even now that idk how to draw shoes (and idk that ill ever learn because ive never cared about em irl and only really use one pair LMFAO but that could change!) and then its slowly come together like puzzle pieces.

All of this came from personal interest....i was fascinated with hands and arms at first, the shapes the forms. then u can combine it with other things. i became determined to draw all sorts of bodies well so i could depict my ocs accurately. i had a focus on noses because i love noses and wanted to have ocs with their own unique noses, so i had an excuse to draw said ocs more to learn. (and then becoming enamored with all the ways skin and flesh can sit and squish helped with wanting to draw bodies more).

stuff like that helps keep it fun. sometimes when i do body studies now i dont draw the heads/faces because its less fun (TO ME) to do that and i know ill end up focusing more on that than the learning of the body.

sometimes i draw the bodies with my ocs heads so i have more fun. when i first started learning legs i only drew disembodied ones.

im not saying to do dis and yes you have to leave your comfort zone to get better sometimes but you have to find what works for YOU... bc if you get too "uncomfortable" then u wont wanna do it at all (see again: i could force myself to draw a page of shoes but i genuinely just dont want to adn i dont care. maybe in a few years ill be obsessed with them. im king of not leaving my comfort zone. i love being comfortable. but i make it work)

however you Learn you can always expand upon it once u have the foundation! like how over the years ive added more little details to some forms (because i like seeing them!)

idk how i learned to get better at drawing fat but i recommend sources like fatphotoref, morpho's book on fat and skin folds, and (18+ recommendation) subreddits for nudes, especially if they're focused on fat people. i like this last one bc you can truly see a range of difference in body proportions and fat distribution etc as well as seeing how other people stylize such things

im going to be real with u and say i SUPER dont know how i learned folds. im actually still learning now that im exploring more fashion in the real world, but even now i kind of just guess from what i know theyre meant to look like. if i REALLY want it to look accurate ill wear a similar garment and use that as a ref and then keep that in my mental library. here's 2 examples i can think of where i really had to take a pic because my imagination wasn't cutting it (and even then the 2nd was exaggerated of course.) this seems like a "leaving the comfort zone" moment but it was truly fueled by curiosity and fascination more than anything, which is good. (but AGAIN. you could not get me to care this much about drawing shoes. so it really depends on You and your interests in order to make it fun.)

otherwise i kinda just guess 😭 this is where i excel at focusing on making something look Good instead of right. i just see what shapes look fun, sculpt them around the body...

morpho also has a clothing + folds book though, so i wld look there ^_^ perhaps try putting a subject you really enjoy into your favorite outfit for practice? stuff like that... that post about how improvement comes from being insanely obsessed with something is real u just gotta find and latch onto whatever that may be

[asthedeathoflight]

Okay so I was thinking someone should do something adjacent to this band au by @emilywaters but with Rembrandt as the lighting director but i fear that i may be the only person capable of this considering you know. Thats actually my job. But i have too many wips so you're getting this au in post form. Everything I changed from the original post is due to me writing out this entire post before I successfully tracked it down so like it's not me disagreeing I simply forgor.

I'm not sure what like level of fame they were supposed to be in the original but i need them to be doing stadium shows purely for Rembrandt's sake okay she deserves it theyre touring with an ma3 just believe me.

I think Cleon was originally their lead singer but she had to step down for. Reasons. Idk. So the Warriors are hard up bc their producer is on their ass about getting demos recorded for their next album but none of them really feel good about replacing Cleon.

Mercy is a mistreated burnt out pop idol who's just kind of getting listless at this point because she's basically just a prop for a brand and she can't even give a fuck about her music anymore. She meets Swan at a party and they hit it off and get blackout drunk and Swan wakes up the next day with a recording on her phone of Mercy doing a demo of one of the songs she wrote. She takes it in to their producer like here fine theres a demo are you happy and shes like??? Hello???? This is incredible??? Who is this singer??? And Swan is like hahaha. About that.

The producer reaches out to Mercy's management and theyre like um absolutely not she does not want to join your band she's a solo act but then Mercy gets Swan's number somehow and is like i DO wanna join your band actually but im stuck in this goddamned contract. So then its about them getting their record label to go up against Mercy's and get her out of her contract so she can be their new lead singer.

And also more importantly (to me) is the subplot about the like relatively young and inexperienced lighting girl from their home venue who Cleon insisted on hiring for their first tour and who just kind of stuck around and became part of the group. They tour with a disproportionately nice rig bc Rembrandt is a fucking nerd and none of them can resist her puppy dog eyes about getting shiny new toys. And like yeah she's kind of quiet and doesn't talk much in a group but she can hold her own against the fucking overhires giving her shit at whatever venue and not taking her seriously and she gets stars in her eyes when Ajax asks her about programming so like needless to say Ajax is a little bit obsessed with her. Rembrandt's job is half ordering around men twice her size and age and half real-time computer programming live in front of an audience. Ajax never stood a chance. There are always fans trying to see Ajax after the show and Ajax is always in the booth while Rembrandt talks about the latest patch grand ma pushed out and how she hates everything about it and everyone at that company is trying to ruin her life (she will have adapted and forgotten about this in two days until the next patch which alters her workflow .00001% upon which time she will again believe her career is over and she needs to call them to revert the console)

I think probably their relationship is more of a flashback moment bc obviously The Warriors can't be touring while they're looking for a new singer but I think when they're not on tour Rembrandt lives in Portland and does like weird indie performance art shit and Ajax stays in LA with Swan and the others and the long distance is kind of killing them. Could Ajax stay with Rembrandt in Portland for a few months and fly back down when they're actually recording stuff? Absolutely. Does this idea terrify her existentially for reasons she can neither articulate nor overcome? Also absolutely. But on a more fun note Rembrandt drags Ajax to USITT with her every year which is actually kind of fun for Ajax because in addition to Rembrandt being so excited nobody there is impressed at all by her being famous but they ARE impressed that she knows how DMX works. So. Who's laughing now Swan. The flashcards worked.

[berrysemifreddo]

You can call me Sofia! Virgo, ISTJ, Ravenclaw, in case anyone's interested😂

≈≈≈≈OTHER THINGS ABOUT ME≈≈≈≈

MUSIC: Mostly listen to Radiohead/The Smile nowadays, but used to be a Muse fan (also listened to Acid Black Cherry for the whole 2024 for some reason😅4000+ minutes Idek how)

MOVIES/SHOWS: Favorite TV series is Legion. Movies...too many, but tbh none of my favorite movies formed any "fandoms", but I did watched "The Guest" for like 20 times🤧(I have problems ik)

ANIME/MANGA: Huge JJBA fan, love AoT too, absolute fav is Death Note, recently was just catching up on Demon Slayer with my bf

VIDEOGAMES: Enjoy puzzle games the most. Chants of Sennaar, The Room, that sort of thing. Also love Witcher 3 and Assassin's Creed Origins. But my absolute favorite is comedy games like Thank Goodness You're Here and Untitled Goose Game and I'm not even joking

OTHER HOBBIES: Fragrance. Headphones. Singing. Writing (not fanfic tho, my fics were absolute trash🙃). All things AI. 3D animation.

(That's all I can think of🤥)

Since I'll be posting a hell of a lot of AI stuff in the future...I guess I'll pin this here in case anyone's curious about how I made them😂 (UPDATE: Currently I'm learning drawing so AI stuff will be much less than before, but I might still use it to generate things that I can't possibly draw out)

≈≈≈≈≈≈≈≈AI RELATED INFO≈≈≈≈≈≈≈≈

My workflow involves tons of inpainting, which essentially is "partially change the image using AI". It's a bit like Photoshop's generative fill but free (and better🤫). Inpainting can be quite time-consuming, but I hate seeing unignorable artifacts, so I try my best to fix them.

≈≈≈≈≈≈MUSIC SHARING TIME!≈≈≈≈≈≈

Model-usage-wise, I normally just use the original Flux dev (by Black Forest Labs)+LoRAs I trained+Other style LoRA/Concept LoRA (sometimes Redux too). I run the models with ComfyUI locally and I make my own workflows. I train LoRAs with Kohya's GUI.

≈≈≈≈≈≈≈ART RELATED INFO≈≈≈≈≈≈≈

I also post my hand-drawn and digital paintings to ins@berrysartstudio

My pusheen fan content (including AI images, 3D animation, hand-drawn comic) are at ins@pusheen_diffusion_lab

Check them out if you're interested!😘

Favorite song of my 2024:

All time favorites:

[partyhorn]

Have u ever posted your comic or animation workflow anywhere? Im super curious on how you tackle the process, especially not using a drawing tablet. I know you have a very simple (and adorable) style so that probably helps in terms of workflow -- Im just curious about the steps you take.

Thank you! With both comics and animation my key thing is to not spend too much time on any particular thing, just draw loose and fast. Honestly the only downside to drawing with a mouse is that I can tell my arm has extremely specific muscle memory regarding it- if my mouse breaks and I get a new one I have to spend a good month or so just letting my hand get used to it again lol. Same with if my setup gets readjusted too much- right now my setup is my mouse on one of those padded mousepads, on top of 2 books, with my elbow resting on my 3DS case (I'll get an actual pillow or something for it eventually lol). But luckily thanks to this I suffer very minimal wrist pain 👍

(...Okay I started to go really in depth in my process here, so sorry if this is way more than what you were asking. Putting it under a readmore just to save space lol)

With MFM in particular, I start by writing out the entire script for the next story arc, which really is just all of the dialogue and vague notes about any important actions. Then I do the paneling with very loose stick-figure like sketches of where the characters are and what they're doing. I prefer having very little planning when it comes to character poses and panel shapes, coming up with those on the fly makes things much more exciting and faster to make. But it's the opposite with dialogue... it needs to be 100% FINAL before I draw a single line lol.

That's part of my script for my most recent chapter, as well as what my extremely loose goofy thumbnail sketching is like. I write the script as one big thing and don't separate it into pages until I actually start drawing- then I go and color change it just to keep track of what dialogue goes on each page

After that, I go back and do the ACTUAL sketch, as well as the lettering (I don't believe this is how it's done professionally. I used to do lettering as the very last step in the process... but then found it hard to cram speech bubbles in the right places lmao.) After that is lineart, coloring, background flat colors, then shading/rendering for all of it. I do each step in batches, as in I sketch out ALL pages of a chapter before moving to lineart, I line ALL pages before starting coloring, etc. I find it way easier to be productive when it's broken up like that, though when I first started the comic I used to draw each page to completion before starting the next (but also, the comic's style was DRASTICALLY simpler back then haha)

(Unfortunately I merged some of the shading to the background flat colors so it's not entirely accurate... oops) FireAlpaca has a sand texture feature that I only found out about last year- adding that to the backgrounds makes them look 10x better with WAY less effort.

With animation, it depends on the project. For simple 5-10 second animation I make for fun, there's very little planning lol. I skip some steps in the process- I'll sketch out the keyframes (and maybe any difficult inbetweens if necessary), line those, then go straight into making linework inbetweens. I'm not a cleanup artist and have no experience in that, so I always find trying to line my rough animation makes everything jittery and wobbly. If I do it with a clean line from the start then I can avoid that and save a lot of time 👍

For my bigger projects (such as the Parvey cartoon and the MFM Kickstarter trailer), I do the whole animatic with final audio first and foremost, with the animatic being almost like the keyframes. I split them up into individual shots, .mp4 files anywhere between 1-30 seconds usually, and animate those one at a time. I'm a huge fan of free to use programs and try to use them as much as I possibly can, here's a list of the ones I use:

FireAlpaca- for the actual drawing part itself (storyboarding/animating/etc). FireAlpaca has a feature that lets you export every frame as it's own drawing, as well as an onion skin mode

Windows Movie Maker- for compiling all of those frames into video format, creating individual shots. If you upload all of your frames and set them to around 0.08 seconds, it equals about 12fps (I usually animate at 0.10 seconds/10fps, its a bit slower but looks nice)

Onlinesequencer.net- for making music. It's the place I've made all of my songs on, like the timeloop song, hyperworkaholic, and the background music for the MFM Kickstarter trailer.

Audacity- for editing audio/music. Also great for recording things directly from your desktop

DaVinci Resolve- for editing and putting together all of the shots into one big video. Can get kind of intensive on the computer during rendering, so watch out.

YouCut (app)- also for editing and compiling shots, I used this one a lot a couple years back but I'm not sure how well it holds up. Doesn't need much phone storage to download but needs a lot to render videos.

MS Paint (yes really)- for typing up text. FireAlpaca has a text option but I don't like it as much as Paint's.

...The only thing I genuinely can't do alone is voice acting. Luckily there's a big voice acting community on Twitter and they're all amazing to work with!

This got... way more in depth than I planned for it to be, so sorry if this is way more than what you were asking lol. But that's my general process when it comes to my art 👍

[einsatzzz]

ok! webcomic update! previously, i said that i'm considering on making two chapters before i release it - im scratching that idea off. tho i keep jumping back to do some linearts and a few coloring for parts that i'm sure i won't change, i finally also finished the sketch/mapping as a whole for the whole script draft i wrote for chapter 1.

as i kept on mapping and sketching everything out, especially near the end, i realized that the chapter length is easily at least two times the size of what i initially expected of a standard chapter length??? LMAO so i'm technically already working on two chapters worth of story length all along, it's just that since it's chapter 1 that its longer. if i stack these long pages together, the canvas height would at least be around 115K pixels 🤣😭🤣😭

im so extra for this shit, bc this chapter is just me essentially setting everything up (=planting seeds) and getting a grasp on the webcomic creation workflow & most of the canon characters. but i love being extra for my ocs! ueueueue you will understand when you read it.

this will also be the most i've drawn tsuna and reborn(butter this one's for you 🫵), ever. so besides oc withdrawal, i am also having cute girls withdrawal, the only one keeping me alive in these trying times is my girlie kyoko-chan. if you notice her panels are extra well-done...umm...uhhhh....i love cute girls 🫶🥰✨

my alternative is to just add another segment in the end, as some form of preview on what to expect next chapter. it should be no more than another 7K pixels, it's alr so long, this is nothing at this point 🤣

in terms of art improvement, i must say that they really are not kidding when they say if you keep drawing comics your art will improve. i keep noticing things idk how to draw (=i'll need to study how to) and i'm also being forced to draw characters in angles/poses i was too much of a coward to draw before and also! things i didn't give too many shits about to draw before, including mob characters and backgrounds (that i can't 3d my way out of).

honestly, at some point in the future, i should make a custom brush for namichuu student mobs, because goddamn! it's a pain!

it's also nice that i get to also technically do manga panel redraws by doing this! i find that doing redraws of anime screenshots/manga panels is good practice for how effectively im able to eyeball & figure out poses from references.

lastly for the updated estimate of the release! the latest i could finish it if i really take my time would be by christmas (this would be my og deadline if i had planned to release two standard-length chapters). though, i'd release it earlier if I finish earlier, of course.

and im not rlly beating myself up for not making my own personal deadline, i'll just think about it like this "deadlines are a social construct, its not like i'll lose my irl job for not finishing my personal webcomic 🤣🤣🤣" lmaoosjdfhjsf pls im already so depressed the past few days & im isolating, i don't want to add more to it. and having tunnel vision on the grind to make this is actually a good distraction from nasty thoughts. also took a break today from making it, that's why im able to drop by a few ppl's notifs 🫶

[fantastic-mr-corvid]

Hiatus

TLDR: my ass has not been recovering but instead stressing myself out badly over tumblr so i will be taking a break from tumblr till it wont affect my mental health and my physical recovery. more details further down

Key Stuff:

Unlike my last hiatus, im talking a complete hiatus, no dash, no checking peoples blogs, no posting art and probably not even posting my writing on ao3.

Commissions will be open via my kofi as they have been, as im already shooting myself in the foot financially with this hiatus and i wont any further. I also won't be raising my prices from £25 to the price i should given how i changed my workflow and the time i take for them, in an attempt to make them more appealing, as other than unemployment benefits and occasional private comms from family they are my only way of making money as i am too disabled to work.

Mutuals please dm me for my discord if you want to keep in contact while im on hiatus<3 i will be active on there

My reasons: Since finishing education i have been mainly focusing on opening commissions, and then trying to draw more/get more popular so i can reach potential clients. Despite telling everyone and myself that this time is for me to recover from the stress of the last... well lifetime, I've thrown myself right into the stressful ordeal of being an artist online trying to make money through that art. And its been awful for my mental health.

Turning what was for so long my escape and joy into what i make money from has made it so much harder to focus on the positives, from lovely tags and replies to people interested in my ocs to discord conversations. I feel raw, drained, and one bad step away from fucking everything up because the stress is tiring me out so much i cant think about how to be polite, or find the energy to be kind no matter how much i want to.

I need to take a break from tumblr to actually try and fucking recover, and i'd rather leave now than after i have worn myself down even further. I hope to return as soon as i can do so in a good mental place, and hopefully i will have physically recovered to some extent in that time as well.

Because i think I'm funny[and this song has been looping in my head all day]:

[fearowkenya]

camp digimonth 2025!!!

oh my god has it for real been one entire calendar year since i joined @campdigimonth?? INSANE

i couldnt even really think of a goal to set because other interests and life in general happened to football-tackle me in the last week of january last year. i can barely remember what i set out to do. in fact im reading my goals from last year right now and rediscovering that i'd split them into projects, sub-projects, and sub-sub projects. which is kind of ridiculous… but exactly the kind of ridiculous that works for me specifically! i think i'll actually just copy-paste my explanation because it still holds:

"the projects are MANY , and it’s impossible to say which ones i will have the impulse to work on and which ones i wont. i dont want to commit to a specific project and then decide ‘actually i dont feel like working on this one’ so i thought it would make sense to just list a bunch of things i want to do and knock out the ones that i have the most motivation for." -me, circa 365 days ago

so true, me from 1 year ago!!! i'm going to keep the same goals as well:

GOAL: complete 5 sub-sub-projects SECONDARY GOAL: complete 10 sub-sub-projects TERTIARY GOAL: complete 1 entire sub-project OR 15 sub-sub-projects

details on specific projects under the cut because i don't know what brevity means nor am i interested in learning it. WARNING FOR DIGIMON SURVIVE SPOILERS AHEAD. i will mark spoiler start points in RED and end points in GREEN so that you may scroll past them if you so desire

PROJECT 1: Finish Winds of Change winds of change my beloved. i am so sorry that the editing schedule for your final chapter coincided with the realization that final fantasy 7 rebirth was set to release the next month. i regret absolutely nothing - honestly i was starting to burn out a little by the end and i think the break from survive, so it was a net positive. either way id like to finish this fic , perhaps even this month! who can say. i do feel a little apprehensive in that it's been a minute since i wrote for survive and i worry id be a little rusty with the character writing. but these kinds of worries are always not as bad as they seem so fuck it we ball

SUB-PROJECT: Winds of Change Chapter 9

rewrite the parts i want to rewrite

go thru edit checklist

post

--

SUB-PROJECT: [REDACTED]

[REDACTED]

[REDACTED]

post (dont worry 😇 )

*********************************************

PROJECT 2: Redesign Survive Partners context from last year: "I am very charmed by the idea that a digimon’s design is affected by the events and relationships in their lives. For example, a digimon may change a little in appearance in a way that reflects something about their human partner."

so i've been kinda working on this on-and-off for the past year, mostly doodles that i didn't plan on doing anything with because they weren't polished enough. i actually really like the redesigns i did although i never posted them, so im thinking i just redraw them and colour them with markers this time. or digital. idk we'll see. i'm gonna pick three of the survive digimon and not all of them because if i did that we would be here all day

SUB-PROJECT: Lopmon Redesign

Redraw the one I did already onto marker paper via light table

Colour and ink

Scan at work (my scanner at home HATES certain colours)

Touch-ups

Write mile-long post about design choices

Post

--

SUB-PROJECT: Labramon Redesign

Find a cool dog pose to reference

Draw a Labramon

Move onto marker paper via light table if necessary

Colour and ink

Scan at work

Touch-ups

Write mile-long post about design choices

Post

--

SUB-PROJECT: Agumon Redesign

Remember what the hell my workflow was; I've started this one already except that it's 100% digital which i dont usually do. i seem to recall that i'd found a vaguely similar workflow to the one i use with traditional mediums but i dont remember at all how i managed that. i will have to try to remember how i got that working

Finish colouring

Simple background???

Post

*********************************************

PROJECT 3: Survive Alternate Evos (Digifakes) i refuse to elaborate. i think that doing a big finished colour illustration is not going to be helpful for this since these would be the first passes of all these designs, so this would probably be just some sketches with minimal colour??? maybe??

SUB-PROJECT: Blackavarmon

find & look at blackavarmon's original sketches again to remember what on earth i had in mind

idk just do a bunch of sketches and keep 3-5 of the best ones

low-effort ink/colour

scan at work

post

--

SUB-PROJECT: Tigervespamon Burst Mode

find the few sketches i did last year and try to push them further; i remember feeling like some of the design elements weren't working the way i wanted them to and i gotta tinker with them

tigervespamon burst mode is very much 'what if i take the machine aspects out of this design and add others that cater more to me specifically'. tigervespamon as-is doesnt look enough like a wasp OR a tiger to me and im taking it upon myself to fix that. im going to stare at pictures of tiger jaws and wasp mandibles for six hundred hours until i can mash 'em together in a truly horrific way to make a guy who is SO upsetting to look at <3

close-ups of weird design aspects, probably jaws, arms, face, perhaps wings if i dont fear god

low effort ink/colour

scan at work

post

--

SUB-PROJECT: Mothmanmon

slap together a bunch of reference pictures. mothmanmon has a specific purpose that i refuse to explain, but i also want it to have the vibe of a digimon that isn't necessarily relevant to [REDACTED] or [REDACTED]. unlike blackavarmon or tigervespamon burst mode, i havent even STARTED work on this one so a finished polished definite design isn't the intent

doodle a bunch of concept sketches

ink/colour the one that looks the most like i want it to

scan at work

post

*********************************************

PROJECT 4: Survive Snippets so this probably doesn't come as a surprise to anybody but the survive fics ive posted are barely scratching the surface of what a version of me with infinite spare time would like to explore. ive been tossing ideas around for a while that i want to at least write down. i dont know that i'd post any of them since they'd likely be part of other bigger fics that i CERTAINLY do not have time to write

SUB-PROJECT: Conversation (& fight?) between Dracmon and [REDACTED] you get no information on this (:

--

(DIGISURVIVE SPOILER WARNING START)

SUB-PROJECT: Alternate Kunemon Champion evo scene listen as much as i love survive and love kunemon and think its funny that his big dramatic evolution scene was triggered while battling against (checks notes) actual babies, i dont necessarily think that it was… the uh, most elegant way to go about ryo's partner's first evolution?? the tone of the scene gave me whiplash. i would like to know what it would be like for that scene to have stakes that are more in-line with the other champion-level evolution scenes. i DO know how im going to do this though, vaguely, ive been thinking about it for like over a year. it'll actually also require some changes to syakomon's champion evo scene most likely! the challenge with this one is going to be to boost the impact of flymon's first appearance while not minimizing the impact of shellmon's first appearance. it's a balancing act that im not SUPER intimidated by; i managed something similar in winds of change, but it's still a little different.

--

SUB-PROJECT: Alternate Lopmon Champion Evo scene This would sort of be an epilogue to winds of change! without spoiling much, winds of change is a different outcome of part 5 Truthful where shuuji manages to survive the waterway, but something very very bad still happens. this bad thing would delay lopmon's evolution into turuiemon, and that delayed version would have a different vibe to it than how it was presented in the game's truthful route.

(DIGISURVIVE SPOILER WARNING END)

*********************************************

PROJECT 5: Digimon TTRPG Stuff I play digimon ttrpg with my friends. yet i rarely draw any of our funny little guys. i wish to draw our funny little guys

SUB-PROJECT: Lys the Muscle Wizardmon currently for playtesting i am playing a melee damage wizardmon who did not get great grades in wizard school. so she hits things with a stick instead. good for her!

--

SUB-PROJECT: Delaney & Herculeomon beach episode Look™

--

SUB-PROJECT: Nova (Terriermon-x) (& maybe Xander??) beach episode Look™

*********************************************

many things to consider! and neither you nor i know which i will attempt first (: good luck fellow camp digimonth participants! lookin' forward to seeing your progress!

[thursdaysrain]

my experience with blender and unity, together, has been a bit of a nightmare, but separately they haven't been bad. unity i've had issues with but they always felt surmountable, like, no matter what i can work around this problem.

blender i just enjoy, it has this reputation as like a weird badly designed software but maybe that's gone away w/ recent (recent as in.. years ago) ui changes. new features have been great and there isn't much for me to complain about here, but idk what a new user's experience is like. it's hard to tell people who ask me how to get started what to work with, bc everything i learned from is out of date.

the real headache comes from the transition between the two, which has been a real nightmare for me. once i'm all done working on wormgrubber 2.0, i need to put together workflow document to reference whenever i'm working on new 3d assets for unity in the future. it's a big list and it's been a real pain to discover each problem one at a time.

first and foremost it is obvious to me now that blender is not gamedev software. when i started gamedev, i split my time between learning shaders and learning 3d, not touching animation and mostly focusing on making little model display art pieces. i did this for a couple years. rigging was always a huge pain in the ass, weight painting moreso, so i just avoided it for a while. when i brought my first fully rigged piece into unity it was a nightmare, nothing looked right at all. this kind of thing honestly traumatized me, lol. i spent so much time trying to obsessively make perfect rigs bc i was terrified by shapekeys and drivers, horrified to spend hours setting something up only for it to be useless. this was wrongheaded for multiple reasons... there are so many features in blender that are just not relevant to unity and/or don't export through the only 3d format unity uses, fbx. this makes sense if you think about it for a bit, blender has a lot of features for rendering 3d animation and art but a lot of this wouldn't work in a realtime game, it's just too intensive. but! if you spend all your time learning 3D instead of specifically learning "3d for game animation" you come to lean on things like corrective smoothing or other modifiers.

3d is a weird mix of like, destructive and nondestructive workflows. blender will often let you work your way into positions you cant easily recover from without a lot of extra work or discarding work, setups that work fine within blender but absolutely will not export to unity. things like being unable to apply modifiers to models with shapekeys, but needing to apply all shapekeys to properly export a model, etc.

unity does this thing where it has very specific ideas about how things should work and it only tells you what it's doing maybe like 20% of the time. everything else is up to you to figure out the hard way. im not sure yet if this is an fbx problem or not but interpolation settings in blender aren't exported to unity, so it just comes up with its own. unity doesn't play the last frame of an animation. this makes sense for some contexts, because an animation is an interpolation between a start point and an end point, but like, nothing in unity tells you this the case. whenever i search for these things i always find forum posts, not unity documents. and you cant really change it without clumsy code slapped on top bc so much of this is below the closed off part of unity's code.

make games this way, not that way. i used to always think that when i was struggling against unity it was a sign i was designing something poorly, but now i know enough to know it's often because unity is itself struggling under the weight of choices made years ago, or half finished projects with poor documentation. arcane rules and practices i don't know bc i didn't go to college and because the knowledge is typically split across like several different jobs in a normal large studio.

i don't know how you learn this stuff other than trial and error. maybe in a college?? i dont know how other self taught indies deal with it. tutorials on youtube/etc seem to be split between like teaching you isolated tricks or teaching you very specific workflows without telling you exactly why you can't do this or that. blender tutorials are often for non-gamedevs, and unity tutorials are about following unity's design decisions without explaining them.

i know creating tutorials is a lot of effort and it's impossible to be fully comprehensive, but for something as common as 'take blender thing and put it in unity' should be for indie gamedev, i dont get why i havent seen more grumbling about this. i feel like every major snag i've come across (ones mentioned here are only a few of them) i was completely clueless about until i started doing some digging and the only thing to save me is some post from like 2016 on the unity forums.

its been a struggle!!!! i know i'm getting closer to the end of the tunnel but like every time i think it's a straight shot some new pit opens up. still, i'm getting there. my short advice to anyone is to always iterate, if you are trying to make art for games, make some art and put it in gamdev software. see what you like about it, how your desired workflow works with the software, etc. these skills arent separate, they have to be tied together.

[c0rpseductor]

im really excited by this workflow actually. fucking fl studio froze but importing the midi and fucking around with the instruments worked just fine up until then, and the plugin works for other DAWs too, so i could either get cracked fl studio or try something else. (i would prefer something else since fl studio seems to think i don't deserve to use it without a much larger monitor.)

i COULD be doing all my shit in one program, but i just do not actually like doing that. i feel like i already have all my separate little workflows in individual programs that i like and i dont wanna change them so instead i will continue to do everything in my convoluted and stupid way

[butterscotch-goat]

JjjjjjjaARED, IM IN UR ASK BOX

WAS LIKE,,, LUCYS ACTUAL AUTHORITY IN HELL??? LIKE WHAT DOES HE DO BESIDES EAT HOT SHIP AND KISS BOYS???

HI SENNY ❤️ GREAT QUESTION! I still have some spots to figure out but the jist is...

so when the he first fell he was the leader and technically still is, but back then he was INCREDIBLY respected (by most of the demons) and lead the whole operation, even going to earth himself pretty often, especially in the 500s (AD) but over the years the routine got tiring and his hate for humans grew bc he saw them persist despite his attempts, so he started working from hell, making gran plans of destruction and sending other demons to carry them out. He was still very active and would communicate with other demons often, and still take trips to earth every once in a long while. Demons still respected him but didn't have him on a pedestal as much.

Around the 1730s ish(?) He started getting REALLY dedicated to his work and plans. Eventually he got so dedicated to it that he barely left his office or talked with any other demons, including gene, because he was so fueled to ruin humanity and wanted to make the PERFECT plan. Gene tried to get Lucy to freaking CHILLAX bc they have like 8 billion whole years til the sun implodes, but Lucy wouldn't listen. Lucy worked harder and harder and as a result of doing nothing but plan the worst things imaginable, got sadder and sadder and even started feeling *the tiniest hint* of remorse. But that didn't stop the workflow. what it did do was make other demons kinda pity him and view him more as a friend in a tough spot.

And so, in 1922 gene was finally sick and tired of his lovely husband being an ass and was like "buddy. pal. love of my life. you're mad killing the mood and being incredibly petty with all this planning. Humans ARE suffering and maybe you should find something else to do" and Lucy's like "no" and genes like "bye" (or something like that. Im still working out the details but the point is Lucy has been ignoring everything and everyone, including gene, to focus on his work for like DECADES)

And from that point on, the demons view Lucy as a shell of the leader he once was; more of a sopping wet cat than the ruler of demons. No one's trying to take the position of Leader from him tho since the section managers pretty much run everything anyways.

After some runs to earth with Ronnette bc ronnette just HAD to get up in his business, Lucy gets back to his work but is doing a LOT worse and is either crying, sleeping, doing nothing, or doing work. eating hot chip and lie y'know

This may change in the future but this is it basically ^^

[cosmonott]

Work Log no.13

The semester's beginning to wrap up now, so I wanted to use this final worklog to overview the full project and reflect.

For starters, I did complete my goal of 6 animations! If we count the stuff that wasn't for this class or left unfinished, that tally goes up to around 12! (which makes me very happy). I even added some of the pieces I'm especially proud of for my portfolio!

(this is gona be the reflection part)

However, the project went by no means perfectly or smoothly, and while this was disappointing, I did learn about some of my working habits, and I'm excited to try different techniques for future projects.

My main method of spacing out my work for this project was using soft and flexible deadlines instead of intentionally rationing out my work. I divided each project into broad sections that allowed me to change the workload to fit my needs with other classes.

While this did help with my workload for the semester, I don't think this workflow was very productive for me when my goal was to make as many animations as i could. Once my motivation was spent, working on my thesis work became much harder, which eventually led to abandoning using Adobe Animate all together for the later sessions of the project.

I did initially dedicate time to studying in my project plan, but in practice I hardly had the motivation to do so. In the grand scheme of things it was fine, since this project was mostly about producing alot of work, but I still wanted to learn and apply new skills.

I found the time to just sit down and read my resources only once or twice, where I found a very helpful explanation of Animation workflow that I immediately implemented into projects that followed

After this I realized that studying was infact helpful!>!??!? Though i didnt find much more time to read after this point. Moving forward I want to really sit down with my materials and read, likely over the summer!!!

Worklogging became increasingly difficult throughout the semester :(. I feel like having an extra task to complete (setting up a workspace and starting a timer) before being able to start actually working made it feel like more work and made me want to do it less.. However, i see the value that making a worklog has!! and i want to keep trying!!!! dunno if i will continue to use tumblr tho haha :3

this longer writing format felt good for reflecting on progress, but also was easier to lose track of if I fell behind :( but discord was too quick and easy, and i would often forget to stop/start logging or even what I was working on!! Im hoping soon ill find a happy medium, but in terms of new time management strats moving forward im looking into using more analog methods like sticky notes instead of digital.

overall junior thesis was a great learning experience!! (even if i didnt do much studying >w>; )

thank you for reading! :^D

[skunkes]

(visual examples under readmore) struggling hard to find a good coloring workflow with my current lineart/sketch habits

i like doing my two tone lineart drawings bc it lets me sculpt the lines and helps me with them not feeling super stiff and also it looks nice to me, like dis

im trying really hard to find a way to color em without losing the Two Tones ! i can change the color with color layer, but that only changes the color...not the brightness

AND even if i change the brightness and contrast to be a more fitting color (left), i like colored lineart! and that also gets rid of the two tonecharm in some areas regardless ykwim (right, where the folds are)

i know i could just continue to use color adjustment layer and brightness/contrast adjustment to keep those light/dark strokes but thats......way too many adustment layers... when my goal is to streamline this so i can do my fun flowy colorful lines and be able to actually use em later... idk.... ill figure it out OR just give in but it is something i keep running into.

like i really wanna color my art! not at the sake of ruining the lines though...

(turning the lineart layer to multiply also doesnt work esp if i want certain lines to be a certain lighter color, bc we end up back at the Needing Several Adjustments phase wahhh)

[joesanimationblog]

Reflection and Evaluation of Learning 1

Lip Sync

For my animation reel after the MA I want to have a really strong example of lip sync, as the character of Alexander is very animated I thought focusing on a couple of shots with him in it would be a great plan.

I started with the phone call as this sets up my narrative. I thought it would be good to have a range of expressions For the shot where the Frenchman Alexander and old lady Glenda are on the phone I had already recorded the audio via my friend Val so was pretty much ready to animate but I wanted to do some research before jumping in.

I started by learning about phonetics and mouth shapes, using charts in the books The Animators Survival Kit and Drawn To Life I drew out some thumbnails of different mouth keyframes for different sounds.

I then recorded myself on my phone speaking the lines from my script and cross referenced my mouth shapes to ensure the French accent wouldn't change the way the mouth was positioned, I made some changes here, mainly for the sound Ouu which is different to Ooo. I redrew my mouth shapes in a more polished way and then began to chart my dialogue.

During the talk with Kevin Richards on lip sync he taught us about the process of charting out dialogue and so I took this approach in a separate layer of my animation document. I mainly used this charting as a way of figuring out if the head/eyes would move up or down and then I used this later when animating the head to make sure it had the proper squash and stretch mechanics.

I turned off my head layer and made only the mouth visible, I then worked through listening to audio and keyframing the mouth shapes using the previous mouth drawings I had done as drawing substitutions in the library of Harmony. Once the keyframes were done I re-watched them paying special attention to the timing of the changes of shapes, this was where I made the most significant changes as timing and clarity is the most important aspect of lip sync.

Once I was happy with the timing I keyframed the heads movements and the eyes, trying to add blinks and expressions where the language suggested there might be one. And finally once I had the keyframes for this section totally done I inbetweened them all.

I was really happy with how this clip turned out and im glad i prioritised finishing it, I think the lip sync is good, there are some areas where with more time I could crisp up the sync but I think this is more down to the frame rate rather than the accuracy of the drawings.

I found it challenging to lip sync someone speaking with the voice of a piano synth but researching a more professional workflow for lip sync helped me understand that the expressiveness of language can be communicated without the language actually making sense, this is through body language and physicality.

With hindsight it would have probably been a good idea to record my voice actor so I had real accurate references to go off as frame by frame analysis of references could have made it easier to match my lip shapes to the audio.

[mixdown01]

Adaption: Final Reflection, POTP

{youtube link xoxo}

And that's post wrapped!

It's been a long semester, and I'm stoked to have learned as much as I have and to have developed the skills and knowledge I now have for the future. I don't have too many photos of post because I was really hunkering down but I'll try to find some to put in!

I'm proud of the work I managed to do in the time we had after picture lock and before the crit. I think an extra day or two to sit on sound and let it marinate would've be nice, but considering, I think I managed my time and schedule well and am glad of that.

(pretty long post so pls open the readmore ive put in!)

I'll start with a quick location sound review - I had no issues, beside the usual nuisances that come with filming outdoors and in businesses. I did what I could to minimize this (the angle/direction of the shotgun really does matter) and it worked, for the most part. I'm going to utilize wingman more in the future, because the sound notes put into the app can be seen in AVID next to the video files- I hadn't realized the info is "burned" into the files like that but this makes communication between sound and camera notes really nice. Of course ill do physical sound notes still, but in addition to wingman too.

Now onto post!

I was stressed about this, I admit. I hadn't done such a dialogue heavy film before, and was only vaguely familiar with the proper workflow. Common sense when organizing is huge though, and the project wasn't messy at all. Initial checkerboarding went smoothly. One thing I was irritated to notice was the quality of the park atmos changed very much depending on what angle we were shooting at relative to the road, which of course I knew would happen when we chose the location, but was still very blah this sucks about. I managed with minimal tension headaches and I think it is very minimally noticeable, if not noticeable at all, in the final product so yay for that.

Leveling and doing a temp mix for their lines, though.... I abused automation and I was holding myself back (to be fair I didn't overuse it but I definitely used it a lot). In one line the actors would start off quiet and then their voices would spike and go loud, which is a combination of delivery and boom oping I think. (It never peaked, and worked for some instances of topic and character and etc but I wanted it not to go up and down always) I gave my boom ops very very very Very basic rundowns on 'How To' and I wish I had sat them down for a more in depth lesson, and I WISH I had headphones for them - but we couldn't get a splitter, or didn't. Going to push for this if I keep outsourcing Ops and don't record and op myself.

ANYWAYS. Finished with that and then went to my favorite bit: DESIGN!!!!! I was very slumped and depressive at this point, so it really picked me up. I wish I had more time to look into certain music choices for scenes, but I am happy with the piano we got scored for the end sequence.

One thing I will say: I had a lot of trouble and internal fighting with How Much I should put in. Originally we had wanted something very stylized and Edgar Wright-esque, but that didn't really end up happening with the coverage we got, and in turn with the edit (which is definitely fine!). But this left me trying to balance not overdoing it, since sound is supposed to mesh well with the edit and visuals, but I felt like I HAD to make it stylized in order to try and get closer to what we wanted OG. I think I did an okay job - in the crit Olivia said the sound did all the heavylifting, which I still cannot decide is a compliment or a detriment. While I'm half glad it got noticed in a- positive?- light, im also kind of eh about it since technically it should enhance the world and match it, not 'heavylift' it.

Through the process Anne Marie helped me a lot with suggestions and notes: here are some I found below from my phone, they probably make no sense heh, I also had markers on pro tools I was referring too as well

Phew, that's long. I'll end on a happy note before I go into things I will incorporate into the workflow for next time. I'm glad I didn't have any technical issues, and all my qualms were creative. Even though I will be pushing for earlier picture lock on future films, because I feel I haven’t been able to breath when sound is left for minute (mainly because I’m trying to balance getting it all done and doing work I’m proud of) I'm content with what I managed to get done in the time I was given. I started Sound 7 days before the crit when picture was locked, and I managed to do what I think is an alright job! So, success, and a good test of my time management skills, because I had to learn to stop nitpicking cause more often than not it's fine and no one else can hear it but you.

THINGS TO INCORPORATE/MAIN TAKEAWAYS~

Wingman notes for the editor

set the edit window and sound window DURING PRE PROD, not during production. See if people can give you a week and a half at least for sound so it can breath a little bit and you don't waste away in SAS. Also so you can do a proper Mix and not a temp one

TEMP SOUND IN AVID - have a meeting with the editor to see what you can give them, and to say they can put in temp sound if they think something similar should go in certain places. Mainly for music and timing instances.

Decide on a color coding system so I use the same colors for everything always moving forward and It doesn't vary depending on the project (look up industry standard)

VOICEOVER IS A SCRIPT/STORY/PRODUCTION ASPECT not a sound department aspect

Drink more water to avoid tension headaches

xoxo I really hope everyone a good summer and to lots of learning and growing in their field!