#last one is my first ever comic on clip studio paint i am trying my best ok

[stealingpotatoes]

inquisitor inq'isita part 7: the return of Hawke Hawke

(commission info // tip jar!)

[recurring-polynya]

@trulytaka​ asked: um i’ve always dreamt about a tattoo artist!renji falling for a client AU. it’s okay if you can’t come up with anything, just a suggestion!

How is it even possible that I have never read a Tattoo Artist! Renji AU?? (If there is one, please, send it to me immediately). Anyway, I got way too enamored of this idea, this is not even remotely a drabble, it is 4400 words and it is incredibly self-indulgent, I am absolutely not sorry.

It takes place in America and everyone is Japanese-American, because I am way more comfortable writing about American tattoo culture. I have never actually read a Tattoo Artist AU, I don’t know how they are supposed to go, this is just based on my own experiences getting inked. It’s mostly a story about Rukia and Renji being incredible nerfballs, there are not nearly enough stories about Rukia being a nerfball around Renji.

Read on ao3 or ff.net

💀     🛹     💕

Izuru Kira found Renji Abarai in the break room, simultaneously trying to cram a burrito into his face and read a Hellboy comic. He was holding the comic open with his elbow in an attempt to avoid spilling guacamole on Abe Sapien.

“Your two o’clock is here,” Izuru informed his distinguished colleague.

“Oh, great!” Renji replied, creasing the foil wrapper into a spout so that he could pour the last of the salsa drippings into his mouth.

“She’s waiting in the consult room,” Izuru went on, watching Renji toss the crumpled foil ball across the room, completely missing the trash can. “Look, have you met her before? A Miss Kuchiki?”

“Just exchanged a few emails,” Renji replied, as he scrubbed his hands at the sink. “Why? Is she scary?”

“Not in the usual way of Abarai clients,” Izuru replied. “I was just… wondering if she was... in the right place.”

“Her request was very specific,” Renji replied, scooping up his comic and the manila folder underneath it. “In fact, I am quite proud of what I came up with for her.” He whipped the folder open.

Izuru stared at it for a moment. “That is so specific.”

“I honestly think this is one of the best tatts I have ever designed. I hope she’s a real weirdo, because not just anyone deserves a masterpiece of this caliber.”

“Mmm,” Izuru agreed. “Yeah. Anyway, if there’s been a, uh, miscommunication, see if you can just… redirect her. Both Momo and I are in today, okay?”

Renji scoffed and stuffed his comic in Izuru’s hand as he marched down the hall toward the consult room. A miscommunication. Renji wondered what was wrong with her. She was probably mousy and wore glasses. Izuru always assumed girls like that would rather have a sad poem about the sea or a sprig of herbs inked on her wrist (conveniently, his specialties). Plenty of mousy girls with glasses would rather rock some fangs or dripping daggers, in Renji’s professional experience.

“Knock knock!” he announced, as he slid the door open. He took one step into the room and stopped dead.

Rukia Kuchiki was not mousy. She did not wear glasses.

Renji didn’t know much about suits. He did not happen to own one himself. But he guessed that Rukia Kuchiki’s suit was expensive, in part because it fit her perfectly, despite her tiny frame. It was jet black, and didn’t have a single speck of lint or cat hair on it. Her perfectly manicured hands were folded neatly on top of her crossed legs. She was wearing very tall, very pointy heels. Their soles were bright red, which Renji had learned from television meant that they were super expensive. He realized that he probably shouldn’t be looking at her legs, even though they were very nice to look at. His eyes snapped up to her face, but that honestly wasn’t any better.

Renji wasn’t often attracted to women, but she had probably the most interesting face he had ever seen-- heart-shaped, with big, dark eyes, a sharp chin, the cutest little nose. Her make-up was subtle and professional, and her hair was swept up with a clip, although it must be fairly short, because a few pieces hung down in front of her ears, and a thick lock dangled between her eyes.

She looked like a mean lawyer from a movie, one that would drive a fancy sportscar like an act of violence. Scary, for sure. But not in the usual way of Abarai clients, who tended toward the large and beefy, not that sharp and sharklike.

That nose, though.

Suddenly, her face split into a big grin. “Hi,” she announced brightly. “I’m Rukia Kuchiki.” She had a deep voice, a very beautiful voice. “You must be Renji Abarai.” Her eyes flicked to his arms. “I mean, of course you are, who else would have those arms? They’re so cool.”

“My arms?” Renji said stupidly. “Are they… famous?”

Rukia’s cheeks flushed. “Oh, well, I follow you on Instagram, and you don’t have any pictures of your face, but your arms are in a lot of the shots and they’re, well, they’re kinda distinctive. Do you think, um, would you mind if I looked at them?”

Renji’s eyebrows shot up. It’s not like he wasn’t used to having his arms checked out, but most people were more… subtle about it. Oh, well, it was her dime. “I didn’t do them myself, obviously,” he pointed out, rolling up the sleeves of his t-shirt so she could see the baboon skull on his left shoulder. A skeletal arm traced down the rest of that arm, complete with an outline of his own hand bones. On the right side, a snake spine coiled around his bicep, ending with a hissing skull. “I mean, it was my design, but my friends-- the other three tattoo artists here-- all helped ink me up.” He plopped down in the chair that sat catty corner to the couch where Rukia was sitting, and held his arms out. “We’re sort of a full-service studio. I’m the skeletons and monsters guy. Izuru, the guy you met on desk duty today-- is good at calligraphy and watercolors and little, itty bitty tattoos. Momo is our nature girl, she specializes in flowers and animals, and she’s great with bright colors. The snake skull was all her. Shuuhei is really into classic tattoo art-- you need a hula girl or a heart with an arrow through it, he’s your man. He’s also incredibly talented at revamping old regret tattoos, there’s good money in that.”

“Mm,” Rukia agreed, finally tearing her eyes away from his forearms to look up at his face, and abruptly turned even pinker. A lot of people fantasized about getting a tattoo and then got a bad case of nerves when it was time to make the leap. Maybe all this was way out of her comfort zone. Renji was trying his best to be friendly and chatty, which usually helped, but he was not used to dealing with this class of lady. He hoped he wasn’t coming off as too familiar.

“Actually,” Rukia went on, pulling on her fingers nervously. “I picked this place specifically because of you. For your work, I mean. I’m kind of a big fan. I saw some of your paintings at an exhibition over at the Fine Arts College, and I just, you know, fell in love. I’d always thought I’d like to get a tattoo someday, and when I found out that you were a tattoo artist, I knew it had to be you. I’ve been looking forward to this for a long time, and I’m babbling and I’m really sorry, I’m just very excited.”

Renji blinked. “You’re not babbling,” he replied slowly. He was sort of hoping she might say some more things about how much she liked his art in her beautiful voice. “Wait, an exhibition at the art school? That must have been at least three years ago, when I was doing my MFA.”

“Er, right,” Rukia looked a little sheepish. “A friend of mine had some work in the same exhibit, you probably don’t know her. My favorite one of your paintings was the one with the Black Lagoon creatures eating hamburgers at a diner, but I also really liked the one that was like a huge monster with a big bone mask stalking through a city, the way you did the shadows was just incredible.”

That particular painting was currently wrapped in brown paper and stuffed behind Renji’s couch. His last boyfriend had told him it was “creepy.”

“Uh, glad you liked it,” Renji managed. “Who was your friend?”

“Her name is Inoue. Orihime Inoue.”

“Oh, the robot girl!” Renji exclaimed. “Er, I mean she drew robots. Constantly. For every assignment. I didn’t mean to imply she was… robotic. In any way.” Jeez, Abarai, pull it together, he chided himself. “Yeah, I remember her. I didn’t know her well, but she sure could draw some tight robots. Is, she, uh, doing well?”

“She’s doing storyboards for a stop-motion animation studio,” Rukia replied.

Renji smiled. “That sounds perfect for her.”

Rukia bit her bottom lip and Renji’s throat went dry.

“So, um, you said in your email that you would have a design for me to look at?”

Renji realized that he was gripping the folder like a doofus. “Right! I did a couple of variations,” he explained, passing it from one hand to the other. “But you explained the concept pretty clearly, and I’m really happy with how the first one came out. I mean, obviously, it’s your tattoo! Please give me any feedback you have, you won’t offend me, even if you hate it! Tattoo designs often take a few iterations, it’s very normal, don’t hold back.”

She was staring at him, those big eyes wide and sparkling. “Can I… see it?”

“Oh! Right!” He shoved the folder at her.

Rukia opened it up and gasped.

“I especially love the way you draw skeletons,” Rukia’s email had read. “Do you think you could tattoo a grim reaper doing a sick kickflip on a skateboard onto my outer bicep? I do lift, so I am pretty jacked, if that makes a difference.”

“It’s perfect,” Rukia sighed in a tiny voice.

“Um, in the first variation (that’s page 2) I added some sunglasses, and in the second one, the grim reaper is flipping the bird and also its head is on fire. I guess I thought that grim reapers should be gender neutral but now I’m wondering if you would have preferred more of a… lady grim reaper?” Renji yammered absently.

“Oh, no,” Rukia murmured softly, flipping through the pages. Renji wasn’t even sure she had listened to a word he had said. “These are amazing. I love the sunglasses, but I also like the way you put little flames in the eye sockets in the first one…” She waved a hand absently. “Oh, and don’t worry, I like a non-binary skeleton.”

A small problem had just occurred to Renji. “Hey, um, please don’t take this the wrong way, but I… may have overestimated the size of your arms.”

“Oh?” Rukia asked, and abruptly shucked off her expensive suit jacket. She was wearing a pale purple sleeveless silk blouse underneath. She held one arm out experimentally, and then flexed. The muscle definition on her bicep made Renji take an involuntary swallow, but the fact that she was wicked cut did not buy him much in the way of real estate.

“I’ll just shrink it down maybe 25%,” he reassured her. “I’ll have to simplify some of the detail on--”

“No,” Rukia frowned, her eyebrows drawing together. “Don’t do that.” She thought for a moment. “I’m not committed to having it on my arm.” She uncrossed her legs and hefted one high-heeled foot onto the coffee table in front of her. “What do you think? Is my thigh big enough?”

Renji tried to make words come out, but it just wasn’t happening.

“Er… sorry,” Rukia said slowly, tugging at her hem. “I forgot I was wearing a skirt today.”

“Huh?” Renji scrambled to recover. He needed to say something. She looked really embarrassed. Say something! Say something professional about her leg! “Sorry, I was, uh, thinking!” Good, good, now keep going. “Don’t be self-conscious, I see people’s bodies all the time. Bodies are no big deal, we all got ‘em, right?” This was true in the abstract sense, but he knew these were blatant lies as they exited his mouth. Most people’s bodies were no big deal. He had only known her for five minutes, but was certain that Rukia Kuchiki’s thighs were a very big deal. He studied her leg, stroking his chin, like he was some kind of anthropologist of thigh tattoos. Mostly he was trying to figure out what would seem like an appropriate amount of time to look at a person’s thigh, a person who was your professional client that you most definitely did not have the hots for. “There’s certainly plenty of room,” he declared. “But, you know, people are going to see it less. Which is a selling point for some people! It’s just a personal decision that you’ll have to make. It sounds like you had a big vision.”

Rukia gingerly placed her foot back on the floor. “I had actually been wondering if maybe the upper arm was too public, anyway,” she admitted. “The fact is, I just got full access to my trust fund, and this is sort of a celebration, but I may have been a little overeager to piss off my big brother. He’s very stodgy.” She contemplated the area of her leg that was covered by her pencil skirt. “But so are a lot of people in my field. I can wait until I’m running my own company before I get started on the full sleeve of my dreams, right?”

“Worked for me,” Renji replied, utterly lost by whatever she was talking about. “What… field are you in?”

“Oh, finance,” she dismissed.

Finance. Of course. Renji tried to shoo away the weight of disappointment that was settling in his stomach. He was talking to a friendly client who was clearly loaded, loved his work, and was contemplating thousands of dollars worth of future business. He should be thrilled. He should probably be trying to sell her one of his old paintings-- they were only gathering dust, anyway. Renji would never break the studio policy about hitting on clients. The fact that she would surely laugh at him if he asked her to his favorite burger joint ought to make things easier, right?

“This is so hard!” Rukia declared, and Renji was shaken from his reverie. She was just contemplating his draft designs again, though, flipping back and forth between them.

“You don’t have to decide right now,” he reassured her. “You can think about it and email me. If you’re happy enough, we can schedule your session, and we’ll work out the details between now and then. Chat it over with your pal MechaHime, she’s got good opinions.” He paused. Momo always said he was too nice during consults, they were running a business, but he couldn’t help it. “Or you can just call back when you’re ready. No pressure.”

Rukia slammed her fist down on her knee. “No! Let’s schedule it! Do I pay now?”

“20% deposit. Let’s go out front, Izuru will ring it up.”

“Perfect.” She looked longingly at the drawings again. “Can I take these with me? You’re absolutely right, Orihime will know what to do.”

Renji wrinkled his nose. “It’s actually against studio policy but…”

Rukia’s face suddenly became very serious. “Then it’s against policy.” She winked at him and smiled. “You should take care of your intellectual property, Mr. Abarai.”

“I never get over to this part of town, to be honest,” Rukia admitted as they walked back up to the front. “Is the taco place across the street any good?”

“Oh, yeah, it’s great,” Renji agreed. “Momo and I painted a huge mural on their wall, so they give us free churros.”

“Are tacos a good post-tattoo celebratory meal?” Rukia asked curiously.

“Well, you actually want to eat beforehand,” Renji pointed out. “It’s important to keep your energy up. I don’t estimate yours should take very long, I’m gonna book you a two-hour slot.”

“Ah, okay,” Rukia agreed, and Renji realized belatedly that...maybe… she had been asking him out? No. Surely not. His brain scrabbled for a response, but then he stepped into the reception area and his brain shut down entirely.

“It’s DONE!” Shuuhei bellowed. “Behold my work, ye mighty, and despair!”

Tetsuzaemon Iba, serial client, yakuza enthusiast, and assistant manager at a doggie day care, was flexing. He was not wearing a shirt.

From behind the reception desk, Kira was wearing a dour frown and shaking his head.

“It’s a masterpiece,” Renji declared. “I admit I was skeptical, but it looks fantastic, man. You happy with it?”

“It” was a massive tattoo, covering the wide landscape of Iba’s broad back. It featured a lucky cat, grinning maniacally, its paw held high. It was on fire. The kanji for “lucky charm” was incorporated somehow. It was a disaster. It was perfect.

“How could I not be?” Iba boomed.

“Whoa,” a tiny voice behind Renji said.

Iba’s face went pale when he realized that he was being Peak Iba in front of an elegant, professional woman whose shoes probably cost more than his entire net worth. “Gimme me my shirt!” he demanded of Shuuhei.

“That’s… amazing!” Rukia exclaimed, her face lighting up. “Wow, how long did that take?”

Shuuhei blinked slowly as he passed Iba his shirt. “Five sessions.”

“Well, it’s so cute!” Rukia announced. “You must love cats.”

Iba lifted at the same gym as Renji and watched Momo’s Pomeranian on Tuesdays and Thursdays. He was a regular fixture at the tattoo studio, and all four of them liked to drag him, but no one, none of them, had ever roasted him this hard. Renji cursed that no-asking-out-clients rule, because he wanted to buy Rukia Kuchiki her own body weight in tacos and then ask her to be his wife.

“He’s more of a dog person,” Shuuhei supplied.

“Great with dogs,” Izuru added.

“Shut up, you jerks, I am a lover of all animals,” Iba grumbled as he pulled his Hawaiian shirt over his shoulders. “Is this your lawyer, Abarai? Did you finally get arrested for that hairstyle?”

“I have an MBA, actually, not a JD,” Rukia replied matter-of-factly. “And I am his client. Can you show that large man my tattoo design? Is that allowed?”

Renji chuckled, and pulled out his drawing.

“That,” Iba declared, “is a wicked tatt.”

“Oh, you showed me that email!” Shuuhei recalled. “It came out great.” He regarded Rukia. “He was really excited about that one, you made his day.”

Rukia just beamed proudly.

“Are we booking a session, then?” Izuru asked hopefully.

“Yeah, two hours,” Renji nodded.

“Let me just finish ringing up Iba, and I’ll see when you’ve got an opening,” Izuru replied.

“This your first one?” Shuuhei asked Rukia conversationally.

“Mm-hmm,” Rukia nodded.

“Well, you made a good choice. Clean design, mostly black with just a few color pops, should go on quick and easy, and it’ll hold up really well, too.”

“This is Shuuhei, the one I was telling you about, who fixes a lot of bad tattoos.”

“I have never had to fix an Abarai tattoo,” Shuuhei declared. “He’s great with first timers. Very gentle. I’ve fallen asleep while he was inking me.” Shuuhei pointed to the pair of crossed scythes gracing his upper arm. “This is one of his.”

“Oooh, neat!” Rukia agreed.

“You’re being embarrassing,” Renji informed his friend.

“Always,” Shuuhei agreed. “Nice to meet you! I hope I get to see the finished product.” He waved to Iba as he headed off toward the back. “Don’t forget to moisturize!”

“Everyone’s so friendly here,” Rukia said softly to Renji. “This isn’t at all like I pictured it.”

Renji stretched his arms behind his head. “Nah, we’re just a bunch of goofballs who like drawin’ on people. Very lowkey.”

“I guess I’ve thought a lot about the getting tattooed part of getting tattooed, but I never thought of it as… a job. That people have.”

“It’s a great job,” Renji replied. “I love it. I’m just lucky that Izuru over there has enough business sense to keep the other three of us from running it into the ground.”

“That’s certainly the truth,” Izuru agreed, as Iba headed out the door. “Two hours, you said? Renji’s got a 4-6pm block open on a Wednesday, three weeks from now. The 24th, how does that work for you, Ms. Kuchiki?”

“Do you think that’s enough time to settle on a design?” Renji asked. “If you come up with changes, it should only take me a day or two to incorporate them.”

“Oh! Yes, three weeks should be fine. I thought… it might be a little sooner,” Rukia replied, sounding a tad disappointed.

“Abarai’s a busy man, three weeks is actually pretty quick,” Izuru explained.

“Right, of course!” Rukia nodded. “Yes, I’ll take the 24th!”

She then paid her deposit, a process which involved her taking approximately ten thousand items out of her purse, including a full-sized drawing pad, a single fingerless glove, and a Pez dispenser with a duck head. She was the most contradictory person Renji had ever met, and he just wanted to know everything about her. But instead, they were going to exchange a couple of emails about a grim reaper on a skateboard, he was going to spend an hour and a half two inches from her naked thigh in a state of intense, non-sexual concentration, and then he would likely never see her again.

“Okay, I guess that’s it!” Rukia said, stuffing the last of her worldly belongings back into the purse. “Three weeks, then!”

“Three weeks it is,” Renji agreed. “Unless we happen to run into each other at the taco place.”

Rukia blinked. “Oh!” she exclaimed. “Right. Ha, ha, of course!” She’d been walking backwards toward the door, an impressive feat in those heels, and she spun suddenly to pull it open.

“It’s a push,” Renji and Izuru chorused together.

“Ha, ha, of course it is!” Rukia laughed nervously, and ducked out.

Izuru stared pointedly at Renji. “Wow,” he said.

“I don’t know what you have against her,” Renji scowled. “So she’s professional. She was really nice. She’s a big fan of my work.”

Izuru cocked his head. “She’s clearly also a big fan of you.”

“I don’t know what you’re talking about,” Renji said.

“Look, I’m sorry I implied that a person who drives a Lotus Exige would not be interested in having your weird skeleton doodles permanently placed on her body,” Izuru held up his hands, “but did you really not notice the little hearts and singing birds floating around her head every time she gazed longingly at you?”

“Since when do you know anything about cars?” Renji snapped.

“It looked fancy and I asked Shuuhei what it was, okay!”

On cue, Shuuhei burst back into the reception area, Momo close on his tail. “Are we talking about the hot client who has a crush on Abarai?”

“Did you ask her out?” Momo asked breathlessly.

“She’s not really his type,” Izuru mused. “Very corporate.”

Renji frowned. Did he have a type? If his type excluded people like Rukia Kuchiki, he might need to get a new type.

“Who cares, she was adorable!” Momo insisted. “I woulda asked her out.”

“Renji, if you go out with her, can you get me a ride in the Exige?” Shuuhei added.

“I’m not gonna ask her out!” Renji protested. “What happened to the no-hitting-on-clients rule?”

“The rule is no creeping on clients,” Shuuhei correctly. “This is different. She’s clearly into you, big time.”

“Also, she seems non-terrible, unlike the questionable human beings you usually take up with,” Izuru pointed out. “We could relax the rule if it netted you an actually decent partner for a change.”

Renji scowled judgmentally at Izuru, as if his own dating history had been remotely better before he and Shuuhei finally hooked up.

“Oh!” Momo waved her phone. “Speaking of which, I googled her, like you told me to, Izuru--”

“Izuru!” Renji protested.

“--and you were right! She’s not just one of the Kuchikis, she’s the granddaughter!” Momo thrust her phone in Renji’s face. It was some article about some fancy charity event, complete with a picture that was clearly Rukia, dressed in a dramatic black and gold evening gown.

Renji wanted to push Momo’s hand away, but he also didn’t want to stop looking at Rukia in that dress. “The who?” he asked.

Izuru and Momo sighed dramatically in synchronized exasperation.

“Embarrassingly rich old money family? I don’t know what they actually do, but they’re always in the newspapers, donating money for something or other--”

“Billionaire philanthropists,” Shuuhei intoned in a fake deep voice.

“--I heard they’re descended from some famous clan of samurai back in Japan,” Momo ignored him. She jerked her phone back and started tapping at it frantically. “I’m sure you’ve seen pictures of the grandson-- Rukia’s brother, I guess. He always makes those lists of top ten hottest bachelors.”

“He’s dreamy,” Shuuhei seconded.

“Impossibly dreamy,” Izuru thirded.

Momo flipped her phone around again, to reveal a picture of a very serious, and very handsome man in a classic three-piece wool suit. Renji supposed “impossibly dreamy” was not an inaccurate description.

“Yeah, I think I’ve seen pictures of that guy before,” Renji shrugged. “He’s okay. Rukia has a more interesting face, I think.”

Momo and Shuuhei exchanged raised eyebrows.

“You do like her, then?” Izuru asked, his face brightening. “You’re wrong, by the way, Byakuya Kuchiki has the face of an angel.”

“Rukia says he’s stuffy,” Renji shrugged. “And fine. I like her. She’s cute and nice and had good taste in tattoos. What’s not to like?”

“Are you gonna ask her out, then?” Momo pressed.

“Absolutely not,” Renji replied. “She’s my client. Besides, as you just pointed out, she’s loaded. What’s she want with a scumbag like me?”

All three of his friends groaned.

“You have good delts and sexy hair,” Izuru pointed out.

“You give amazing hugs!” Momo declared.

“You draw fantastic skeletons,” Shuuhei added. “Which, apparently, is relevant to her interests, and not a thing you usually find on Tindr.”

“Also, we’ve already established that she does like you, regardless of whether she has a valid reason for doing so,” Izuru concluded. “So, if you’re at all interested, you really shouldn’t let that stop you.”

“I think you should go for it,” Momo encouraged.

“Me, too,” Shuuhei agreed.

Renji grimaced. She was an amazing girl, too good to be true probably. If she had any sense at all, she would certainly turn him down. But maybe… just maybe… she didn’t have any sense. “Okay,” he grudgingly agreed. “I’ll do it. But not until I’m finished the damn tattoo!”

[comicteaparty]

June 13th-June 19th, 2020 Creator Babble Archive

The archive for the Creator Babble chat that occurred from June 13th, 2020 to June 19th, 2020.  The chat focused on the following question:

What is your physical and digital workspace like when you’re working on your story?

🌈ERROR404 🌈

LOL it really depends on what stage I'm in of the process - My storyboarding space is at home, as comfortable as I can be, a beer and some food at the ready and pure silence. The cats have to be freshly fed, otherwise I'll be harassed and lose my headspace entirely LOL. I usually work on my story boards digitally, just at a very small scale, with my script/outline on my computer and working on my ipad! The double screen helps a LOT, although i would just print out the script if I had access to a printer, haha. When I'm working on the actual page itself, it's a very different story. I usually just try and work on it in tiny little batches during the day when I'm stuck at home, and usually work around the animals as best i can, lmao. Truthfully, I really prefer to be in a coffee shop when I'm working on finishing pages, it makes me so much more productive than i am in this house with so many things to take care of right in front of me, but, obviously, that's a bit difficult to do these days. ;; I usually reserve food and drink until after I pass a milestone in inking/sketching to help motivate me to keep going for as much as I can before taking a break, and I need some kind of music or video playing in the background to keep myself from being absolutely bored out of my mind. My shading process, since it's in black and white, is very easy and i can finish it in one setting, easy, no matter what I'm working with. I also work digitally for my pages, of course, although I don't need more than my ipad and clip studio for it!

DaeofthePast

freshly fed cats

🌈ERROR404 🌈

They are BEASTS when hungry, the little bastards (love them)

I may only work in peace when they're post-food napping lmao

DaeofthePast

we only have one, but same

LadyLazuli (Phantomarine)

I work almost entirely in the corner of my IKEA couch at home I used to work at a proper desk with a Cintiq, but when I switched to Procreate on an iPad, I migrated to the couch and surrounded myself with a nest of clothes and blankets and books and... here I am, bein' cozy. With terrible posture But when I was between jobs last year, I did rent a little coworking space down the street so I could get out of my pajamas and go get comic stuff done there. It was a godsend. I like drawing at my favorite coffee shop every so often too, but I tend to hide my work while I draw, and there, everyone can look over my shoulder The coworking space had a tall artist desk that was rarely used, so I often grabbed that one. Not cheap, but to stave off cabin fever, heck yes, worth it.

🌈ERROR404 🌈

Ahhh I've been really thinking about getting a studio space one of these days I really shouldn't rn, with my finances as they are, but I could REALLY make use of one recently

LadyLazuli (Phantomarine)

I loved the space I used last year. They recently had to close for... current-event reasons... and are going to reopen with all sorts of plexiglass barriers between the desks I feel so bad for them. Good studio spaces are wonderful, I would support them again if I ever was out of a job!

🌈ERROR404 🌈

it's good they've found ways to make it safer, though!

carcarchu

My old workspace was in the basement of my home in canada and it was always perpetually freezing even in the summer and i was frequently visited by spiders so my current workspace is a huge improvement in that regard. I do miss my old ergonomic desk chair though. I'm definitely not the kind of person who can draw in bed or on the couch. I need to be in workmode and having a designated space just for that is necessary for me to get in the right headspace for that.

DaeofthePast

my workspace rn is just my desk with my laptop and my drawing tablet. my laptop is stacked on top of a pile of books so i can see the screen (otherwise my tablet blocks my line of sight). it's kinda simple

chalcara [Nyx+Nyssa]

Depends. I have a Cintiq Mobile Studio, so I can draw pretty much every where and sometimes in the oddest position, but most of the time I am on my desk with the cintiq hooked up to a second monitor so I don't have to look down so much.(edited)

Holmeaa - working on WAYFINDERS

For Wayfinders: Thumbnails are somewhere cozy and the only physical work. Me and Q sit and plan them out together. The rest of wayfinders are made on Photoshop, and flat colors in clip paint studio. In the world I would love a nice studio place in an office with others. During corentine I have been working from home, and I am not that good at it, being quite the extrovert. Before corentine I was in a artist residency where I worked on Wayfinders which had a workstation and all the programs we could need. It is so nice and me and Q are going to return there when it opens up again!

Miranda

I have an iPad so usually on the couch, cozied up with coffee and pillows and blankets. But sometimes at the table. But usually on the couch like the gremlin I am

FeatherNotes(Krispy)

I have a large drafting table, a mini drafting table, and a lapdesk in my papasan when we ink/draw! Toning and letters are all done on the desktop in its own space

Miranda

I need to get a good lap desk. But that sounds like a grand setup!

Eightfish (Puppeteer)

My first time hearing about a lapdesk

Omg I need one

FeatherNotes(Krispy)

They are the best things ever Mine has just the pencil holder !(some come with cup holders and its a waste of space imo)

Joichi [Hybrid Dolls]

Wow I like your setup of the drafting tables

FeatherNotes(Krispy)

I wanna show pics of them....if im allowed in this chat?

Joichi [Hybrid Dolls]

I hope so, I'm not sure which channel we can post studio photos at? I did see some did before?

FeatherNotes(Krispy)

Ill post in shop talk since creator babble gets archived

Tuyetnhi (Only In Your Dreams!)

my current space is uh.... a bit better than my last one. I used to work on an old writers desk for a decade and I did most of my comic work sitting there cramped up with my desktop taking most of the space. Now I have an L shaped desk where I have my desktop on the shorter end. The longer end it's my pen, pencils, and watercolor stuff. my display tablet occupy the space at times so switching from digital and traditional without worrying about setup hassle is a lot better than what I dealt with before lol.

I'm glad the days I had to curl up and draw with no privacy are long gone now

kayotics

I’ve got a little drafting table where I draw all my comic pages. I’m messy with my pens so they’re kind of strewn about until I start to lose them. Then I put them back. I’m not particularly neat. I spend most of the comic process off the computer, so most of my digital work is just on an iPad where I can sit anywhere. I try to keep good lighting around my drafting table and there’s always loose eraser shavings all over.

Natasha Berlin (Pot of Gold)

I got myself a lil corner desk by the dining table. Not as well-lit as I'd like, but it's decently ergonomic and I started putting posters on my wall Plus I can leave work mindset easily by turning off my computer and forgetting about the dark corner in the dining room XD(edited)

sssfrs (JOE IS DEAD)

My desk is really sloppy and covered in all kinds of junk. I have a harmonica, a ball of yarn, a bunch of ink bottles, etc on my desk. I have my sketchbook under my tablet and usually a notebook somewhere for writing. My tablet sits to the right of my laptop (on top of sketchbook) while I'm not using it and when I'm using it it goes over my computer keyboard. I sometimes have a glass of water or some food sitting to the lefthand side

Eightfish (Puppeteer)

The only thing I wanna share about my workspace is this

once i spent over three hours looking for that damned pen

never again

🌈ERROR404 🌈

Ajkdhfkjs the models for hte magazine im crying

Cronaj (Whispers of the Past)

Oh my God

shadowhood (SunnyxRain)

mad giggling

Deo101 [Millennium]

youre gonna manage to lose the string

Tuyetnhi (Only In Your Dreams!)

omg

Eightfish (Puppeteer)

i know in my heart deo is right but still i hope

Cronaj (Whispers of the Past)

You should weld a metal chain to it

Eightfish (Puppeteer)

Watch me lose the whole tablet

Cronaj (Whispers of the Past)

Oh nooo

I believe in you!

TaliePlume

My workspace is a black table with a white, yellow, blue and green tablecloth with 3 black chairs. It's next to the kitchen. On it, is my laptop and the left side is my clipboard, 3 blue folders full of writing. Then above it, is 3 sketchbooks and another blue folder from a class that I took in community college.

June 16, 2020

sagaholmgaard

I have one long desk at almost three meters. On the left side is all my coffee and tea supplies, in the middle is my work space and on the right is my dining table xD I get everything done from there, despite having a mobilestudio so I COULD sit anywhere and work, lol. It's a blessing during holiday seasons to be able to bring it everywhere, but at some I like my designated working space. Although I am moving in a few weeks, so who knows what my new workspace will be

Moral_Gutpunch

My workspace is anywhere I can draw or write. It's more of a "Will I be interrupted over something petty or stupid" issue than space. Not that I don't want more space.

Mitzi (Trophallaxis)

My workspace is a big, broken corner desk I managed to lug out of an old apartment when it was gonna be trashed. Before then, I'd just draw in bed. I don't remember, but I'm pretty sure the folding chair I sit at is a similar affair. It's got a Dollar General throw pillow on it so I can at least say I'm trying to save my back. The top of the desk is a mess of mostly old bottles and cans, pencils, incense ash, and my old tarot deck. I love this setup dearly. This is the first time I've ever had my own desk space, much less a space I can decorate or leave as messy as I want. Got my own art up on the walls with sticky tack and all! Also the cat's scratching post is directly behind me, because we've learned the cat won't use it unless it's as in the way as possible. What can ya do, lol.

Cronaj (Whispers of the Past)

Oh cats...

Desnik

I got spoiled with an adjustable desk. It is six feet long, and has a whiteboard top for noodling with dry erase markers

my main computer is set up on an adjustable stand so it floats over the desk, and then I have my cintiq, which we tried to mount on a similar stand but then it was just too heavy

I keep my dice collection nearby because fidgeting helps think things through sometimes

and rolling to make odd decisions never hurts

lately during the quarantine I've been sharing the office with my spouse so we've had to establish rules over when it's okay to bug each other(edited)

oh yeah and we also have a whiteboard installed in the office, and it rules!(edited)

Shizamura 🌟 O Sarilho

Mine is pretty simple: I have a laptop that's long stopped being portable and is now mostly just sitting at my desk at all times and a 19 inch Ugee as my display. I usually keep a lot of stuff on top of my desk, but it's mostly just a mess because I have been using it for work too for a while now

Cronaj (Whispers of the Past)

I suppose I'll talk about my setup too :) My main setup is where I do digital art. I share an office with my SO, so we both have workspaces on opposite walls from each other. I work on a corner desk that holds my beefy computer, two monitors, and a Huion Kamvas GT-191. That's where I draw my comic and pretty much everything else done digitally. Ngl, it's a mess right now. I have comic notes and location floor plans in sketchbooks and DnD character sheets spread out all over the surface, and random pens and sticky notes. In the corner of the room, we have a nice large-format printer where I produce prints for conventions. I actually sketch my pages on an iPad pro in Procreate, so during the sketch phase, sometimes I'll just bundle up on my couch and do it, or before quarantine, sometimes I'd sketch on the go. My other workspace (which hasn't gotten much love as of late tbh) is a drafting table in the corner of our living room. I keep a tabletop easel on it and my Copic markers, as well as whatever I'm working on at the moment. (RN it's some ink washes.) The drawers hold all my ink, pencils, erasers, etc. Next to the drafting table is where I keep all my large charcoal, graphite, and oil pastel drawings (mostly school projects), and my large paintings. Other than that, I have a nifty little cart where I keep painting supplies :) I will say, this setup is by far an enormous improvement from my previous setups.

[killfaeh]

Back to childhood with AppleWorks

Hi everyone! Today I'm going to tell you about a very old software that kept me busy for many, many hours during my teenage years and that I've had the pleasure of rediscovering these days. Apple fans will have glitter of nostalgia in their eyes, others will have the opportunity to discover a beautiful tool that has not forgotten to be compatible with Windows. It is AppleWorks! AppleWorks was an office suite, installed on all Apple computers of the time, which, in addition to the classic word processor, spreadsheet and Power Point presentation, also offered a vector drawing tool and a bitmap drawing tool. It was my first experience in digital drawing and photo manipulation and with a bit of inventiveness, I was able to get some amazing things out of it. Behind its apparent simplicity, this little soft hides an unsuspected power. Let's go for a little trip back in time!

Small overview

The painting module

Gallery of illustrations

Install AppleWorks (Yes! It still works! )

Small overview

AppleWorks is 6 softwares grouped into one. When you launch it, it offers you the possibility to create 6 types of documents: word processor, spreadsheet, database, presentation, bitmap drawing, vector drawing.

I quickly talk about Spreadsheet, Database and Presentation because I never used these modules. Anyway, know that with Spreadsheet you could make like with Excel, with Database, create databases and with Presentation, make like with Power Point. (You can click on the images to enlarge them to full size.)

And here are, then, the 3 modules that I really used!

The word processor

I wrote all my comics scripts, presentations and internship reports there when I was at school, until my dad bought Microsoft Office. Hard to compete with the Word arts. 8D Except that Microsoft Office did not offer vector drawing software, nor bitmap drawing software. So it was not about to dethrone AppleWorks.

The vector drawing module

This module helped me a lot to make diagrams to integrate in the word processor, draw dungeon plans for our Donjons and Dragons sessions, make some logos or paste editable text on images like my comics pages. I particularly liked its ability to generate gradients that roughly matched the shape in which they were applied, and there are recent vector drawing technologies that still can't do that and that's a little bit annoying to me. And finally, here is the module where I really spent the most time!

The bitmap drawing module

Well... Some geometrical shapes, a pencil, a brush, a filling tool, an eraser... So far it doesn't look much different from Paint. Wait until you see what it is capable of. :p

The painting module (bitmap drawing)

To begin, AppleWorks 6 is not the first version of AppleWorks that I worked with and already at that time, I had my little habits and what a disappointment for me when I didn't find my favorite features !! Looking for a little bit it turned out that they were just a little hidden and just needed to be tidied up a bit. Because yes! This small software already had a customizable interface by drag and drop as on a modern Photoshop!

Now all is clear, we can get to the heart of the matter: drawing! :p I've already mentioned the toolbar on the side earlyer, which is already familiar to you if you've ever used Paint. Now, let's move on to the area just below: the palettes. AppleWorks offers a limited palette of colors.

You can combine the selected color with a pattern to apply. Some of them look like manga screentones.

Some fun colorful patterns are also available.

And finally a small palette of gradients is also available.

Well... A few funny patterns, some gradients. It's enough to have fun for 5 minutes, but nothing special. We will going not very far. That's where the real work begins. :p Do you remember? A few moments ago I added buttons in the horizontal bar at the top, including this one.

And this is what it opens!

A customization window! :D Not enough colors in the default palette? Never mind! You can create as many color palettes as you want.

Not enough patterns either in black and white or in color? You can create as many pattern palettes as you want!

The default gradients palettes is too poor? No problem! You can create as many gradient palettes as you want! And for the moment, I spent a lot, a lot, a lot of time on this section! You can make circular gradients.

Linear gradients.

And gradients that fit the shape in which you apply them. Well, it's far from perfect with concave shapes, but it already allows for interesting things.

And to give the coup de grace to Paint, with AppleWorks you could even create your own brushes! :p

There are even some effects available such as blurring.

This AppleWorks is a piece of cake in the belly! :D Now that we know about its possibilities, I propose to show you a small gallery of what I was able to do with this software from end of nineties to middle of 2000s. :D

Gallery of illustrations

Let's start with the very first drawing I made with AppleWorks in 1998. We didn't have a scanner at the time, so I had to do it entirely with the mouse. It was also a time when I didn't have much notion of saving the original files and I considered that as soon as I had printed the drawing, it was no longer worth keeping it on the computer to save space (the hard drive was 4 GB). So this is a scan of the printed version you see here. x)

A good old Darth Vader! (1998)

Well, making a drawing from A to Z entirely with the mouse was laborious, so I also used AppleWorks to create backgrounds and print them. Then I would do my drawing by hand and cut it out and paste it onto the printed background. I was able to make interesting effects by understanding the limitations of the software and exploiting them. By understanding that gradients were composed of a series of solid color bands, I could make focus line effects by filling them with the filling tool with a different patterns or gradients.

This posing remind some Dragon Ball character (Between 1998 and 2000)

It is also with AppleWorks that I made my first attempts at photo manipulation. I used photos from an encyclopedia we had on CD-ROM and manipulate them by tinkering them and copying and pasting small pieces here and there. Then I printed my montages and paste them onto the comics pages.

My montages were mainly used for space scenery. (1999 - 2000 in collaboration with my sister)

This software really pushed me to be creative to get what I wanted out of it. I had even managed the tour de force of pasting a white lineart over a photo.

(2000 - 2001)

In the absence of layers, I had to work on 2 files in parallel and with the lasso select tool. And then one day, our first scanner finally arrived home! There the serious things could begin! I was able to stop trying to make drawings with the mouse and use AppleWorks to put in color drawings made with the traditional way. So I was able to go further from the end of nineties. It obviously started with Saint Seiya. x) (You can always click on the images to enlarge them to full size.)

I loved the Aquarius saint. He was my favorite character from Saint Seiya. ^^ (2000 - 2001, this way)

At the beginning I was just doing solid colors, but as I experimented with the features and learned how to combine them, I ended up getting more and more advanced renderings.

Aoshi Shinomori from Kenshin and Ashram from Record of Lodoss War. These two were also my favorites characters at one time. (Between 2004 and 2006)

If you have enlarged the images you must have noticed that the line is particularly crenellated. There was no antialiasing, no layer system with opacity levels, no tolerance threshold for the filling tool. So it had to be black, or white, but not in between. As a result, AppleWorks was not really adapted to work on drawings with small details, hatching or heavily detailled backgrounds...

I tried anyway. :p These last 4 examples I think I made them between 2004 and 2006. The comics pages come from the first version of the Nécrotech project which is currently in a dormant state (but which I intend to resume one day). You'll notice on the first image of the last page some effects whose style stands out a bit from the rest. It's normal, I made them in another old painting software, Art Dabbler, but this is another story. :p In 2007, I got tired of suffering, I started to use The Gimp, in 2008 I bought my first graphics tablet, in 2009 I embarked on the Photoshop adventure and you know the rest: I sold my soul to Promarkers and Clip Studio Paint. And then there are days like that, we fall back into childhood. (Click on the image to see it at full size and distinguish the pixel patterns. I know, I repeat myself, but the devil is in the details. :p )

Last week, I decided to make a theme of the Drink'N'Draw from A to Z with AppleWorks to see what I could get out of it with 15 more years of experience in drawing and illustration. 8D With some tips you can get a pretty amazing result! I am happy with the result, especially the colors. It wasn't done without pain. The feature I wanted to take full advantage of (customizing color patterns) is buggy on the Windows version of the software, so I had to set up a Mac OS X Snow Leopard virtual machine to be able to do the finishing touches. What an adventure! In any case, AppleWorks is always well adapted to make pixel art and this experience has allowed me to learn new things applicable in recent and professional softwares. I had never really tried pixel art, which I love, by apprehension of the execution time. I think I found the trigger to get serious about it. I will explore it further. :D Well, well, well! But in fact, calculating gradient patterns for pixel art with shaders shouldn't be complicated. I think I will add such an effect in Péguy ! :D

Install AppleWorks

You've read it right! You can still install and use AppleWorks in 2021! :D

Windows

I did the test with Windows 8.1 on my Cintiq Companion tablet from Wacom, and in the comments it seems that it also works very well on Windows 10. To do this you will first install the latest version of QuickTime 7 which you can find on this page. You double click on the installer and you do next, next, next... Even when you are asked if you have a product key. It is not mandatory and useless for our needs. Then you go to this page and download the first file. You unzip the file and double click on the installer, then same procedure as before: next, next, next... You can do retro digital painting now! :D

Mac OS X

Apple computers have changed so much in 20 years that it is now impossible or at least very complicated to run the original programs on today's machines. The manipulation therefore consists in using the Windows version with the Wine emulator. If I had no problem with the procedure, it may seem a bit complicated for non-technical profiles so I simply propose you to download the final application I created myself via this link on Google Drive. You just have to download it, unzip it (with a double click) and launch it. If you're a computer geek and want to get a version of AppleWorks without the color pattern bug, you can get the .dmg here and install it in a Snow Leopard virtual machine.

Be reasonable about the size of your files. This is an old software that will have trouble supporting surfaces exceeding 2000px by 2000px. There is a way to cheat a bit, it is by creating a vector drawing file and creating a bitmap drawing surface inside.

That's all for that nostalgic moment. I think I will come back with some illustrations made with AppleWorks in the future. :D Have a nice day and see you soon! Suisei

P.S. If you want miss no news and if you haven't already done so, you can subscribe to the newsletter here : https://www.suiseipark.com/User/SubscribeNewsletter/language/english/

Source : https://www.suiseipark.com/News/Entry/id/308/

[martywurst]

11/30/17

4 years 4 months later…

I drove home on the 405, singing to The Beach Boys "Barbara Ann" like an asshole, alternating on the harmonies. I’ve been singing along to this song since I graduated from Maui High School (Class of '98 brah!) and I always get swept up in the happiest of memories. The Beach Boys are laughing while they’re singing, totally unprofessional. Musicians trying to be funny...when will they ever learn? There's a time and place- when you're in the studio performing, you BE PROFESSIONAL!

So what do you guys think I should write about?

I’m happy now because I hit two mics and I had fun at both of them. I feel good about what I’m doing. I occasionally THINK that and then some miserable mic sets me back a thousand years and I don’t know shit all over again. Wait, I think I just figured this- SMACK! I’m starting to get comedy now-WOMP! Last year I didn’t know dick, this year, I finally found my voi-BLOPFUK!

I’m becoming more and more relaxed, putting hundreds of hours of bombing in. Keeping my expectations low, trying to have fun and BE GOOFIER. Trust myself to be more spontaneous and not just saying the words that are over-rehearsed, trying to find new words to paint the picture. Then occasionally phoning it in, but acknowledging it, like when you stray away from meditation with distracting thoughts. Now Marty, take a deep breath and just get back on track when you can...you dildo. You can look up that classic Sesame Street clip AFTER you’ve finished your meditation. You can try to tell your joke in a fresh way at the next mic. Now visualize your dick jokes slapping across the street like a game of Frogger…

Sometimes I’m so desperate for approval of a new bit I’ll ask Claire to watch me. It’s usually pretty painful, but she’s a good gauge of what’s godawful or she’ll see the potential in a bit and try to contribute. Then I’ll shut her down real quick because who’s the comedian here, right? I really think she believes in me (because she told me she believes in me, in those words) but sometimes I just want another comic to say "Hey good joke!" preferably someone with a Laughs on Fox credit.

Years have gone by and someone I’ve admired all this time is on the same show and we finally exchange pleasantries. No ego, just hey- we were on the same show! You’re pretty great. Love what you’re doing. Now you say it back to me. SAY IT BACK MOTHERFUCKER, I JUST SUPPORTED YOUUUUUU (falls into abyss, tongues of drunken audience members wagging and stabbing my mid-section)

I see those late night, sentimental “I love comedy” posts on Facebook every once in awhile and I can feel the cynical cesspool of backlash forming a giant tidal wave, but I totally get it. I had a night like that tonight. I have nights like this at many open mics. It’s friends, it’s the few people that are suddenly looking up at me, who were buried in their laptops a minute ago. It’s a hug from a comic that I love, or some rapid-fire joking going on outside in a semicircle of idiots. Being around funny people. Standing alone at an open mic that I’m dreading and suddenly finding that one person- a friend. They have my back with the perfect line that triggers a bark of laugh out of me, because it’s also relief. It’s gonna be okay because I can still hang with this fantastic funny person.

I got paid for some impossible bar show. I wasn’t told in advance and when I finished my mostly silent set I got a handful of bills. Mostly pesos and a farthing, but it’s amazing to get paid when you’re not expecting it. Now if only I could win some tickets to a Flappers show! (get yer jabs in ya cynical fuck, don’t get too sentimental Feelie Dan!) One comic offered me his hotel room for the night because he wasn't going to use it. Almost made me cry- the room was a shithole!

I think our cat is out of the woods. Tune is napping in front of the heater, thanks for asking. Claire is gently snoring in the bedroom, I assume. She doesn’t snore loud enough to penetrate two doors. Now the cat is lapping water from a jar- one of my favorite sounds in the world. Oh yeah, the Patreon thing is kind of funny. I have 6 subscribers, but I’m enjoying making the videos- kind of a video journal of some open mics I’ve been visiting for the first time. A video review of the mic and some random interviews, testimonials, etc. If you can’t get enough of the open mic bullshit and you’re curious it’s $2 a month to join.

My Patreon

We can’t end this journal entry on a plug though, that’s pathetic.

It’s nice to have a new family of friends in this strange world, but then I remember my friends from acting school or the people I knew through the Geffen or Arclight. Years are going by. Marriages, break-ups, babies, health scares and the occasional tragedy that affects us all. I’ll hear a song or see a clip from some project that brings those people swirling back in my head- oh yeah, there are other people you love too. Maybe I should give them a call. See one of their shows. Stop by for a visit. Finally introduce myself to their ten-year old baby.

I get asked,

“How’s the comedy going?

I usually ramble for a few minutes about the intense highs and lows, desperately trying to make sense of it all and it all sounds absurd saying it out loud, like I’m lying to their face!

You gotta bomb? You gotta do shit mics? You gotta write? Network? But what about the comedy special?

I always manage to squeeze in that one overly sincere declaration of,

I’m in this for the win.

I mean it. Sure I’ve FLIRTED with quitting in my head, but it’s because I’ve been on vacation and it can feel especially troubling going back to a mic after a week of no stage time. It rarely happens and when it does I feel sad. Yet it gets harder to go back for some reason. I never seriously considered quitting. I made a feature film in 2007 because I told myself I could do it. I never said My movie will get distribution. It kind of fizzled out after the completion thing.

But I can do this. I am a comedian. I do other stuff, but if you’re interested we can always talk about it.

Don’t forget the patreon thing. Come see a show- check my dates at Martywurst.com. I have Dvds of my short films, ask me and I’ll give you one. TheWurstTweet on Twitter. Search me on your podcast app. Find me on YouTube. Open Mic Reviews on Instagram or Marty Wurst for my regular pinups. I have old movie reviews on FirstShowing.net. My website has a Steve Buscemi voicemail. I’m in a shitty movie called Death Valley: The Revenge of Bloody Bill. I sang to Jennifer Connelly at a press junket for Blood Diamond. My Google search is pretty great. I made a movie called Salivate- you can’t find it anywhere. I have two audiobooks on Audible- Dark Sanity and Zombies in Love.

Oh and here's that Sesame Street clip.

[the-space-case]

Hello, yes, hi, I recently found your art and account and I love what you do. I'm turning 14 in April and I've asked for a drawing pad, but I have no idea how to use one as of yet. Have you got any tips or anything? Because I've wanted to try digital art for a while and your art makes me want to even more lmao. Thanks! - B.A.

BOI OH BOI DO I GOT SOME TIPS FOR U

(I’m not sure what kind of comp you’re going to be using, so I’ll list for both.)

FIRST: Drawing Programs; the free and the great.

-Firealpaca: Lightweight drawing program. I draw Recovery using this! It’s easy on the RAM if you have a weak comp/are paranoid about yours like I am, it is mainly for basic comic making, and has all the basic brushes you need (pen/pencil/airbrush/symmetry/etc). You can add your own brushes as well but they’re p basic settings. Has basic Animation/Gif making as well using Onion Mode! Layout is a piece of cake. Please note that If you leave it open for a week it’ll crash on you, even if you haven’t anything on it at the moment, and sometimes the brush sensitivity just stops working so you just have to close and then open it again. (Also I have no idea how to update it aside from deleting it completely and just downloading the new version from scratch, so thats a thing.) Mac/Windows

-MedibangPaint: This is basically FireAlpaca But Better. Has tons of screen tones, brush patterns, and tools. I don’t use it much because I’m used to FA’s layout and get confused with the the placement of tools in here, so if you can I highly suggest just going with this first. Also has basic animation/gif making! Has storage for the website as well, and you can upload more preset brushes. It’s v anime. This program has waaay more in terms of basically everything, so it just takes more RAM. NBD, you don’t have to have every brush downloaded from the storage ^u^. Mac/Windows

-Clip Studio Paint: Okay this one isn’t free, it’s a pricey one, HOWEVER once a year they take the price way fuckin down by at least 75%. Sign up for the email list and it’ll let you know when that precious day comes. It’s how I got it @u@, around christmastime? This program is basically MedibangPaint On Steroids. I do all of my digital-yet-tradition-style-painting on here! The brushes all have some neat af settings to play with, you can make your own brushes, has tons of screen tones, pre-made panels, and settings. You can save projects as basically anything you need, is a hardy program that almost never crashes, and It’ll take a nice chunk of space on your comp depending on how much memory you have but hey, its worth it. It’s much more complex layout-wise than the other two here, but you get used to it after playing around and watching tutorials haha.

-Mischief: It’s a 25$ app, has like four brushes and five layers only but is vector-based with an endless canvas. Not really worth having unless you like the vector thing. UP TO YOU. I spent forever with this one doing all that homestuck stuff, so it’s not really bad so much as it is a basic bitch. Mac

-MyPaint: I used this a bunch when I still did digital art on my windows laptop before I upgraded to a Mac. It’s easy on the comp and has plenty of brushes and settings. You can also get brush packages if you don’t feel like you have enough that comes with the program! Also has endless canvas; pretty sure you can just select an area and then export as is. I barely remember the rest but It’s pretty great. Windows/MacPorts(which I hate)

-GIMP: I hate this thing. I cannot figure it out for the life of me. It’s got loads of shit though, can handle layers, has plenty of brushes, and can do basic animation/gifs if you ever figure it out. Windows/mac

I’ve heard good things from paint tool SAI and Krita as well, but have never used them myself.

***You can always pay through the nose/use a student discount for the photoshop series and pay that shit monthly, those fuckers have literally everything, but I am a cheap college kid making minimum wage with a car payment; I’d rather just pay once/not at all.

TABLETS: treat that shit like a newborn babe 24/7

-I have literally only ever owned a Wacom Intuos4. It has lasted me six years, and at least five moves across many miles. I broke one of the cord ports the day I opened it by holding it wrong, have one left, and now treat it like it’s going to die if the cord moves badly. Please be aware that if you break both ports, you better either sodder it back together yourself or upgrade to smth else because it costs about as much as the tablet itself was bought at to be fixed. Good news, though, it comes with at least six extra pen nibs, has programable buttons on the side (that I have never bothered to use) and a scroll bar in case you’re too lazy to use the keyboard (…I don’t really use that either unless I’m just scrolling through tumblr LMFAO).

-I would die for a Cintiq.

HOT TIPS: its useful.

-most of the programs listed use the same keyboard shortcuts. MEMORIZE THEM. It’s pretty easy, since you’ll use em a lot. [cntrl/cmmd+T] lets you resize what you just drew on that layer, and [cntrl/cmmd+z] is undo. I use those the most, for obvious reasons.

-vector-based programs are pretty great because when you resize an image it looks prefect. You can’t do that with a program that isn’t, so I just resize the base roughdraft and draw the lineart again on the layer above so I don’t get weird JPEG quality lines.

-You can use a ruler with your tablet, just slap it on and go, but honestly most programs have settings for that. just use those.

-You can also trace stuff on your tablet, so long as the paper isn’t too thick. I just scan/take a photo and then open it up in the program, though. much easier.

-SAVE CONSTANTLY. Art programs like to crash on you, even when they’re hardy and you have a good comp. make it a habit to quick save your work.

-Use a desk and have good posture. You’ll be able to draw a hell of a lot longer if you do. I personally keep fucking up my knees by sitting on my legs as I work out of habit, and don’t actually have a desk chair. Keep your screen at eye level and at a fair distance to prevent eyestrain and also neck-strain haha

-Chances are you won’t be used to the tablet right away. Most places you buy from say it’ll take a couple of months to get used to how weird it is to draw while not looking at your own hand, so don’t be frustrated If your drawings look a bit off at first.

-if you draw at least one thing every day, by the end of the year you’ll have improved exponentially. I literally made this blog to make myself draw once a day.

-don’t be afraid to check out speedpaints and tutorials. It’s always good to get more familiar with the program you’re using and new techniques previously unconsidered.

-get familiar with clipping layers. They are insanely useful; you clip one layer to the one below and then when you draw it only shows up on the drawing of that layer below. Shit is a godsend if you’re bad at coloring in the lines/lazy. The bucket tool is also really useful, and you can adjust the expansion by pixel so you don’t miss anything between the lines.

-experiment with your brushes, shit be fun af

-warmup your wrists before and after drawing. prevent swollen veins and such. dont want hand pain/numbness, its reaaaaally bad.

—basically if your hands hurt stop for the day.

-PNGS are for internet, JPEGS are for printing/fucking with quality (cough hack homestuck)

-resolution doesn’t have to be much more than 350 dpi if its just going to be on a webpage. Maximize that shit if you’re going to be printing, though. Especially if you put stuff on redbubble.

-DeviantArt has this thing called Sta.sh where you can dump art, keep it in perfect quality and just share it with certain people with a link instead of all of the website. Great for storing commission pieces, its the only reason I have DA in the first place.

-you get a different audience depending on what site you use for posting art, so keep that in mind for the kind of feedback you want.

-after awhile of drawing using a tablet, you may lose patience/forget that in traditional art there isn’t an undo button lmfao It’s cool; you don’t have to choose one over the other or anything.

-Honestly you can work around almost anything. You just invent new ways and techniques for yourself and you’ll do just fine.

Aaaaand that’s all I got for today! Thanks for sticking around

[procreate-brushes]

Brush Reviews & Customer Feedback

Please feel free to follow me and share your feedback in the Procreate Forum. Thanks for your great support. You're awesome! :D

joe12south: George, thank you SO much for these amazing brushes! I was very disappointed in the ink brushes included with Procreate, and was dreading the hours that I would have to spend to create suitable inking brushes, when I discovered your set. Not only did you save me untold hours, but the quality is almost certainly better than I would have achieved on my own. The combination of the Apple Pencil + Procreate + your brushes yields an amazingly natural drawing experience. I've used every drawing tablet ever made since the Koala Pad (1984) and this is the first time I don't feel like I'm losing something by not using pencil/pen and paper. ... I've been using Georg's brushes for my morning warm-up sketches all week. Tons of fun. I've also fell in LOVE with the Dupa pencil brush. Previously, I really liked the 6B included with Procreate, but I find the Dupa brush superior in every way. My guess is most people buy this pack for the ink brushes, and may have overlooked this gem. For the first time, I feel like I could throw away my black and white Prismacolor pencils and never look back! ... Savage Interactive needs to seriously consider working a deal with Georg to include these brushes. I love Procreate, but the base included ink brushes are not "inky" at all. ... Lest you think Georg's brushes are only for cartooning, here's a portrait commission I did this morning using only the upcoming "BRISTLY" brush.

Wizard of Zog: Thanks so much again for making such awesome brushes. I hope the folks at Procreate send you all kinds of free stuff because your brushes are what truly makes that app sing for me.

Kazart: Thanks Georg for your work, i already found my favourites brushes wich allow me to draw like my traditionnal style. Here is a sample, a space assassin! Thanks again. 

kewlpack: Georg - Thanks for continuing to make the MegaPack an INCREDIBLE value with these updates. Fantastic customer service right there.

dftaylor: Just a quick note, since I've already harassed Georg on Twitter, that these brushes are wonderful. I've used nearly every art app out there, and between Georg's brushes for Procreate and Frenden's brushes for Manga Ex, I can work on my comics on my iPad Pro and my Surface Pro seamlessly. They're just brilliant tools - my favourites are the Penciler, the DUPA pencil, the Eisner, the Watterson, and the Underzo (both the texture brush and the lettering brush). I've used them on everything I've drawn since I got them. Great work and amazing value for money. Here's my most recent piece.

jollyrein: I LOVE LOVE LOVE The COPICESQUE set! Absolutely magical :D It's exactly what I was look for! Thank you so much Georg.

Vezinho: Hi Georg ! Just wanted to say that i bought your megapack and i find your brushes fantastically natural to use, very precise !  ... Fantastic Georg You ROCK The link appeared… A lot to play with !! These are all fantastic Top quality And the watercolor serie already seems a joy to use It will take a bit of time to get the feeling of everyone Once again thanks a lot ! I will post some portraits soon. By the way i exclusively use your brushes for now!

Finch: Beautiful brushes. Thank you for making these!

monarobot: I just got the G-pen and woooow it's the o my brush I've found that is anywhere close the feel of the clip studio version, awesome job!

pixelsnplay: You had so many great brushes for free too that I went ahead and bought your MegaPack. Thanks for sharing :)

dankelby: Hi Georg, just wanted to drop in and say that I love all of your inkers, great job! I just purchased them and can't wait to work with them. Cheers!

Bos: Just tried the ELDER, and immediately bought the Megapack. Wonderful. I like how you inclined the shape of the brushes (a thing I had planned but not had the time to try) and played with pressure AND velocity together. I've redrawn a panel of mine to try, and love the Watterson, the Peyo and the Uderzo especially (but haven't had the time to ding into them all, yet). Very flowing, very natural, with and without the textures.

FranklinKendrick: I just purchased the mega pack as well and am blown away at how natural the brushes are. Haven't tried the pencil yet (I should have time later) but, now you really make me want to play around with it! I stayed up way too late doodling with some of the inks. These are so much better than the ones included by default in Procreate - and well worth the money. I originally got into Procreate because I wanted to do some detailed ink work and just never had the tools to do it digitally. Now, with my iPad Pro, I feel like I have the tablet I always dreamed of having ever since I learned that digital drawing was a possibility. Thank-you Georg vW! I am so excited to try drawing cartoons again with these brushes.

Philip R: I really love the brushes, Georg! Thanks for all the hard work! My main favorites are The PEYO, The BREUGAL, and The FURBALL. I can finally create digital art the way I imagine. I mainly use the brushes for cartoon illustrations.

bem69: Bought your MegaPack too, and enjoying all of the brushes. Awesome! ... I love your ink brushes. So much potential and so fun to use. Totally recommended for those who are still considering.  ... CAN'T WAIT FOR THE UPDATE! 

Batsquatch: yo georg, when are we getting the update- your brushes have CHANGED MY DIGITAL CARTOONING LIFE! I'm jonesin' for the new brushes! -Phil

kawoody: Hey Georg! I'm totally about to buy all these brushes. They look amazing! Just what I've been wanting!

Bas0411: Hi Georg, your brushes are great! My favourites at this moment are the Bruegel, the Watterson and the Yellow Kid, all of which I use daily. 

tmp2209: Thanks so much for the option Georg the brushes are spectacular, I picked them up last night and have been very happy with the results and look forward to your future brushes. Thanks again!

Klaas: I have been testing your brushes, George! They are great!

Caricature Shop: Truly enjoy these brushes!  ... Really appreciate the MegaPack addition! I was eagerly anticipating the DAVIS, but have to say that my new favorite is the STRATMORE. It's feel, flow and responsiveness makes it a notch above, in my experience. Thanks George!

DougHardy: Oh my god these are AMAZING

sajishtr: Installed cartoons Brush set. Installation was smooth as I used AirDrop to transfer .brush file from mac to ipad. (Pls. include this instruction in your website). I tried Watterson first, to my surprise I was able to achieve a lot in the very first attempt itself. Pls. find the sketch with the original on the side. THANKS A LOT!!

Kris_Lap: Hi, Done a Crumb copy from blue layer. Always with excellent Mort Drucker Brush. Better traditional feeling using those brushes / Procreate than with Manga Studio. (...) Keep up your genius work ! ... A MANGA STUDIO Robert Crumb Copy with Astropad Please compare previous post with Procreate copy and Georg vW Mort Drucker Brush, above. The Procreate app / Georg vW brushes combo is a far superior inking tool. I would tell it to the world (if i was famous)... 

Patman: Impressive brushes! 

Ripples: These are wonderful, Georg, and thank you very much again; an honour that you used the names, and I love the other names and set too. Looking forward to doing a painting over the next couple of days, and will post it up! Thanks so much for making these.

Anne R. Cutler: This is a crazy good deal… thank you! The Air-Drop method worked perfectly. 

nylontoast: I just bought your MegaPack, fantastic! wonderful work, can't wait to use all the brushes! 

Silpi: Thank´s GEORG wonderful work Hug

Jennifer Bannink: Exactly what I was looking for! Thank you so much, it's an amazing brush :)!! 

timskirven: Hi Georg - these brushes are fantastic!! Thanks for all your hard work.

Doomsayer: Thanks mate - love the set / have been playing with it all morning while my Christmas presents gather dust :) I did a bunch of alterations to the G-pen and it is really solid / I made it so that it can get a very scratchy, scetchy feel - first 2 panels are my old brushes / 2nd two is the new ones. Love the tone brushes btw!

Brush Feedback via Twitter

[amandakaiserwrites]

interview: pepper rabbit

Following the release of their sophomore LP, Red Velvet Snow Ball, L.A.-based duo Pepper Rabbit hopped on a bus for a sweeping tour of North America without stopping for air. The tour, fronted by Montreal-based group Braids and followed up by experimental indie pop duo Painted Palms, began in June spanning coast-to-coast and will finish up mid-October. Comprised of frontman Xander Singh and drummer Luc Laurent, Pepper Rabbit’s attitude towards the music industry seems to be “go, go, go,” but the psyche pop pair’s sonic vibe is anything but. Soft, lushly painted soundscapes and twinkling synths are the defining sound of Pepper Rabbit — peppered, if you will, with the eclectic sounds of the xylophone, trumpet, ukulele and more (their recent album used a total of eleven different instruments). Painted Palms set the dreamy tone for the night at Chicago’s Empty Bottle. The duo blew the crowd away with their surfer-pop dusted with looping synths and echoing envelopes of noise. Pepper Rabbit, joined by their touring bassist Jonathan, took the stage next and warmed up the chilly Tuesday night with a good sample of Red Velvet Snow Ball (they played about ¾ of the album, including the single “Rose Mary Stretch”). Pepper Rabbit’s set was kicked off by the haunting song “Allison,” dedicated to a mystery girl, with gorgeous layers and an eerie carnival feel, and ended with “Murder Room,” a sweeping ballad off their most recent release. The duo even catered to the audience’s request and played the popular track “Older Brother” off Beauregard, their debut album of 2010. Luckily we got a few moments with Xander Singh of Pepper Rabbit to discuss the band’s North American tour, experimenting with instruments, and dirty socks. Amanda Kaiser: Have you ever been to Chicago before? Do you have a favorite spot? Xander Singh: Yep, I’ve been in Chicago I think four times. I really love Schubas. It’s a great venue to play at. I’ve been here mostly for business, unfortunately, so I don’t really leave the music venue, it’s just back onto the bus once it’s over. AK: Everyone at UR Chicago loved the story of how you guys bought instruments and learned to play them watching YouTube clips for your newest album. You’ve definitely left behind the stripped-down sound of your first album Beauregard in place of eleven instruments including the synths and even a ukulele. What inspired you to add these new instruments to the mix? XS: Well, I’ve always been interested in how an instrument sounds more than I’ve been interested in how to play them really well. I never really sit in my bedroom and practice guitar for an hour or so. I’m more, you know, scrounge around Craigslist or different stores wherever I am and try to find a new sound I haven’t heard before and then try to do something with it. So that’s why I tend to gather a variety of different instruments. I’m far more interested in the sound of something than, you know, how well I can actually play it. AK: How does this incorporation of more instruments affect your live set? XS: Well, it’s kind of the same as the first record where there were a lot of different instruments and we couldn’t take everything out on the road, so we rearranged a few songs and played them a little bit differently. Sometimes we played a trumpet melody on a keyboard or something like that. And we’ve kind of done the same thing arranging the new sound for the live show. We’re also using a few more samples and sometimes leaving a few parts out here and there and adding a different part [trails off as his voice is drowned out by a fire siren…] AK: So, you were saying you’ve been using different instruments in the live songs? XS: Yeah, mostly because, like I said, I’m not very technically proficient at most of the stuff I play [Author’s note: he plays about ten instruments though. Cut him a break!]. For instance, when I’m in the studio recording I can allow myself four hours to just nail a simple trumpet part, but I can’t do that live. Onstage I’d have to hit it every time. We actually brought the trumpet out when we first started playing and never played any of the parts right, and I did the same with the clarinet and messed up a lot so we eventually said, “You know this trumpet line, maybe we can all just sing it,” or, you know, play the clarinet melody on a keyboard or something to make it a little bit more risk-free. AK: You two seem to jibe together pretty well onstage. How does your relationship play out during the writing and recording process? XS: Well, normally I’ll kind of just wake up one day and be like, “Okay, today’s the day I’m going to write a new piece of music.” I have a home studio, so I’ll just go downstairs and mess around on different things until I get a structure of a song, and Luc will come downstairs and write the drum parts. Then we’ll listen to it a bunch and edit a few things together, then go back and finish it up. But the live show is definitely very different. I play most of the bass parts on the newest record but our touring member, Jonathan, is an incredible bassist, so he pretty much rewrites all of the bass parts off the record for the live show and makes them a lot better. The live show is a very, very collaborative effort, so to speak. AK: You’ve been on tour most of the year preceding the release of your newest album Red Velvet Snow Ball. How’s that been? XS: Very tiring. Very, very tiring. AK: Understandably so. So, what are five tour essentials you make sure to pack in your suitcase? XS: Definitely a fresh batch of stand-up comedy on the iPod. AK: Cool. What are you watching now? XS: I’m anxiously awaiting Patton Oswalt’s new stand-up CD. He’s my favorite comic. When you’re on the road you’re in the van so much constantly listening to music, and you end up listening to the same albums over and over again. It can just get kind of tiring being around music all the time, so listening to a podcast, radio show or stand-up album is definitely a nice change of pace. But the stand-up albums become a little bit less funny each time you listen to them, so it’s always important to have fresh ones. [Laughs] So, that’s one of the essentials.Of course you have a few good books for when your iPod, iPhone or laptop dies; you have to go primitive and read a book. AK: That’s always rough. XS: [continues] Water is an essential thing. I find we spend a lot of money on water because we go to a gas station and it’s kind of routine to buy a bottle of water, but when you go into, like, five gas stations a day those bottles of water get expensive. So, lately we’ve been trying to bring our own water bottles and fill them up where we can. Your own pillow is a very nice thing to keep some kind of consistency with your sleeping arrangement. That’s a good one. Also a bunch of socks and underwear, because most guys can wear the same shirt a few days in a row and be fine, but there’s nothing worse than wearing the same pair of socks twice in a row. It’s just an awful feeling! I probably have more pairs of socks than shirts with me on this tour. You can see how wrinkly this thing is [gestures to his not-that-wrinkled button-down shirt]. Well, it was far more wrinkly a little bit ago. I just pulled it out of my suitcase. [Author’s note: And that’s five items! Nailed it!] AK: So, last night I started following you guys on Twitter. What’s your favorite Twitter account? Anyone that entertains you? XS: Well, I’m very entertained by one of my friend’s Twitters, but I don’t think it’d be really interesting if you didn’t know them. It’s a good way to keep up with what your friends back home are doing. Even with as much downtime as we have on the road, whenever you have downtime you’re usually asleep, so it’s really hard to keep in touch with people back home. A lot of times, too, you’ve just been around a huge crowd and you don’t want to talk to anybody and then, you know, two weeks go by and your mom sends you a text like, “Hey, just want to check and see if you’re still alive.” So, it’s great that you can hit up your Twitter feed and see what your friends are up to. I’m also a big Apple and Mac nerd, so I keep in touch with the Apple rumors. AK: What’s that? I’m a Dell person so I wouldn’t know. XS: It’s a Twitter account that keeps track of all the rumors of new products and stuff, so that’s always interesting. But that’s a completely nerdy thing that you probably don’t even need to print. [Author’s note: Sorry, Xander.] AK: Speaking of Twitter, last night I read that – [Xander starts laughing] You know what I’m gonna say? XS: After a few too many beers. [Laughs] Yeah. AK: The girl you wrote the song “Allison” about on Red Velvet Snow Ball is engaged, right? XS: Oh, I’ve gotta keep that story close to my chest for fear of embarrassment. And if I actually ever meet her one day. AK: So, you don’t know her. Celebrity crush maybe? XS: Kinda. It’s all in the lyrics if you listen closely. But for the sake of my own dignity I’d rather keep that under wraps a little bit. But I will say I did have a few too many beers last night and got really bummed out when I found out she had gotten engaged. AK: Sorry about that. So, what’s up next for you guys after you finish up your tour at the end of October? XS: Lots of rest. Luc is working on a few things with another band, and I’m going to be working on a few things as well. You never know what the future holds, so it’s always a bit unpredictable. We’ll see what happens, I guess. [Laughs] You’ll know when I know. AK: Sounds good, I’ll peep your Twitter then. Thanks so much for talking with UR Chicago and best of luck on the rest of your tour!

by Amanda Kaiser

[writewaystudio-blog]

March 2018 Featured Creator

What is a Featured Creator?

Write Way Studio’s “Featured Creator” segment is my way of showing appreciation for the creators of the world.  Creative outlets are limitless, because there is no end to human imagination.  Every month shows the succeeding featured creator.  If you would like to be a part of this collaborative project, contact me at studiowriteway@gmail.com!

Introduction

Now, allow me to introduce you to him, the one and only The Kao.  He is better known online by his brand and business under the same title.  Under the mark of the lion, Leo, his birth-date falls on July 31st.

He graduated with a Bachelor’s degree of Fine Arts for Illustration of Columbia College, Chicago.  That was back in 2015, a crazy three years ago.  He currently creates illustrations and comics for a living.

What Sparked the Creator Passion?

When asked this particular question, The Kao mentioned how “[he] always had a passion for drawing since childhood.”  Thanks to the two franchises Pokemon and Toy Story, his (sort of) first comic was born:  “[he had drawn] in elementary school about [his] Pokemon plush and [the two of them] having adventures together.”

Then came the hard part of adulating:  his future career.  As he mentioned from his contemplation, “The difficult part was trying to find which artistic industry I wanted to go into and/or if I wanted to work for myself . . . [since] many options for an aspiring artist who loves creating characters and making stories [exist].”  He listed storyboarding, visual development, comics and children books, all of which are just a few avenues he can explore.  But even he admitted that there is only so much you can do for a career.

Eventually, he returned to his first comic book he ever made.  He decided to focus on comics (for now).

The Kao’s Creation:  Mondo Mango

How It All Began

Believe it or not, Mondo Mango started as a hobby!  He had only been illustrating for class assignments and work.  The series had been heavily influenced by the encouragement of friends and family.  He always wanted to create a full-length manga, but his writing skills made him reluctant to start.  Eventually, Mondo Mango came to be, a way to still make a comic strip with less perfectionist tendencies and more relaxation.  The Kao acknowledged how “the series is a huge part of my life and I wouldn’t have it any other way.  I thank my family, friends, and mentors that pushed me to continue making the series when I had my doubts.”

All about Mondo Mango

Mondo Mango is a slice-of-life story focused essentially on The Kao himself.  Its main content zeroes in on the brighter aspects of his life as he highlights enjoying and appreciating the little things that go unnoticed.  Although it may be mundane in subject matter at first glance, he manages to shine a funny and relatable light on everything as he hopes to bring joy to his audience.

His most recent work is pushing him towards fiction when he introduced the series’ new mascot, GoGo, the adorable mango dragon that continues to bring a positive outlook on life.

For the most part, his content is suitable for children.  There are, however, sexuality explanations that are LGBT-friendly as well as life and school struggles.  So his work also appeals to teens and young adults.  The series is on the inter-webs via Tapas, Line Web Toons, and/or Instagram.

Future Projects

If you are interested in The Kao’s work, I suggest supporting his Kickstarter!  There, a new Mondo Mango book called The Freckled Mango: A Mondo Mango Collection is now available!  The book contains 130 pages of more than one hundred Mondo Mango strips, exclusives, manga specials and art tutorials.  The Kickstarter is up now, so go check it out!

There is also the Tapas Incubator program with Tapas Media.  The Kao was recently accepted into the program, which had been an open call for creators to work with Tapas Media for creating original content.  In short, he is currently working on a new comic that will be released later this year!  So be on the lookout!

Where to Find You? Support You?

The Kao is available on multiple outlets, some for his comics and others for his business associations.  If you are interested, don’t hesitate to check the information below!

The Kao

o   Website > thekao.net

o   Book > thekao.net/book 

o   Patreon > https://www.patreon.com/thekao

The Kao Instagram > @thek40

Comics

o   Website > mondomango.com

o   Instagram > @thekao

Kickstarter > https://www.kickstarter.com/projects/1554061715/the-freckled-mango-book 

Tapas Media > https://tapas.io/series/MondoMango

Line Webtoons > http://www.webtoons.com/en/challenge/mondo-mango/list?title_no=56963

Last Tidbits

As a nod to some of his most asked questions, Kao revealed this bullet list:

I use an intous 4 wacom tablet

I use Paint Tool Sai and Clip studio for my art programs

I prefer Digital art but don't mind traditional work once in a while. 

I am Taiwanese American 

Important Notice

Please understand that some information will not be shared by the creator’s request.  If you cannot understand that, there is not much more I can do to help you.  Safety is a top priority here, and I am here to help the creators, not instigate negative behavior.

Collaboration Disclaimer

The information provided in my Featured Creator articles is, in fact, from the real people, not some random Internet bot.  I do not use random stock photos to fill an imaginary photo quota.  Any photos in the Featured Creator segment are provided by the creators with permission to use them in this manner.  I want to support the original person behind the work, not a random online copycat creeping around.

To The Kao,

Thank you very much for accepting my request to work on this!  I know that you are super busy, especially with a special dragon and book of yours coming out, so I appreciate every bit of effort you’ve put into this collaboration.  I love your art style, sense of humor and various messages that you provide in your comic.  I wait in anticipation for what else you will create in the future.

Honestly, I was shell-shocked that you actually responded to my request, let alone accepted.  You may not realize it, but you have helped me to see that I can do more than I thought previously possible with my writing.

I wish only the best for you, GoGo and CK in all your future endeavors!

Sincerely,

Jasmine Love

{Write Way Studio creator and blogger}