#might take these sketches and refine them a bit more

[the-zephyr-zone]

Day 8 of doodling until Jet Lag season 13 comes out!!

[amorfista]

[WIP] "Shenanigans at the beach"

The Dad Batch (and Omega) deserve a day of blissful relaxation, I don't think there's anyone out there who wouldn't agree!

While Tech is taking the best nap of his life [Part 1], Omega and Wrecker joined efforts to make the coolest sand-Tipoca city there is out there!

But hold up just a second...

-"Hey Wrecker, look!"

"...now wouldn't it be a shame if someone was feeling extra mischievous today?" Omega thought to herself. Turning to her left, lips pressed in a smile, she discovered Wrecker mimicking her expression. Apparently, he had just read her mind >:).

Tech had felt such peace, such safety that he had fallen into a deep slumber, further fueled by his usual lack of sleep.

Tough seldom wrong, today he was.

Because at this moment Tech was, in fact, in grave danger.

...TO BE CONTINUED!!

[Part 3] [Part 4]

(Acknowledging the lil' banner for a fraction of a second, it's just something I'm testing out and would like some feedback if you'd be so kind to give it :)) I'll probably make it just a tad bit more refined and (possibly) include the members of the Batch appearing on the post? but I might just randomize it for fun too. Thank you for taking the time to read this!!)

OKAY SOO. I decided to post these two drawings that I completed a few days ago because:

- once again i deadass couldn't wait anymore💀

- I have decided to make as many "beach episode" themed drawings as I can during the summer (and fall if we get there cuz why not) so i'll just post them as I'm done with each of 'em! I have SO many ideas for it and I want it to be a big project and not some sketches as I had initially planned. I want to make it WHOLESOME and HEART MELTING!! Whenever I get burnt out or need some fresh air I'll draw other things, probably still within the Star Wars theme because the brainrot is real🤓, but just letting you know in advance because AAAH!! this is a big thing for me and I want to share it with you guys because love is all you've shown me and I want to reciprocate 💕 🥺 

- and last but DEF NITELY not least I want to celebrate thAT I REACHED 300+ FOLLOWERS TODAY!! AND ALSO 1000+ NOTES ON MY OMEGA DRAWING??!! IN LIKE NO TIME TOO!!? WHAT THE FRICK. THANK YOU SO MUCH EVERYONE!!

Never before had my art had such an impact in a community. I am so grateful for all of your comments and interactions with my drawings, it's a ridiculous boost in inspiration and confidence :) It makes me want to push my limits every time!! So once again THANK YOU!!☺️ 💕 

Here's my taglist, just let me know if you wish to join!! ♥

@dukeoftheblackstar @justalittletomato @darthmaulshispanichousewife @botherbother-blog @aftergloom @badolmen @ihaventpickedausername @ohboi @stardustbee @nik-barinova @the-chains-are-the-easy-part @gen-has-green-vibes @ejfivercommander @herbalinz-of-yesteryear @eyecandyeoz @noesqape @lune-de-miel-au-paradis @staycalmandhugaclone @callmesunny04 @freesia-writes

[sonyshock]

Tip/advice for drawing fast?

Of course! Let's see:

Practice speed drawing studies until you have the kind of speed you are happy with! It'll help you synthesize shapes and train your hands to do them in as few strokes as possible. It will also help you understand anatomy (for example) well enough that you can simplify it on the spot.

Collect references in advance!!! As in, one day earlier at least, so you can start the day with a general idea of how the picture will look like and without tiring yourself looking for references. Choice fatigue is a thing and finding references will take a lot of it. I use PureRef to collect references for commissions and about any other thing i want to draw or I have ideas for:

Zoom out. In the beginning and at the end of every stage (coloring, render). It'll help you get the areas of the drawing that can be solved with one stroke solved in one stroke, instead of multiple because you chose a small brush.

Use a big brush for a start. It'll force you to not focus on details. Add details gradually with smaller brushes.

Start with rough shapes rather than bit by bit. If you are drawing a character's full body, you should have the general structure in 10 seconds (general structure can look like two balls and a box, depends on what helps you best)

Redraw instead of fix. If you are stuck, it's probably better to redraw a piece of your picture or even the whole thing.

Don't do lineart. Use the sketch and refine it instead. Of course, this might depend on your style, but keep the choice in mind.

If you are going to render, exclude as many 'flat details' as possible. Body patterns, seams, even wrinkles (occasionally) will make the render more complex, when you can add them over the rendered piece afterwards and take less time.

When you start to render, begin with the borders of the figure. It'll help with blocking and by the time it's finished, it'll help you judge just how much you DO want to render

It's generally not got to only draw one thing unless it's very much by choice, but if you draw something similar very often (let's say, a bodyshot looking 3/4) you will get faster at it. Acknowledge your strengths. Even when branching out, you might want to start by diverging just a bit from it rather than a composition you are not familiar with at all

You might want to start pictures in monochrome and with a big brush instead of using base colors. This might or might not help you work faster depending on if you like refining art.

Schedule your art. Specially commissions. Knowing WHAT you will be drawing every day will help you get in the mind space to get it done and in how long you should.

That's what comes to mind! I might have more I'll add later

[yellow-py]

hello! you've probably been asked these before, but i'm here to ask how long it typically takes for you to make animatics, if you have any tips, preferred methods, and what you use? i saw your funger animatic and it looks absolutely gorgeous! i love all the detail that's jam-packed into the art and story telling, so i'm curious about your animatic process.

sorry if this is a lot! no need to answer if you don't want to. i love your stuff and i wish you well!

Hi! I don't mind answering some questions!

First things first, I'm not a professional storyboards artist. I've done a few things for some youtube channels. I wouldn't call myself an expert. This is to say that my method of doing things might not the best for people who actually work in the industry. 

Most of the time I work in Storyboard pro 7. But honestly, any editing software works as long as it can handle pictures and audio. For the disco elysium animatic I only used  clip studio paint and some random editing program called Camtasia. It worked alright but it takes a bit longer to finish stuff since storyboard pro is more streamlined. My go-to method right not is to draw the backgrounds in clip studio and the characters and editing in storyboard pro. That way, I get the best of both worlds. 

The funger animatic took about 2 and a half weeks to make. It usually takes longer, but the song wasn't that long so that saved me a lot of time. But as another example, my disco elysium animatic took +3 months. So it really depends. I did work longer on each frame for that one tho, so idk. On average, it takes me about 2 months. But that number keeps going up since my expectations of myself keep rising. 

Anyhow! I'll be bringing up my fear and hunger animatic as an example of my process. 

My animatics usually start out having the ugliest thumbnails known to man. It does let me experiment with framing and timing, which is absolutely crucial. I do not recommend that people start refining frames without having planned out things beforehand.

After that, I just save every thumbnail and import it to storyboard pro. I just scale it up to the current canvas size. Then I just line up every frame with the audio. It is a little bit tedious but you gotta do what you gotta do. 

After that, I begin to draw the backgrounds in clip studio. I do the same thing as in storyboard pro and just size the thumbnail up. And then I just sketch over that! Technically, I could have drawn the backgrounds in storyboard pro. But their brushes are pretty uggo so I prefer to not do that :)

As dumb as it might sound, it kind of stresses me out when my storyboards aren't "pretty". Which is pretty stupid since storyboards are literally made only to be a guide for what an animation should be. so in actuality, it's alright if they're kinda crusty. But since I never intend to animate my animatics I find it nice to spend more time on each frame. Which is sorta stupid because I'm shooting myself in the foot by working so long on every frame...

Either way, after that, I import the new backgrounds into storyboard pro and begin to draw the characters. Technically I could draw them in clip studio as well. But its faster to draw them in story board pro and it also allows me to do some semi-animated things and work faster. So, after a lot of experimenting, clip studio backgrounds and storyboard pro characters is the way to go for me! 

And just to note. This animatic might have only taken about 2 and a half weeks. Which sounds pretty good. But when it comes to animatics I can become a real workaholic if im inspired enough. So every day after school I would sit non stop working on this from the second I got home to when it was time to sleep. As well as every second of the weekend after I was done with my chores. So that is to say I work pretty fast and persistently, which i know is not healthy or realistic. So take my timing with a grain of salt. 

But that's kinda my process. I just draw backgrounds and draw characters until the thing is done. 

If I had to give any advice, I would say it's important to have fun when making animatics as a hobby. When I make an animatic, it's because I personally want to see that animatic, and if other people like it, that is a plus! If you're excited about an idea, it'll be a lot easier to add fun details and soul into it. 

But yeah that's it. I can't really come up with anything else to say. I hope I gave some good insight!

[the-100-days-of-junkan]

Day 82

Another one that I love!~ Gonna be a lot of those from here on if you couldn’t tell!

Junko’s the Ultimate Fashionista (in the english release at least but hey Ultimate Gyaru has to have a little crossover right??), so of course she handles Mikan’s wardrobe the moment she’s allowed to. So . . . Extremely cute scene of her having Mikan try out clothes to see what she does and doesn’t like. 

An opportunity for Junko to pamper Mikan, AND i get to draw Mikan in a sweater???? Heaven. Also like are we all in agreement that sweaters just look fuckin amazing on Mikan?? Like I admit, I think I just like drawing Sweaters on Mikan but they just make her look so much cuter because of how god damn cozy she looks in em. 

Unfortunately that’s all I have to talk about for that topic? I think? So instead let’s shift over to a recent development involving Junkan!

I’m in the midst of working on the Junkan Christmas Eve comic, which hopefully will be getting posted on time a few days after this, and during the process of making there’s been something new with my current abilities.

I have officially hit the point of proper freehanding on these two.

Y’see this probably won’t make too much sense but i’ll do my best to explain. 

So normally when it comes to sketches I’ve done things a bit less proper compared to more professional artists. I usually get a little start on the anatomy, and then just start sketching all the character details and moving out from there. It isn’t often that I do a full sketch for the basic anatomy of a character, I only do it when I really wanna not fuck up a pose. And as you also know up till now only one piece in this event was drawn normally. Everything else is a sketch that i cleaned up and colored, or just a sketch. 

This is because generally speaking I can’t do art using my normal pen tool without a sketch to work off of, it requires a lot more finesse to use the G-Pen both because of the larger shifts that can occur in line width, and the slightly looser feel it has compared to my Pencil Tool. 

That’s all to say that I have drawn Junko and Mikan so many fucking times that I can just, draw them without proper sketches now. I’m at a point where I just need to draw the head, torso, and legs for an anatomy sketch, and then with the G-Pen I can just, draw from there. That’s big for me personally, and also fucked up because god how even??? There hasn’t been a drop in quality either so far, i’m still able to refine the expressions and i haven’t fucked up with the arms too much yet, I’d even say it’s resulted in some of my favorite Junkos and Mikans period.

Now, the catch is that again, this is only Junko and Mikan. I could prooooobably get to this point with Mukuro eventually just because her design is much simpler compared to other DR Characters? I struggle with getting her colors right rather than linework, but that’s about it and still not really useful in my main line of work unless I memorize every character that’s ever existed, and it took like 150 fucking times for Junkan I can’t do that for an obscure RPG character that I might get commissioned once and then never again. 

It’s also not something that I think i’ll apply to my normal Junkan works, because I am a perfectionist to a fault when it comes to pieces I care about and I want to make sure every detail these is exact. I need to be meticulous for ship art like this, every detail is important. And I can maximize that with sketching.

This new skill is basically useful for one thing. Speed. 

I pride myself on my efficiency, even if I have waned over the years due to burnout and overwork, when I get into it I can fuckin move with my art. And so if I need to say, make a 28 page comic in under a month? Being able to mostly skip an entire phase of the art process is very, VERY useful, ESPECIALLY because it’s a comic. Something which generally takes more time than my normal art by nature of it’s format and what it involves. When making the Comic for Day 60 it was all sketches, which was equally fast but could leave small imperfections at the time that either went under my radar or I just let slide because i was trying to be efficient. 

This is basically perfect for having to speedrun a Junkan comic, it’s all the speed with the usual amount of visual quality.

So in short . . . I’m turning into a nightmarish hell machine but specifically for drawing Junkan. I am genuinely curious how much farther I can go up from here, like, what the hell else could I be capable of with this???? Am I just gonna learn how to fuckin beam the art onto the canvas with my brain???

Moral of the story is just get mind numbingly obsessed with a ship and I guess you’ll get better at stuff??? I have no idea, i’m still kind of processing the comedic value of what this year has been because I was desperate for these two to make out. 

As always, Reblogs, Comments, and Little Notes in the Tags are appreciated!~ They always make my day!~

[funkyspacealien]

Rabbit of the Night He'll suck the orange out of your carrots (Sketches n' processes under the break! It's a REAAAAAL long one)

I've been meaning to draw a piece that actually includes a background instead of a character standing in the void. The issue that arises is that... I just didn't have any good ideas for backgrounds, lol. Partially the issue is that I tend to design the character first, which makes it challenging to draw stuff around them. Since around the time that I made this piece was October and the big holiday was Halloween, I figured I could do something within the theme. I've been meaning to draw my character, Nosferatu, again since they have always been one of my lowkey favorites of mine.

An older piece of the character, which you can see with the others here The character was quite macabre, which made it perfect for doing something slightly spooky. The cape also gave me a great idea for making something more visually striking, as well.

My first attempt. As you can see, I tried to do a thumbnail this time so I can have a better understanding of the amount of space I have to work with. I highly recommend that you do something similar if you struggle with doing backgrounds. Though, I think I ought to make it a bit more square, lol. I had to tweak some things to fit within the standard square shape since I drew everything at a wonky angle. I was inspired by Soul Eater and Majora's Mask when it comes to the background design, especially with the moon having a prominent appearance. I knew that was a consistent thing I wanted to keep throughout the iterations. The flowing cape was heavily inspired by Spawn and the artwork of Lelouch from Code Geass

I always found it to be such a striking iconography for the characters. Despite being an inanimate piece of clothing, it adds a lot to the design. Spawn was always an intimidating dude, but having that cape overwhelms the viewer and takes up so much screen space every time he wears it helps give him more of an otherworldliness. You may not truly understand who or what is he, but you may get the vibe that he's someone with great power and importance. It's befitting of someone who is viewed as the best spawn of the devil. I find it also interesting for a character like Lelouch. Now, I never watched the show he came from, only understood the basic premise from various sources throughout my life. Pardon if my read on the character is incorrect, but to me, he's quite the scrawny guy and perhaps lacks power of his own. Despite this, he runs a rebellion and goes under the alias of "Zero". He dresses up as Zero, including the cape. With it on, his form became much more imposing yet concealed. It gives him a sense of royalty, which you might attribute to the likes of Kings or Queens. Someone with power. Sorry for that brief character analysis tangent, lol. It's just something that I thought about when creating the character of Nosferatu. I find it interesting that something so simple as a cape can help give a feeling of power. It's something that I feel everyone subconsciously think of and not realize. Back on topic, the rest of the composition I wasn't super satisfied with. I sorta lean into the "Dracula" look the character had by having the castle in the background, but I think it came off as very flat. I also thought it made things visually unclear. A bunch of things off in their own corner instead of organic guiding the viewer's eyes. I scrapped the first idea and tried to go in another direction.

I had the idea of being underneath an overpass and having buildings being lit by the moon. I don't think it was too bad of an idea, but I had trouble refining it and making it more "full", if that makes sense? This had a weird sense of emptiness and dragged the composition down for me. Perhaps if I drew the character differently and played more with the perspective, it would've been better. I went back to my original idea and checked if I could improve some things on a base level.

Originally, I had the cape go off-screen but checking my original inspiration, like various art pieces of Spawn, I noticed that the cape "ends" tend to curve back into the frame. I decided to do something similar which I think helped give the piece a sense of "flow" to it. I found that it also gives a composition more layers of depth and fills in any "empty" spaces that I had worried about before. I tilted Nosf's head a bit so they weren't just standing there stiffly as well. Sometimes it's the little things that help improve the piece than having to redo it all over again.

Finally, I just decided to make the background more on the simple side. I think I had the issue of really wanting to prove myself that I could do backgrounds that I made it way more complicated than it needed to be. It gave me the chance to make the moon much bigger, which I always meant to be a striking aspect of the piece. When drawing, I decided to forgo the "ground" that the cliffs are on since I felt it cluttered up the piece with too many colors. Now, I just got to finish it!

I should be done, right? Well, not exactly. While I think it looks nice (I'm personally proud of my use of noise filters), it just still lacks the depth that I'm looking for. Something about it is too bright and clear. I went back and experimented some more until I found a solution that made me feel stupid not realizing it before, lol. So initially, I tried to use this photo editing program called "Picsart". I used to use it a lot when I was doing digital art since I like the added filters. I eventually stopped because it would ruin the image quality. I thought they fixed that issue, but it's still the same.

It's a bit subtle in this picture, but I like to use the "vintage" filter since I like the added shadows on the sides of the images. The problem is that the quality got ruined and I'm very stubborn about keeping it in the nicest resolution possible. I decided to see if I could replicate it in my own art program. What I discovered is that I can and the solution was very simple, lol. First I drew a square with a solid color on a new layer-

Then I used the "Gaussian Blur" Filter-

I turned down the opacity, set the blending to "burn" and overlaid it on the artwork, which gave the depth I was looking for!

I gave the head some slight shading too since the filter unintentionally gave it to their ears. Good call since I think that helped with the Halloween atmosphere I was intending.

[m1d-45]

-Pari Anon

Add Albedo to the Pari!Creator brain rot.

Before anyone learned that Pari!Reader was the Creator, Albedo had managed to catch a glimpse of them while he was at the Inn heading to the harbor. Xiao is away dealing with demons, so Albedo is able to get close to Pari!Reader. He finds their chirping adorable, and he can tell they don’t mind by the way they nuzzle into his hand.

He plays with Pari!Reader for a while until he has to go. He makes the mistake of trying to take Pari with him.

He isn’t even across the bridge before Xiao has a spear pointed at Albedo’s throat, demanding he release Pari.

i love this really, like albedo studies leylines and he can sense the disturbance, so he decides to travel to liyue to ask some specialists about it. he travels, taking a stop at wangshu inn, travelling high to better sketch the view. liyue is rather pretty, and this angle of dragonspine is quite striking… he grabs a chair and sits against the balcony railing, sketching as the sun sets.

when a rather odd looking creature flies onto the balcony, it starts toward him, then stops, awkwardly readjusting midair to land on the balcony. it’s as if it expected him to be someone else…

he flipped to a new page, sketching the strange creature. it was unfamiliar to him… maybe local to liyue?

it tilts its head at him and he smiles. “hello. how are you?”

he mostly ignores it, figuring it’s some sort of adeptal pet or creation, but when he returns the next morning to catch a few more details for his drawing, it’s there again. it flaps, chittering, and he smiles as he finalizes the sketch. he can color and refine it later, but these details were crucial before he continued his journey into the city.

he looks up to say goodbye, and sees the creature curled up on the railing, seemingly asleep? how strange, for an animal to place its trust in another so willingly…

after a few moments of inspection, he realized the creature was imbued with some form of elemental ability. how odd, he thought he’d had all forms of elemental life documented… perhaps this is what’s been causing the disturbances?

after a bit of thought, he takes off his jacket and gently moves the creature into it, keeping them bundled in one arm. he collected his things and said goodbye to verr goldet, walking out of the inn. his trip is peaceful, though the creature begins to stir as he approaches the gate. he slows, making a small opening in the jacket for it to poke its head out. it tilts its head again, chittering, and he can’t help but smile.

“hello,” he says again, and the thing chirps back, looking around as he continues to walk. however, once it does, when it sees the buildings of the harbor and the millelith standing guard, it starts to fuss, flapping its wings.

he should have seen this coming, in truth.

“no, i won’t hurt you-“ the creature bats away his hand, letting out a sharp cry that hurts his ears with the pitch. he winces, and in the split second his eyes are closed, something sharp presses against his skin.

“release them.”

his eyes open, and he sees.. someone he doesn’t recognize, admittedly. teal eyes and a jade spear just as sharp are all he can pick up, their hand reaching for his jacket, pulling sharply. the creature quickly squirms out, diving behind the stranger’s shoulder, and albedo timidly raises his hands.

“a pet, then? i was unaware-“

“don’t call them that,” the stranger growls, and albedo hisses as their spear digs into his skin more. they reach their free hand to the creature, who leans into them with chitters.

“who-��” he doesn’t think he’s met another with such a fierce glare, though the weapon at his throat certainly doesn’t help. “who are you?”

the stranger sneers, lip curling. “you dare venture into liyue without knowing those who reside there? do you have no respect for the adepti?”

ah. that explains quite a bit.

“my apologies. i am not a native.”

“clearly.”

“…might you be able to tell me what that is, then? i have never encountered an elemental being in that form before, not have i read about one. it appears to resemble one of sumeru’s…” he pauses, fumbling for the name, and the adeptus retracts his polearm.

“that is none of your business. in the future, it would be wise to not touch what isn’t yours, and stay out of what you’re not involved in. i will be keeping an eye on you for the remainder of your journey; be mindful of your manners.”

the adeptus turns, vanishing in a cloud of teal smoke, and albedo lets out a breath, hands lowering.

at least that explains how he appeared without his noticing.

[ryemackerel]

do you have any general art tips??

YES! OMGGJJF IM SORRY I DIDNT GET TO THIS SOONER i had this saved in my drafts for a while D: BUT! without further ado, get ready for me to bestow them upon you 😈

- whenever i do full-body character refs / dynamic stuff? i like to start off with the shape of the art first before getting to the guidelines.

following the shapes and making a rough doodle of the dynamics helps me better structure the body language without worrying about the anatomy early on. anatomy is my weakest point when it comes to character designs, so for me, i find it better to start with some random shapes THEN working my way to more complex details.

(some good examples of that :])

- this is just a general preference? but when it comes to art and you hate refining the lineart, making things neat, AND it takes a really long time to finish art (and it bothers you), might i suggest trying a looser approach to art?

heres a prime example of that! in 2020, i used to be very keen on making my art super neat. i even tried making the guidelines as neat as possible which? tbh didnt work out for me a lot. i would find myself constantly redoing the guidelines, then trying my VERY best to make the lines as neat as possible. it took a few weeks to finish these kind of drawings, and it didnt help when i liked the sketch MORE than the lineart. (some art would take up to 15 hours)

over time, i started making my lines looser. i shifted away from making refined lineart and started making the sketches themselves the lineart. my lineart started becoming messier, but i liked how it gave it that more “authentic” look. i stopped worrying about trying to accurately translate the feeling of my sketches to my lineart, and drawing became a lot more quicker. although its a bit more tedious to color (i have to do it manually now), i still like this process a bit more. :]

you could just faintly see the guidelines in my recent art :] sometimes i include the guidelines, sometimes i make the guidelines a different layer. it really depends on how i feel, but i loved doing looser art more. the quackity art took 4 hours, the simpbur-argbur art took 2 hours. :D

- lastly, dont be afraid to take inspo from others’ art!! when i developed my art, i always took small bits of others’ art and incorporated them into mine. as artists, we always copy each other.

not in the way where we’re outright duplicating entire artworks as our own, but in the way where we’re like “oh cool, you do eyelashes like that? i wanna do my eyelashes like that too!” kinda?

for my art, i was always super inspired by how people make super warm art and had this kinda, white background to them. i tried incorporating that into my art style and started loving it :]

pinterest with their photos too? sometimes photos of people wearing cool outfits or random backgrounds help inspire my artstyle. take as much inspo as you’d like from others, don’t be hesitant to be inspired! of course, you’re welcome to give credit whenever.

hopefully some of these help :] feel free to ask questions and ask to elaborate! i just woke up and typed this out while still waking up HAGSHHA!

[bluberimufim]

Oh ho ho, now I'm curious, do you have any refs for anyone that might want to draw your OCs? Pictures or specific descriptions or anything of that sort? Just curious...

Thank you for the ask! I'm so glad it interests you!!

Well You See: I'm an artist. I should have references lying around. But if I were to present them, it would be some super sporadic stuff bc I never got around to drawing MOST of my ocs, for some reason...

That being said, I have a few things lying around. I'll post it here and maybe update when I make more.

(Also, I know the digital drawings suck. I have 0 experience with it. I am Trying Very Hard)

This is gonna be Long, so buckle up.

Dystopia WIP:

This WIP was originally concieved at a graphic novel, so I have a few drawings - especially a few rough sketches mapping out outfit shapes and colours. Let's go through the main cast:

Veta, Vi and Veo (aka the Communist Polycule):

Veera:

Alexis Ivanik:

Cristover (left) and Nester Kalenev (right):

I have a post explaining the significance of most of the colour palettes of the 3 WIPs here

Notes on the characters:

Nester, Cristover, and Vi are all guys. They're wearing skirts bc they're Fashionable. Vi has a beard

Vi's outfits are inspired by traditional portuguese costume

idc what you do with Alexis, they NEED to be wearing extremely over-the-top eyeliner at all times

Devourer of Souls:

So here is the Thing. Most characters in this WIP being female is a very recent development. Almost all except for Flick used to be guys. So the only pic of Seth is her as a man. Literally just picture her with longer hair and it's almost accurate.

Seth (very zoomed into a drawing I once made):

(pls don't forget that she's a cane user)

Flick (the people on the sides are Allana and Hunter, the two souls their body houses):

Notes on characters not pictured (Jane and Theo):

Theo and Jane are technically twins, and they have a Snow White/Rose Red motif

Theo has bright red eyes long white hair in a huge braid. She wears all white tends to prefer overalls

Jane has short red hair and white eyes, the inverse of Theo

Black and White

Considering this WIP is my main one and the one I've had the longest, I have shamefully little material on it that I like. And also, I've already reaches the limit on pictures I can post.

I mean, my icon is a drawing of Darius, and there's also the Great Reyna Picrew Show-Down, but otherwise? Almost nothing. When it comes to descriptions, it's kinda vague ig? But let me kinda compile a little bit. Here's the most relevant characters in order of appearance:

Johann:

[...] He was significantly older and dressed much more presentably. His deep black suit had a refined and expensive-looking cut. He carried an old walking stick, which might have been in fashion in the previous century, to complete the look. Besides that, he had a box-shaped camera hanging from his shoulder. His hair was almost completely grey and perfectly combed, which made him look organized and important. When he walked closer, Darius noticed the strange shine in his eyes, his crooked nose, his lively smile. There was no doubt. He looked like all the pictures he'd seen. [...]

August:

He would almost be a perfectly normal person if not for his height. He wasn't a giant, but he had a considerable advantage over most people, although not at the expense of any muscle. His hair was longer than one would normally see in a man, almost shoulder-length. Otherwise, he looked pretty average, dressed in a half-opened shirt and very tight trousers. He couldn't decide if he should categorize him as "weird" or not.

Extra note: he wears a glove on his right hand that he never takes off. I once made a joke about the glove staying on during sex and it's 100% true.

Reyna:

[...] The girl was absolutely enormous. He'd never seen anyone so tall. She was taller than August, who was almost a giant himself. Even without heels, she was taller than anyone he'd ever met. And besides that, she was dressed quite scandalously. Her red dress barely reached the middle of her legs, leaving part of the knees exposed. The skirt was made of various layers of light fabrics, like chiffon and tule, all of them ending in excessive frills. It looked like a flower upside down. The dress had no sleeves, being held in place solely by two thin straps covered in glitter, reflecting the light of the sun. All of her seemed more suited to a burlesque show than a circus.

Diedrich:

His red hair, tied into a ponytail, fell down the side of his neck, like a small flame. He wore a crisp black suit, like any common man would. [...]

I can't believe I never actually described Diedrich. I know he's a POV character but still, wtf??

I mean, I guess there wouldn't be a point in describing him from Darius's or Reyna's POV because Darius spent years collecting pictures of him and Reyna has seen him every day for the past 5 years. But if you want an age range, he's 50 in the main story, just like Johann.

You know what? Hit me up if you want a drawing or better description. I'd be happy to do it for you, if you wanna actually draw him.

(if you're wondering why the descriptions are so weird about fabrics, it's because this is narrated by Darius and he's a tailor - he's really into sewing)

As for Darius himself, he's only ever described as "looking like Alphonse". And what does Alphonse look like, you ask? Johann describes him in relation to Diedrich (a description we don't have), and Diedrich feels no need to describe him because he's literally his son and he's known him since he was born. I need to fix this, holy shit.

Anyway, I hope this gave you better insight into how (some of) my ocs look! And I hope you had fun looking at sketches, zoomed-in pictures and 1 (one) fully fledged illustration of Flick.

Also, feel free to ask if you need more info! I can add it here to paint a more complete picture.

[mitchelldailygames]

Heroes of Song Devlog Part 9: Exploring Alebas

I am so stoked to have momentum on this game again. Here are the game’s design principals, which I’m partly putting in each of these posts as a reminder to myself:

The heroes are cute.

Kindness matters.

The world is weird.

Sometimes you don’t fight. Sometimes you do.

Health is hearts.

Let’s get into exploring the weird world of Alebas! I’ve been working on exploration rules, and I I’m really liking the direction they’re taking (someone notice that it’s funny to mention “direction” when talking about exploration rules).

In the fifth devlog, I got into region generation, which is the first part of exploration. This is where your party gets to the top of the next hill or through a canyon or to a distant shore and the next region stretches out in front of them. This includes generating some landmarks and biomes for the region.

Points of Interest, Blank Spaces, and Getting Lost

I’ve since added are points of interest and blank spaces. Points of interest are drawn out of the region generated by the players. If one of the biomes was a lake, that might turn into a specific lake for Heroes to visit. If one of the landmarks was a graveyard, that could be a named graveyard or the graveyard of an abandoned chapel. These points of interest could either be listed out or sketched onto a blank map.

Heroes can easily travel between known points of interest without playing out the journey or rolling anything. When they get there, the Songkeeper rolls two dice to find out if the place is dangerous or peaceful.

Blank spaces play out much the same way, but Heroes will need to make a roll to find them (unless they have a Scout leading the way). If Heroes successfully get to a blank space, it becomes a point of interest.

Failing this roll means the Heroes get lost and have a random encounter. Groups can also choose to get lost for the sake of wandering around the world looking for interesting, organic-feeling encounters. I’m liking the getting lost mechanic. I think it’s a good middle ground between having no random traveling encounters and having traveling between any two points on the map being tediously lengthy. Of course, there may be journeys the players want to see more of, and nothing in the rules would stand in the way of this.

Hidden Treasure

When the Songkeeper rolls doubles while seeing if there is any danger at a point of interest, there is also something hidden to be found in that point of interest. There are several loose options for how the thing is hidden and what the Heroes will need to get it. This is how I’m handling secret delving in the “open world”. I think it will give some of that feeling of organic discovery found in the video games that inspired this game.

Wrap-Up

The overall idea with points of interest is that each is a place the Heroes can go to and find something to get mixed up in. Not every point of interest has to be a dungeon or super essential to the plot, but they can find something interesting or useful at each one.

I need to test this to see if it has the feel I’m hoping it will have, and I’m sure there will be some refining. One thing I’m already wondering is the amount of burden it puts on Songkeepers to make each location a place worth going to. There might be some additional tables added, especially for locations without any danger.

I’ve also started some work on community building mechanics. Haven Park and Animal Crossing definitely sit among my inspirations and I want Heroes to have some clear ways to engage with the game that aren’t combat-related. I think community building could really contribute towards the “Sometimes you don’t fight” part of this game.

Final piece of news is that I’ve been talking to an artist who’s interested in doing the art for the game! I won’t say who until we’re a bit further along, but it’s an exciting step towards making this feel more real.

New Inspiration Side Note

I just finished playing Chants of Sennaar. It’s a really cool indie game about decoding languages and connecting people. I think I will be writing about it soon. It is definitely giving me ideas about how players can engage with the languages of Heroes of Song.

Until next time!

The world is weird; kindness matters.

--Daily

[arcxnumvitae]

1. What does your muse smell like?

A subtly sweet scent almost like a fruit candy! It's her shampoo.

2. What do your muse’s hands feel like?

Soft minus the callouses on her palm from where she's held her sword for practice and drills. It sometimes catches people off guard to feel the roughness on her palms. Minglian isn't self-conscious about it or anything, the callouses are all physical proof of her hard work and practice! Remembering them makes her pretty pleased!

3. What does your muse usually eat in a day?

Whatever her teacher cooks. She keeps insisting he doesn't have to make so many meals for her, but she can tell that he likes to cook for her and also likes sitting down and having a meal together, so she doesn't push it. She's partial to snacking as well whenever she's sketching or drawing and is basically a habitual snacker. Snacks when she's bored. Trendy things too! Like boba, cheese tea, whipped coffee, that jiggly cheesecake, so on. Also cute desserts! She's a big sucker for a super cute dessert.

Unlike some of the other fossils (dragons) Minglian is more likely to eat cuisine other than the not modern Chinese food her teacher is always cooking, she's always looking for new things to try.

4.  Does your muse have a good singing voice?

Yep! Like Huaxiu, she hums or sings idly whenever she's doing a chore or something. She'll also sing to herself under her breath when she's drawing. Like snacking, it's something she does without thinking and when she's a bit understimulated.

5. Does your muse have any bad habits or nervous ticks?

She shifts a lot on her feet when she's nervous. It's also incredibly easy to tell in general from her demeanor whenever she's feeling nervous about something, she's not very good at being discreet about her emotions.

6. What does your muse usually look like/wear?

Certainly less expensive-looking than Huaxiu. I...don't know how to describe it? Cute in a refined way? Minglian's liable to wear longer skirts more than she will pants, but she's not wholly against pants. She almost always has some sort of ribbon, pin, or accessory in her hair, and it's rare she wears it totally loose. Be it pigtails, space buns, a high half-up ponytail, she always has it done in some way.

7. Is your muse affectionate? How much? How so?

Oh absolutely. In contrast to the fossils (dragons) around her, Minglian can naturally be very physically affectionate with friends she considers of a similar age range, i.e. "not an elder." Depending on the situation or person though, she might try to restrain herself a little. It all depends. Overall, she's a very sweet girl.

8. What position does your muse sleep in?

Slightly curled on her right side. Nothing of note about her sleep pattern. Like the other Red Eyes, she doesn't have to sleep, but she chooses to because why not. Sometimes it takes her a minute to get going in the morning though.

9. Could you hear your muse in the hallway from another room?

Eh, yeah? She talks at a normal volume without anything of note. Her voice may raise in pitch slightly if she's excited or agitated in any way, which could make her all the more easier to hear.

[third-half]

2023 Self Check

Honestly, having an overall middling year where most of my troubles were my brain’s fault was kind of a breath of fresh air. Being out of commission for most of last year with a fucked up knee at least got me thankful every morning I can get up and walk around without a brace or cane. I don’t really agree with the doctors and my Dad that I’m “young” but I’m apparently still young enough I can heal. That said, I’m kind of let down in myself for letting depression and laziness get the best of me like, worse than usual this year. It hit kind of hard when sitting back and going through old archives of content and realizing that:

Sketch-A-Day was 2015 Eishi and Dixie was before that Revolver Knight ran from 2005-2008 or 2009

Meaning I’d basically failed to really deliver on any of the series/game/etc ideas I’d pitched from 2016 onward with the arguable exception of the dungeon crawler card game’s first version. If anyone was curious as to whether I’d touched on some of that stuff in the meantime the status of my Things right now is:

Angel Dust (The Gatty Thing)- Pretty much axed, as much as I love the character, it was kind of turning into edge for edge’s sake. The thing about Gatty Ling is I’ve had the idea of an erratic, destructive but adorable and well meaning character kicking around for ages but she’s kind of just a blank slate beyond those traits and I’ve tried to plunk her into like three completely unrelated settings with different origins. I was also attempting to kind of do a distinct art… sub…style with her stuff closer to a moe VN look, really pump up the cute to make the dark stuff pop, but well, Madoka already exists and the last iteration was basically Madoka with Robots. I probably wouldn’t rule it out forever but I’ve kind of been using some bits and pieces of the setting to flesh out the Plane Girls Thing

Revolver Knight Reload- I got like three pages into drawing a complete remake of my old webcomic, but kind of got cold feet from a combination of things. I didn’t think I was ready to take on another gigantic long form story, though I promise that the new version was *MUCH* more refined. Like Gatty, I wouldn’t say it’s *impossible* I mess with this, but I think I might look into something closer to a light novel with spot illustrations than a full on comic in the interest of like, finishing before I die.

Critical Heaven (The plane girl thing)- Still active, but having a bit of an identity crisis. It began as a ‘skirmish’ tabletop wargame then I got to thinking about it as more of a shmup-inspired duel game. The format of tabletop/print is also kind of iffy because I know people would be more likely to play it digitally and I have like, zip experience putting a substantial game project together. There’s also a more or less complete ‘campaign’ jotted half in my head and half in my notepad (putting it in a game with multiple endings would save me from deciding which ending to give it, hmmm.) But in short, yeah this is still being picked at.

Irrgarten (The Dungeon Card Thing)- I know I lead off with kind of the downer limbo thing but I’ve actually not totally abandoned this, definitely not the setting. Surprise, Radona is from this world! Really, I could probably bring this back pretty easily by revising the original game rules, the biggest issue we ran into play testing was that items didn’t ‘feel’ very valuable- characters were strong enough on their own not to need them. Maybe I can bump this up in priority.

There are probably other story ideas I’ve mentioned over the years and not followed up on, but characters from axed stuff do tend to surface in other projects if I’m attached enough to them. If there are any particular things that you enjoyed my work in or reading about in the past, do let me know. I’ve had a hard time motivating myself, so a nudge wouldn’t be a bad thing about now. Next year, I would really like to put more effort into having a regular “thing” to work on, maybe I’ll bring back some gag comics. Definitely plan to do more drawing in general because drawing one decent thing then going radio silent for two weeks leads to needing to de-rust like, every time. I’m a creature very vulnerable to inertia.

So, no promises here, but my goals going into 2024:

Put some time into practicing more ‘dynamic’ content like simple animation and game design since I have like three game making programs sitting around

Regular art posting, with a focus on improving quality and speed

Minding my health more since it’s easier to be active when there’s less of me to move

Establish a more regular streaming schedule since it helps me trim down my backlog

This kind of turned into more navel gazing than I had planned to be doing, but I thought this was a good time to touch base on some things since I’m back to posting here… well, okay, ‘regularly’ is a stretch, but there are a lot of things I’ve brought up before and not followed up on in a long time. If anyone has still been reading this- thank you, truly. I hope that with a bit more focus and less dwelling on the gnawing darkness in my gut, we can have some fun here again.

Oh, yeah, by the way- also been kicking around a top X games list I may get to posting soon, but may save for New Years Eve.

[c0ncrete0verwater]

3D Modeling - FreeCAD basics

I think I might actually hate this one more than tinkercad. It feels like something that should be powerful enough to do everything fusion does, but when I try it makes me feel like a bumbling idiot and a fool for even having the hope that I could. The actual forms aren't anything crazy, but I went the extra mile in a few areas.

Object 1 : The Tutorial

I did it. If you're curious about the exact steps I took to make this one, consult the instructions you gave us.

Object 2 : The Cord Holder

Ok! You asked us to make an object that holds at least one chord from falling when unplugged, so mine holds up to four.

I measured out the kitchen countertop I study at (see above) with digital calipers so I have the exact dimensions to fit snuggly around the side with friction. I think I have pretty solid proof of this considering the calipers were able to stay locked in. The idea is that the thin bit of the chord is able to pop through the opening on the side of the tube, and is held up by the head that is bigger in width.

The Process

This one started with three rectangle sketches that I extruded and assembled to create the bit that attaches to the desk, creating an inside length of 1.625in. From there I sketched a circle and extruded that to make the body of the "holding" part. I then sketched a smaller circle that was 3.33 mm in diameter and used the pocket tool to cut this all the way through. To complete this part, I used the pocket tool one last time to cut an opening in the side wide enough for the chord to be pushed through. I duplicated this form 3 more times and arranged them snug to the side of the bigger form.

I exported the model as an .stl before closing freecad and when I opened it back up to take a screenshot it had no sketch lines so it looks slightly different.

This is something I might actually print and refine considering the magnetic chargers that come with surface laptops make me want to do something that rhymes with shmill shmy shmelf. I think operating with the exact proper measurements puts this one above and beyond considering some people in class were asking what they should do if they didn't even have a ruler.

Object 3 : Part A and B

The objective for this assignment was to make two different objects that fit together and wouldn't fall apart if turned upside down. For this, I made a chain design. I created the VY by using the multiline tool and extruding it. I then sketched the letters in smaller scale and used the pocket tool to empty out the shape and create the link. I did the same to the I, but used constraints to make certain lines equal and perpendicular to each other. Then, I inserted a notch big enough for it to slot into the top corner of the VY. This chain form would allow them to connect to each other without falling apart.

For this assignment, I didn't want the links to just be circles, so I had one part of my name connect to the other for a slightly more complicated shape.

The idea that I have to use this in the future when my fusion student subscription runs out is haunting.

[followurarts11]

Best Drawing Classes for Adults Singapore

Best Drawing Classes for Adults Singapore

Best Drawing Classes for Adults Singapore | Follow Ur Arts Studio

Introduction to Drawing Classes for Adults in Singapore

Do you ever feel the urge to pick up a pencil and just draw? Maybe you’ve been doodling on and off for years, or perhaps you're looking for a new creative outlet. Whatever the case may be, if you’re in Singapore, you’re in luck! Follow Ur Arts Studio offers some of the best drawing classes for adults that cater to all skill levels. Whether you're a complete beginner or someone who’s looking to refine your skills, this studio provides a perfect platform for you to explore your artistic potential.

Overview of Follow Ur Arts Studio

Follow Ur Arts Studio has quickly become one of Singapore's leading art spaces. Known for its inclusive environment and tailored classes, the studio stands out for offering comprehensive drawing classes designed for adults. From sketching to life drawing, Follow Ur Arts Studio has something for everyone.

Why Take Drawing Classes as an Adult?

Many adults might feel hesitant to dive into the world of art, thinking it's too late or that they aren’t skilled enough. But that’s far from the truth. There are numerous reasons why taking drawing classes as an adult can be incredibly beneficial.

Benefits for Mental Health

Did you know that drawing can improve your mental health? Art offers a unique way to express emotions and thoughts that might otherwise be hard to articulate. Many adults find drawing to be a therapeutic activity, offering them time to decompress and reflect.

Expanding Your Creative Horizons

Learning to draw can open up a whole new world of creativity. Not only does it teach you to see the world differently, but it also encourages creative thinking that can be applied in various aspects of life—whether it's problem-solving at work or simply appreciating the beauty in everyday things.

Stress Relief and Mindfulness

Drawing requires focus, which can lead to a sense of mindfulness. Many adult learners report feeling more relaxed and centered after attending a drawing class. It's a great way to detach from the stresses of daily life and focus on something constructive and calming.

What Sets Follow Ur Arts Studio Apart?

What makes Follow Ur Arts Studio stand out among other options for adult art classes in Singapore?

Professional Instructors with Real-World Experience

At Follow Ur Arts Studio, you’ll be learning from seasoned professionals who not only excel in their artistic disciplines but also understand how to teach effectively. Their goal is to make sure that each student, regardless of their starting skill level, leaves the class having gained valuable techniques and knowledge.

Diverse Art Programs for Different Skill Levels

Whether you’re just starting or looking to take your skills to the next level, Follow Ur Arts Studio has a range of programs designed to meet your needs.

Beginner Classes

These classes introduce the foundational techniques of drawing, focusing on basic shapes, proportions, and shading techniques. Perfect for those who have never picked up a pencil but are eager to learn.

Advanced Classes

For those with a bit more experience, advanced classes delve into more complex techniques like texture creation, dynamic composition, and perspective. These classes are ideal for anyone wanting to refine their craft and produce more professional-level work.

Flexible Class Schedules for Busy Adults

Understanding that adults often have packed schedules, Follow Ur Arts Studio offers a variety of class times, including evening and weekend sessions. This flexibility ensures that anyone can find time to nurture their creativity.

Personalized Attention and Small Class Sizes

One of the key advantages of enrolling in Follow Ur Arts Studio is their commitment to small class sizes. This allows for personalized attention from instructors, making sure you get the guidance you need to improve at your own pace.

Types of Drawing Classes Offered at Follow Ur Arts Studio

Sketching and Shading Techniques

Learn the essentials of sketching, from capturing outlines to adding depth through shading. This class is perfect for those who want to create realistic and three-dimensional drawings.

Charcoal Drawing

Charcoal drawing offers a different feel and texture compared to regular pencil drawings. This class explores the unique qualities of charcoal, teaching you how to control the medium to create stunning, high-contrast works.

Watercolor and Ink Drawing

If you’re looking to experiment with color, this class dives into combining watercolor and ink for vibrant, expressive artwork. You'll explore techniques like wet-on-wet and dry-brush to create different textures and effects.

Life Drawing Classes

For those interested in capturing the human form, life drawing classes offer the chance to draw live models. This is an excellent way to refine your skills in proportion, gesture, and anatomy.

The Learning Environment at Follow Ur Arts Studio

Collaborative and Supportive Atmosphere

At Follow Ur Arts Studio, the environment is all about collaboration. Students encourage and inspire each other, creating a nurturing space for artistic growth.

Hands-On Learning Experience

Instructors provide plenty of hands-on guidance, helping you with everything from basic techniques to more complex methods.

State-of-the-Art Facilities

The studio is equipped with all the tools and materials you’ll need, so you can dive right into your art without worrying about bringing your own supplies.

Success Stories from Follow Ur Arts Studio

Adult Students Who Rediscovered Their Passion

Many adult students have found that these classes helped them rediscover a long-lost passion for art, offering them a sense of fulfillment they hadn't felt in years.

Artists Who Turned Their Hobby Into a Career

Several students have even gone on to pursue art professionally, with some showcasing their work in exhibitions or selling their pieces.

Why Singapore is the Perfect Place for Artistic Growth

The Vibrant Art Scene

Singapore boasts a thriving art scene, from galleries to street art, offering endless inspiration for budding artists.

Cultural Diversity in Art Styles

With its rich blend of cultures, Singapore offers a unique range of artistic styles and influences, making it an exciting place for artists to learn and grow.

How to Enroll in a Drawing Class at Follow Ur Arts Studio

Simple Online Registration Process

Enrolling in a class is easy with the studio’s user-friendly website, where you can browse the course options and sign up in just a few clicks.

Course Fees and Discounts

The studio offers competitive pricing, with occasional discounts for early registration or multiple sessions.

What to Expect on Your First Day

On your first day, you’ll meet your instructor and fellow classmates, set up your materials, and get started with your first drawing project.

Conclusion

Whether you're looking to improve your skills or just have some fun, Follow Ur Arts Studio offers the best drawing classes for adults in Singapore. With professional instructors, flexible schedules, and a supportive environment, there's no better place to unleash your inner artist.

FAQs

What materials are needed for the drawing classes?Basic drawing supplies like pencils, paper, and erasers are provided, but students can bring their own preferred materials.

Can I join a class if I’m a complete beginner?Absolutely! There are beginner-level classes designed specifically for those with no prior experience.

Are there trial classes available before committing?Yes, the studio offers trial classes so you can get a feel for the environment before signing up.

How long do the courses typically last?Courses usually run for 6 to 12 weeks, depending on the level and intensity of the class.

Are private lessons available for one-on-one instruction?Yes, private lessons can be arranged for those who prefer personalized attention.

[ferromagnetiic]

There are a few sketches of Kid's unique profile; a few of his form, including his metal arm. In spite of not knowing much at all about mechanics, she couldn't help but be intrigued by the construction of the massive limb he'd pieced together. Intricate details of metal pipes, tubes, and rectangles, that eventually formed fingers, matching his broad physique. Even more intriguing than the art of his profile and prosthetic, however, was the drawing of Kid in the corner of the page. His back faced the viewer, although he smiled menacingly over his shoulder. A stream of liquid from between his legs, where he aimed onto a tree that looked oddly similar to Nami's tangerine's trees. A little bit of vent art, one might say.

"You can keep it," she huffed, tearing the page out of the journal. Looking at it only annoyed the navigator, anyway. "I won't charge ya, but I probably should." Her finger landed on the drawing of the mischievous caricature. "--- Drew that one when I was mad at you." Which --- wasn't she always mad at him?

@chatcambrioleur

When the sheet of paper is presented to him, he's fully anticipating it to be a bill. Without even looking at what's depicted on the page, he begins to scowl at the ivory parchment, envisioning a lengthy series of neatly written zeros with perfectly placed commas positioned between them. The fine for tangerine theft, he presumes. Maybe it was the charge for the petty insults he directed towards her during their last tiff. Perhaps it was the toll for merely venturing onto her ship. He's anticipating the worst, and yanks the paper with a rough hand, already prepared to tear it to shreds in front of her.

However, the moment his eyes are cast onto what is not an invoice, but a series of graphite drawings, his demeanor instantly lifts, no longer confrontational. The scrutiny leaves his features. His smoldering glare fades. His squared shoulder begin to slack. For several consecutive seconds, he's staring at the journal page, taking in the fine details of her artwork.

Nami is undeniably talented; he would expect someone proficient in cartography to also be just as proficient in other forms of pencilwork, but this was likely just a result of her refining her skills specifically as an artist. She paid a lot of attention to detail; his steel arm was a particularly difficult structure to recreate on paper, and she managed to capture its likeness with near exact precision. She has a keen eye; even the smaller fragments and metal screws were present in her illustration.

A set of amber eyes scan each individual drawing for some time before moving on to the next. So, this is how she views him. This is the version of Captain Eustass Kid that exists inside Cat Burglar Nami's mind. Just subtly, the edges of his lips twitch upwards.

He had overlooked the corner of the page until she pinpoints the caricature directly; it evaded his line of sight while he was distracted with the elaborate depictions of his prosthetic. He follows her neatly-manicured fingernail to the piece in question, unsuspectingly.

When he sees it, the laughter that instantaneously erupts from his chest is fervent. It's admittedly brief, but it's an earnest laugh, as rumbling as it is indiscreet. She's succeeded in piquing his amusement, and finding some form of boyish humor he seems to especially favor.

❝ What, that a suggestion? Bold of ya to go putting ideas in my head. ❞

The remark is accompanied by an overt grin, clearly spoken in jest.

The journal page is then folded and crammed inside his pocket, to be later pinned to one of the various cork message boards attached to the walls in his room.

[kerizaret]

Mmm scribble for me is like. Totally no-effort and super quick, most often Tiny. Just the most basic shapes for me to know what it is. Something that will not be refined in any way later bc its just meant to be for fun / to put the thought out there. Something like these (old examples, I don't take pictures of scribbles a lot):

A doodle is also unrefined & very messy but takes a little longer and is already more stylised. Doesn't have details but isn't reduced to a basic circles/triangles etc & already has clear lines and all fit to my artstyle. It's nothing complicated and often pretty stagnant / not dynamic. No care about unfinished lines / visibility/ messiness etc. It's for a quick drawing that's usually just "I want to draw this thing but don't want to make it a full piece. I just want to draw it". Not meant to be refined later either. Can be in colour!

A sketch is.... the most vague for me... it's either a basis for something that I'm planning to refine into a full artwork later OR a more detailed & clean drawing than a doodle, that took a while as opposed to like a minute. Usually not in colour?

I just. I divide "sketch" into:

• "concept sketch" (usually doodle quality & pretty light/thin lines, but will be refined into a full piece. Only meant to draw out the pose and expression so that I dont forget)

• "messy sketch" (messy but bolder lines - usually a lot of them - clearer details, a bit more effort. But still not really that much attentjom to being supper sccurate)

and "clean sketch" (more accurate, clean-ish linework, some shading maybe. Its not very messy anymore. Accurate hands & face & stuff like that, no very stray useless lines. Takes a while but isn't too taxing)

As u can see the differences can be... big... idk myself... its very vibes....

A "finished piece" took a longer time and more effort. Its a bigger drawing, it's got a lot of details & has clean linework. It's either in full colour or... well, not exactly "shaded" in pencil but there's like, different line boldness & darkness intensity for different parts of the drawing and so... idk how to explain it. Usually for me its mostly effort & time & cleanness.

Or it's a comic. A more cleaned up comic might have clean sketch quality drawings on the panels, so "worse" than one bigger piece, but seeing how long it is and the effort that went into it and the dialogue and all, it is a finished piece to me

hey artists reblog this with what you consider a scribble, a doodle, a sketch, and a finished piece. can be classified by how much time it takes, by effort, by quality, if it has color or not, whatever. i’m just curious