#now I kind of want to draw more stylized versions too I want to shape him

[nipuni]

A novel inspired Erik 📖 and a musical inspired one 🎼

[umahumahumah]

How do you recreate the Hetalia artstyle so well

ok so.. .uhhhhhhhhhh honestly i dont even know how. which is why i am obviously qualified to make YOU, yes you, the person reading this, a tutorial

i psoted an incomplete tutorial on the hetalia art style some few months back and when i look back at it now, some things are just straight up wrong or need clarification (also its the same post where i accidentally sent multiple death threats to a random sex worker thinking they were just a porn bot oopsies) so if you guys still remember that, forget about it! all of it!!! this is a brand new, more accurate guide on how to draw himas style!

(quick warning though im just a weeb not a professional teacher by any means so dont take this as gospel and dont get mad if i got something wrong or something is confusing)

himastyle tutorial! (the better one) part 1

(link to part 2 here)

ok lets start off with the

HEADS

this is just the way i start drawing my heads personally. if i had to describe it, its basically a simplified stylized version of the loomis head method. proko has a good video on it! just give that a quick watch then take a look at my step by step guide

but besides this, there are some important things about the head that you should remember

the shape of the head is generally rectangular

compared to more typical ikemen styles, hetalia characters have a more rectangular head. HOWEVER their chins taper off to a very triangular shape. rarely do the chins flatten out like the guy on the left.

2. shorter face = younger/more feminine appearance

well... self explanatory. you can see in the diagram how changing the length of the face gives a character a more feminine/childish look.

if you feel that something looks kind of off, feel free to change it, but if it looks okay then lets move onto facial features!!!

NOSES:

ok so this might seem a little weird but i like drawing the nose first. its right in the middle of the face and is generally the easiest to get right. it also kind of acts as a divider between the eyes, especially useful when you're drawing in a 3/4 angle

which kind of look something like that i guess.....

or that if you want something less extreme

anyways while hetalia noses are kind of inconsistent they generally have the shape of these three lines. feminine/childlike characters have a smaller and subtler nose though

noses also never face fully straight ahead, so when drawing a front view, the nose slightly faces right or left (tbh himas characters rarely face the camera head on, so id refrain from drawing frontal views altogether but thats just me)

anyways lets move on to my second favorite part of the hetalia art style

EYES:

the eyes are the most important part of himas style. if all else fails, you can always recognize the style by the eyes. luckily for you, the eyes really arent complicated compared to other anime styles :D here is how i do it:

(feminine and childlike characters have bigger eyes)

you have probably noticed this but the pupils hima draws now has a more squiggly teary-eyed look compared to the pupils he drew then...

i subcounciously do a mixture of the two because i got used to drawing the old type, but if you wanna draw the new type of pupils just take note of their squigly shape and that they have one dominant highlight in the upper-middle area. uhhh.. or if youre like me just draw the old eyes as if you have parkinson's

anyways heres a step by step guide

and some fun eye variations!!! you can try using variants if youd like to give an oc a more unique look (you can also try making your own variants too but be careful of straying too far from the style)

so now about the eyebrow and the eyelid.... uhhh the eyelid doesnt really have a consistent length so just draw it however. feminine and childlike characters have thinner eyebrows but even then eyebrows should never be drawn as just a single line

we are close to finishing the face!!! now we can move onto

MOUTHS:

if you know how to draw a typical anime mouth, then hima mouths is easy peasy!

for closed mouths just draw a curved line with two dark blots for the corners of the mouth

i think that giving them a shaky look makes them look more expressive

open mouths are just random blobs, dont close off the bottom though, and theys till have those dark blots at the corner of the mouth

now then i'll move onto the

EARS + CHEEKS:

i decided to combine these two since these are probably the easiest parts of the face

hima's ears are pretty round and don't really vary in shape. inside the ears though....

it isnt very consistent, so don't think too hard about "getting them right". above are some ear variations i drew from one of the latest chapters of the manga

the cheeks are just a bunch of lines that can appear fully, or only on one cheek, or don't appear at all. i think it depends on level of detail, angle, or the character's emotion

these lines do not appear on rendered pieces

also if a character feels especially displeased they will gain heavy eyebags

so yay! we're pretty much done with the face!! look forward next time to where i cover hair, the body, and other stuff idk... i'll link the other parts to each other when i complete them

[sibyl-of-space]

what inspired the character designs in amadeus?

What a fun question! With the caveat that specific things can't be discussed without spoilers (and therefore won't be discussed), I'll try to talk about them to the best of my ability.

Amadeus:

I made the first sketches of his design so long ago I barely remember what the initial vibes were. I do remember that his long straight hair and rich boy vibes were kind of meant to be Lucius Malfoy-ish (Prisoner of Azkaban was a huge reason I initially became obsessed with werewolves, so that's where this inspiration came from. I don't want Amadeus to have anything to do with HP beyond this, for obvious reasons; but I should admit this influence).

As far as his actual clothing, Amadeus's weird shirt-coat thing is actually largely drawn from the cape I made for a DGS Sherlock Holmes cosplay. Hound of the Baskervilles is another huge inspiration for the game, and I find it way easier to draw clothes that I have made or worked with in some way, so I drew from that.

(this is the only photo I have easily on hand, lmao)

The pants for his full design are based off of pants I made for a Lloyd Irving cosplay, and the boots kind of are as well. So well, pretty much, cosplay gave me a ton of experience interpreting weird clothes into IRL fashion and making them, so now I get to do the opposite thing where I have a ton of weird clothes I've made that I can pull from when thinking about what characters might wear.

The most iconic part of his design, the arms, well... to put this in vague terms because of spoiler reasons: that was an example of the design actually being revised to fit plot details. It has resulted in a way cooler and more interesting design, but it wasn't originally there. I had to realize some plot things before I could reflect them in the design, and now the design would be unrecognizable without it.

Solea:

Solea went under drastic revision since my first version of her, because her character also underwent drastic revision and the OG design no longer felt like her. I wrote about this a little bit in a devlog, but in order to draw a hairstyle for her that I liked, I spent about 3 hours watching Black haircare videos on YouTube to get a feel for different typical styles for her hair texture and variations on those styles, and bookmarking the ones that felt like they had the right vibes. After that, I drew a mockup and sent it to a friend who has similar hair texture to Solea, and asked "does this hairstyle make sense?" and she said "yep!" so it was a go.

In terms of the rest of her design: I'm being intentionally vague here, but there are reasons she looks the way she does, and it took a lot of tweaking to get it to feel right. My favorite part is the ugly ass gardening gloves she's got on. Without those it still felt too Disney's Hercules-esque (especially the top half - her bottom half design fixes this somewhat, but you can't see it in the talksprite). But the big ugly functional gardening glove contrasting with her pretty flowing fabrics I think results in the right aesthetic for her.

The Witch:

It came to me in a dream.

OK, not really, what actually happened was I was thinking about Amadeus while lying in bed about to go to sleep, and for some reason imagined the witch who lives in his home now descending from the second floor banister looking like some abstract weird ass orange-red creature. It was one of those things where I was just like "that's weird as fuck. Kind of creepy. ...Let's do it." I remembered the head was circular with square "petals" protruding, and the bottom was kind of triangular, but since it was all made up in my head it wasn't that concrete. So when it came time to actually draw her, I drew from the stylized and very Shaped designs in Super Paper Mario, and tried to get it to feel close to the image in my head.

...It was only after coloring it that I realized it looks very, very Homestuck. This was probably a huge subconscious influence, but not for a second did I consciously consider it. If anything I think my initial daydream was inspired by an enemy from Final Fantasy VIII.

Anyway, hope this was somewhat interesting! Thanks for the ask!

[pronounmelon]

Sorry for reappearing in the actual Leasebound tag yall will not happen again

wanted to show my version

I traced the chest btw

the difference is that the shirt is no longer like…. Suctioned to them??? that just bugged me is all

Other changes and why I did them:

purple/magenta because it bugs me how no character has a main color palette for their clothing. Shez gets Magenta. Okay?? Okay.

S shaped body hair that sticks to the legs more due to the fact that the more prickly kind really only happens if hair removal has happened within the last like. Month or so LOL

tattoo is now inked in the same way as an indigenous Malay tattoo

more realistic eye scar because the trope of a simplified eye scar on a “good” character comes from ableism towards people with facial differences. It also doesnt make sense based on what we know abt Shez’s injury. See the cripplecharacters post, the anon on that was me trying to figure out how to draw Shez in a cameo in GAP, and potentially change the cause of the scar if I HAVE to keep it biblically accurate to the Leasebound one

hyperpigmentation on her cheeks!!! It genuinely makes no sense to me that all the Leasebound characters have basically perfect spotless faces. I get it’s stylized but. Do you get me??? I hope you at least get me.

slightly yellow teeth to show that bestie has depression (specifically the kind where one is too depressed to do regular hygiene practices) because imagine coming out of that amount of parentification without visible signs of chronic depression

Labrys carabiner!!! Doesnt even have to be a sign shes a terf she is accepting of trans people in my brain world I just like the labrys flag it’s pretty

epilepsy awareness bracelet!! More characters need to just have disabilities thay just fucking. Happened. Shit they were born with that didnt result from Random Ass Man

also I just changed the hair because. Yall know how I feel abt Shez’s haircut 😭💀 it irrationally pisses me off im not even gonna try to justify it I know it’s petty

Hey... so, I don't know if you'll take this but can you make more shez? and please give her tits back. No correction please?

. . . I-

Mm...

Okay ngl that is kinda lowkey sweet. So- just because you were nice about it I guess i'll draw by reference in current chapter-

Also about the "correction" thing: I didn't take away her tits, her tits are still there. I was actually correcting torso so it was around her realistically. since shes wearing a sports bra it obviously compresses.

Also the "height" was mainly adding more muscle to the leg and giving her neck and torso and I went by real life references

Even with women who have a bigger breast size, it would still appear "flat" in some angles and clothing so just wanted to clarify. Im thinking her stature is more of a "stocky" type build where she attains her big chest but also has muscle. but that would mean she needs added fat instead of a flat stomach.

[thimbil]

Having some thoughts about the references and inspirations used for the Bad Batch’s designs.

So Boba Fett is my absolute favorite character and Temeura Morrison was perfect casting. I went to see the 2008 TCW movie in theaters because I was so excited to see him again, even if he was animated. You can imagine my disappointment. Whoever was on screen was not Temeura Morrison. You could sort of see a resemblance if you squinted and didn’t think too hard about it. They replaced Temeura with Racially Ambiguous G.I. Joe. If I didn’t know better and someone told me the animated clones are space Italians from the moon of New Jersey I would buy it. One Million Brothers Pizzeria and Italian Bistro. Not that there’s something wrong with being space Italian, I just don’t think it’s the right choice for the Fetts. The design got slightly improved by season 7 but it still bugs the hell out of me.

I did eventually get into the show later and (of course) got invested in the clones. Unfortunately, they were largely sidelined by the Jedi storylines. Out of the two new main characters created for TCW, Ahsoka definitely got more development and focus than Rex. When they announced The Bad Batch, I was excited to see a show specifically devoted to the clones… at least that’s what it said on the tin. We have all seen what lurks beneath those stylish helmets.

Jango Fett, you are NOT the father.

So who is?

Based on interviews with Filoni, it sounds like the Bad Batch was a George Lucas idea. And like all his ideas, it’s super derivative. The original trilogy directly lifted elements from sci fi serials, westerns, and samurai movies, more specifically Kurosawa films like The Hidden Fortress. For The Bad Batch character designs, the influence is obviously American action and adventure movies.

Now let’s get specific. Bad Batch, who’s your daddy?

Hunter

Sylvester Stallone as Rambo in First Blood 1982. That bandana has become an integral part of the iconic action hero look. You see a character wearing one and it’s a visual shorthand for either “this character is a tough guy” like Billy played by Sonny Landham in Predator 1987, or “this character thinks he is/wants to be a tough guy” like Brand played by Josh Brolin in The Goonies 1985 or Edward Frog played by Corey Feldman in The Lost Boys 1987.

Hunter’s model is closest to the original clone base. If you look closely you will see the eyebrows are straighter with a much lower angle to the arch. His nose is also not the same shape as a standard clone like Rex, including a narrower bridge. It’s certainly not Temeura Morrison’s nose. Remember what I said about space Italians? It didn’t take much to push the existing clone design to resemble an specific Italian man instead of a specific Māori man. The 23&Me came back, and Hunter inherited more than the bandana from Sylvester.

Crosshair

The long narrow nose, the sharp cheekbones, the scowl. That’s no clone, that’s just animated Clint Eastwood. Not even Young and Hot Clint Eastwood from Rawhide 1959-1965. With that hair, I’m talking Gran Torino 2008. The man of few words schtick and family friendly toothpick in lieu of cigar are pure Eastwood as The Man With No Name from Sergio Leone’s spaghetti westerns A Fist Full of Dollars 1964, For a Few Dollars More 1965, and The Good the Bad and the Ugly 1966.

In a way, this is full circle because the actor Jeremy Bulloch took inspiration from Clint Eastwood for his performance as Boba Fett in ESB.

Wrecker

In an interview Filoni lists the Hulk as an (obvious) inspiration for Wrecker. Ever seen the old Hulk tv show from 1978? Well take a look at the actor who played him, Lou Ferrigno. Would you look at that. Even has his papa’s nose.

You could make the argument that Wrecker was influenced by The Rock, an appropriately buff ‘n bald Polynesian (Samoan, not Maori) man. But look at him next his Fast and Furious costar Vin Diesel and tell me which one resembles Wrecker’s character model more.

Tech

Tech is a little trickier for me to place. If he has a more direct inspiration it must be something I haven’t seen. That said, his hairline is very Bruce Willis as John McClane in Die Hard 1988. His quippiness and large glasses remind me of Shane Black as Hawkins from Predator 1987. In terms of his face, he looks a but like the result of McClane and Hawkins deciding to settle down and start a family. Although, Tech’s biggest contributors are probably just everyone on TV Trope’s list for Smart People Wear Glasses.

And finally,

Echo

Oh Echo. Considering he wasn’t created for the Bad Batch, he probably wasn’t based on a particular character or movie. But if I had to guess, his situation and appearance remind me a lot of Alex Murphy played by Peter Weller in Robocop 1987. However, Robocop explored the Man or Machine Identity Crisis with more nuance, depth, and dignity. Yikes.

The exact tropes and references used in The Bad Batch have been done successfully with characters who aren’t even human. Gizmo from Gremlins 2: The New Batch 1990 had a brief stint with the Rambo bandana. I could have picked any number of characters for Defining Feature Is Glasses but here is the most cursed version of Simon of Alvin and the Chipmunks. Suffer as I have. Marc Antony with his beloved Pussyfoot from Looney Tunes has the same tough guy with a soft center vibe as Wrecker and his Lula (also a kind of cat). Hell, in the same show we have Cad Bane sharing Cowboy Clint Eastwood with Crosshair. I actually think Bane makes a better Eastwood which is wild considering Crosshair has Eastwood’s entire face and Bane is blue.

So we’ve established you don’t need your characters to look exactly like their inspirations to match their vibe. So why go through the trouble and cost of creating completely new character designs instead of recycling and altering assets they already had on hand? Just slap on a bandana, toothpick, goggles, and make Wrecker bigger than the others while he does a Hulk pose and you’re done. Based on the general reaction to Howzer it would have been a low effort slam dunk crowd pleaser.

But they didn’t do that.

So here’s the thing. I like the tropes used in The Bad Batch. I am a fan of action adventure movies from the 80s-90s, the sillier the better. I am part of the Bad Batch’s target audience. Considering what I know about Disney and Lucasfilm, I went in with low expectations. I genuinely don’t hate the idea of seeing references to these actors and media in The Bad Batch. I don’t think basing these characters on tropes was a bad idea. If anything it’s a solid starting point for building the characters.

The trouble is nothing got built on the foundation. The plot is directionless, the pacing is wacky, and the characters have nearly no emotional depth or defining character arcs. They just sort of exist without reacting much while the story happens around them. But I can excuse all of that. You don’t stay a fan of Star Wars as long as I have not being able to cherrypick and fill in the gaps. This show has a deeper issue that shouldn’t be ignored.

Why do the animated clones bear at best only a passing resemblance to their live action actor? In interviews, Filoni wouldn’t shut up but the technological advancements in the animation for season 7. So if they are updating things, why not try to make the clones a closer match to their source material? Why did they have to look like completely different people in The Bad Batch to be “unique”? Looking like Temeura Morrison would have no bearing on their special abilities and TCW proved you can have identical looking characters and still have them be distinct. In fact, that’s a powerful theme and the source of tragedy for the clones’ narrative overall.

Here’s Filoni’s early concept art of Crosshair, Wrecker, Tech, and Hunter. (Interesting but irrelevant: Wrecker seems to have a cog tattoo similar to Jesse’s instead of a scar. Wouldn’t it have been funny if they kept that so when they met in season 7 one if them could say something like “Hey we’re twins!” That’s a little clone humor. Just for you guys 😘)

None of these drawings look like the clones in TCW, much less Temeura Morrison. Let’s be generous. Maybe Filoni struggles with drawing a real person’s likeness, as many people do. But he had to hand this off to other artists down the line whose job specifically involves making a stylized character resemble their actor. Yet the final designs missed the mark almost as much as this initial concept. Starting to seem as if the clones looking more like Temeura Morrison was never even on the table. It wasn’t a lack of creativity, skill or technical limitations on the part of the creative team. I don’t think there is an innocent explanation. They went out of their way to make the final product exactly how we got it.

This goes beyond homage. They could have made the same pop culture references and character tropes without completely stripping Temeura Morrison from the role he originated. It was a very purposeful choice to replace him with more immediately familiar actors from established franchises and films. It wouldn’t shock me if Filoni, Lucas, and anyone else calling the shots didn’t even think hard or care enough about the decision to immediately recognize a problem. And I don’t think they believed anyone else would either. At least no one whose opinion they cared about. Those faces are comfortingly familiar and proven bankable. They are what we’re all used to seeing after all. They’re white.

Lack of imagination, bad intentions, or simple ignorance doesn’t really matter in the end. The result is the same. Call it what it is. They replaced a man of color with a bunch of white guys. That’s by the book garden variety run of the mill whitewashing. There’s no debate worth having about it. For a fanbase that loves to nitpick things like whether or not it’s in character for Han to shoot first or Jeans Guy in the Mandalorian, we sure are quick to find excuses for clones who look nothing like their template. Why is that? If you don’t see the problem, congratulations. Your ass is showing. Pull your jeans up.

[somelazyassartist]

i know this is kind of a dumb question but do you have any advice on how to draw wheelchairs? I cant figure out how to stylize them the way you do and the just end up looking too mechanical and complex and out of place with a cartoony artstyle

Hi!! I'll admit I might not be the best person to ask because I don't use a wheelchair myself yet, only a cane as of right now, so I sorta have to rely on references and stuff! (Though tbh if my chronic pain gets any worse I might need one lmao, one of the only things stopping me is that it's expensive and my house isn't very wheelchair-adaptable)

There's lots of models and kinds of wheelchairs so there's a ton of general references if you just Google "wheelchair reference", but here's a few places I learned the most from: Wheelchair Tutorial, Centaur Wheelchairs, also not specifically wheelchairs but Heroforge has a few different wheelchair options under Stage>Ride, which allows you to make a model of your character, pose them, color them if you want, and look at them from any angle you set them at, it's a very good drawing reference in general and it's great that they've finally started adding things like wheelchairs, crutches, canes, and prosthetics!! It can be a little tricky to manage at first but once you get the hang of it it's an amazing tool for art! (Plus if you want to you can even buy the models of your ocs, isn't that cool!!)

What I personally did to stylize wheelchairs into my art style was to practice drawing the really detailed ones that don't really fit with my style, get a decent enough sense of what everything looks like and where they should be placed. After I've gotten used to that I just sorta started simplifying the shapes little by little until I got something that more or less fit with my style, and then I just practiced drawing that version over and over again until I got used to it!

I'm not perfect, I'm sure I've drawn them wrong before because I'm still learning how to draw them properly, but hey!! Practice makes perfect!! I'm sure you'll get there eventually my friend!! I believe in you :)

[phoenotopia]

2020 October Update

So... we've launched. And our launch was... actually kind of... bad...

This is a dev blog, so I'll speak on it. But before that, we do have the game's steam page up. If you're anticipating the PC release, please do visit the steam page and add it to your wish list. It would help us a lot.

VISIT STEAM LINK

...

So what didn't go so well?

1. We launched in Nintendo's Americas and Europe territory. If you've been following the release, you'd know that America got the game first. We didn't move to launch in Europe at all since I thought the EFIGS languages (English, French, Italian, German, Spanish) were pre-requisites for Europe. By the time I learned that this wasn't necessarily the case, and attempted to course correct, the damage was done. We had half the allotment of keys to do outreach, and maybe some European outlets that would've covered us, did not.

2. When the game launched, rather than a victory lap, what we experienced was more of a public lashing. We did get some reviews that praised the game highly, but just as many reviews lampooned the game for its high difficulty or other failings. I've since released two patches (or 3, depending on how you count it) to address the difficulty. A lot of overnighters. If you recall in the last blog post, I thought it'd be a good start if we got 20 or so reviews on Open Critic. But we've only 8 as of this writing, and the aggregate score isn't so hot. So that's a fail by my metric.

3. A publisher reached out to us because they were interested in physically printing the game! Yay! But... to advance our talks, they wanted to see the game's sales numbers to ensure that there's a good chance their investment could be recouped. And unfortunately, the game's sales numbers are pretty low. They backed out :(

Some hard lessons were learned. The biggest lesson for me concerns how well we playtested the game. Looking at the original playtester list, it's a short list. You may recall from a previous blog post that our ability to test was severely hampered by technical limitations. Add to that, a lot of people on this list are objectively really achieved players. We're talking power ranked in Smash Bros, regular tournament goers, and people who've played and bested every Souls game. And as the maker of the game, I am most blind to the game's challenges.

Now, I'm definitely more of the opinion that you prioritize PC development first. I still have some reservations about some stages of PC development. But if you do PC/Steam first, you have the great benefit of being able to do Early Access, which gives you access to a greater testing pool. I now view it as an invaluable part of the equation. If we had been able to do Early Access for 1 or 2 months before release, we probably could have ironed out most of the game's difficulty and balance problems. Hard lessons, indeed.

There were a lot of other notable events that occurred over the past 2 months - the travails of press outreach, realizing my own limits as a developer, feeling defeated and getting back up again, etc. There's too much stuff to chronicle or go into detail. But it wasn't all bad.

Some good things did happen...

We got a publisher to publish for Japan! It came as a huge relief, because clearly, we don't know what the heck we're doing.

The publisher has been an invaluable source of information and feedback. They've recommended some changes to the game to improve user experience. Some of these changes I was hesitant to do at first because they concerned systems I thought integral to the identity of the game. But after trying it, I have to admit, they're good changes.

So a Japanese version of the game was moving ahead. And it looked like that'd be it. I wasn't planning to move forward with any other language translations due to the game's low sales and our funds being depleted. 

But, I was approached by a translator who urged me to move ahead with translations. He told me he was willing to work for only a small price initially and then be paid the rest after from a percentage of the game's sales until the cost of the translation was paid in full.

I was surprised translators were willing to work under such a model since it's entirely likely the game's current low sales trajectory would continue and they wouldn't earn back the full cost of translation. But I was also flattered they were willing to take a risk with me. After that, I approached some others with the same hypothetical deal, and long story short, we're now moving forward with French, German, Spanish, Portuguese and Russian translations. As for why these languages in particular, they were languages for whom I had contacts (because they reached out to me at some point in the past). And also because they were deemed more likely to be profitable based on their home country's gaming market/buying habits. I'd be personally happy to have my native language be represented, but it's not expected to be a profitable territory. But if the game does better in the future, it may justify the costs of translation. There could be a chance!

The plan right now is to get the game supporting these first round of languages and then to patch that into the Switch version as well as launch the PC version with these languages - all in December. A lot of things need to align for this to occur, so a delay isn't out of the question. It'll be busy... I'll update the blog again in latter half of December, probably near the game's PC launch date... OR to announce a delay. Let's hope it doesn't come to that.

Fan Support

While the past two months have been grueling, one good thing remains constant - fan art! Thank you everyone who submitted. It means a lot to me and the team!

Big thanks to Pimez who's taken on watching over the reddit community as moderator. He also combs the other communities and makes sure I see every new art piece. Despite juggling his own life and all these tasks, he still found some time to draw.

Pimez's piece reminds us that just because the new game's out doesn't mean we can't still celebrate the original flash game. The jail dog is a dog found only in jail and only in the flash game. I imagine Gail is just tossing a stick, and they're playing fetch.

A new artist to this scene æv draws both the Phoenix logo AND a super cute picture of Gail playing the flute. So precious, you want to pinch her cheek. Even the Sand Drake is enthralled!

Another new artist, beet4ppy arrives on the scene with two pictures! One features a no-nonsense battle-hardened Gail looking stoic and tough! Kinda reminds me of Vinland Saga actually. The other, a more cheerful group composition - I must say I'm a big fan of Fran's classic anime-style eye!

A returning artist, Cody G, returns with a picture depicting the tribulations of cooking. Gotta love Gail's frantic expression! I've heard the complaints, which is why we've added an option to slow the cooking mini-game down. An improved button font is also on the way.

Gamesing with two undertale x phoenotopia crossovers. Thomas being a robot builder makes sense taking a role similar to Alphys. But why is Alex dressed like a clown? Perhaps there is a hidden meaning here... 

A new artist, Warotar, draws both a pooki wearing Gail's clothes and Gail wearing pooki clothes. Awww. The pooki is a bit scary - it kinda reminds me of a tragic event in a certain anime. But the Gail is adorable!

POL#5655 submitted this one to KM's discord which made its way to me. Here, a stylized Gail appears unnerved by the dark red eyes stalking her in the background. Are they bats or something more sinister?

A new artist, MilesCPW, arrives on the scene with three rare well-vectorized arts! Love it! One scene depicts Gail balancing a bomb on her head - that's a speedrunning trick I only learned about recently after someone emailed me a video O_O

The other drawing gives us new insight into Katash - he could actually look cute if he wasn't trying to kill you.

And the bees... Okay, this one got a chuckle from me :D

A returning artist roccy_chair draws this heart-warming scene from the beginning of the new game. Aww. Mika doesn't get much screen time for story reasons, so it's nice to see her represented.

UnrealWorld_32 returns with another drawing of Gail in Panselo, this time capturing a more idyllic time. I like the tranquil nature of this piece. And Gail does in fact play the guitar, denoted by the guitar in her room.

Returning artist shafiyahh draws a nice portrait of Prince Leo - looking regal and princely. I like the storybook art style of this piece. It made me immediately think of "the Little Prince" - one of my favorite books actually!

Negativus Core returns with a beautiful group composition of Gail and the gang - flying from a Switch shaped window - totally sensible considering the game is only Switch right now. As usual, I'm impressed by Negativus Core's use of challenging angles to frame a more dynamic shot of the characters. Great job!

And it wasn't only artists bearing the banner. I'd like to give a big shoutout to everyone in all the game's little communities (from the reddit to the discords to this tumblr). I've seen this community help newcomers with gameplay and walkthrough advice, discussions, updating the wiki, and so on. It does bring a smile to my face. Thank you everyone!

[thegalleonsnest]

Wiggle’s Muse - Short Excerpt turned into a FanFic

Yo, so, I wanted to share a small snippet of a future project I’m working on (while also delaying my current art projects). What I’ve written out here in this post was originally in a format not meant for professional writing purposes, but I said “eh, why the hell not,” and written it out in sort of a short fanfic format for you guys to read. This project btw, is not a fanfic (had to make that clear). What I am working on is a very large scale project for myself and is still in the blocking out/rough draft phases. This right here is probably my most fleshed out scene I’ve written out, and feels pretty complete as it’s own thing. Honestly, I’d appreciate the feedback if any of ya’ll found this interesting! 

Also I’m putting this in a tumblr post because I don’t have an AO3 or fanfiction account, and this is already too short for it anyway. Read the excerpt below

In front of the camera lenses, multiple grumpuses walk back and forth discussing a matter of topics but most importantly, where was Wiggle?

"Has anyone gotten ahold of Wiggle yet? She was supposed to be here hours ago,” a gruff voice coming from out of frame says. “We’ve tried calling her for over an hour, but we got nothing,” says another off camera, “do you think we should reschedule-” before they could finish, the studio doors bust open with a loud thud echoing the studio room. A tall, short armed grumpus with a boa stumbles along the room carrying an oddly shaped banjo.

“There she is,” said the gruff voiced grump, “Wiggle, whatever you got going on, you better do it now cause we got a meeting with investors in half an hour!” From the blurry view of a slightly out of frame Wiggle, she barely registered what the grump said. In a stumble, she walks to the center of the camera’s view & shakes her head, almost slurring her words, “Doooon’t worry, Darling, we’ll get you a new vest later.” “What, no, wait, that’s not what I-” before another word could be said, Wiggle readies her banjo and strikes a quick pose before strumming the strings like her life depended on it.

It didn’t take longer than a few seconds before the crew sprung into action, setting the proper lightning, mics and cameras around her. Her rhythm and measures became a lot more stable, catchy even, and then she broke into song. The next set of lyrics would become an instant, regrettable classic. 

It’s not long before the VHS tape stutters and stops, showing mostly static. A magenta furred Grumpus with some hair covering a part of eye, hits the eject button, takes out the tape and turns off the tv. “Girl, you were a right mess there!” She said with a giggle. “Tell me about it, Vrittany...” Wiggle said frustratingly, pinching the bridge of her nose. “And you’re telling me you can’t come up with anything better than that? Come on now!” “I wish I was lying, but I’m not. No matter what I come up with, nothing is topping whatever the heck my walking coma came up with instead!” Wiggle grabs her mug of coffee and takes a longing sip.

The two sit across from one another at the coffee bar. The aroma of that day’s set of cocoa beans waft through the cafe as most of the outside lamps fill out the darker spots inside. The place is nearly empty besides them, and a single muted green furred occupant sitting at a booth at the opposite end of the cafe, drawing away in his sketchpad.

“So, whatcha gonna do?” Vrittany asked sarcastically, “Stay awake for another week? Get inspired again? Hehe.” Wiggle sets her mug down, and answers, “I did try that again, but in style I fell asleep comfortably on a couch in the lobby”. Vrittany looked a bit stunned. “You’re kidding?! You’re crazy!” “Not crazy, Vrittany,” she takes another sip of her coffee before striking a pose in her high stool seat, bellowing out her voice. “Just creatiiiivly driveeeen~” “Whatever you say, darling,” Vrittany says before turning around to her bar’s sink. She cleans several mugs and glasses with gusto while preparing one last pot of coffee, enough for a single cup for later.

Vrittany takes off her apron and hangs it on the wayside of the counter as she walks around to take a seat next to Wiggle. After situating herself, she puts a paw on Wiggle’s shoulder. “Listen, pretty sure this is just a rut you’re stuck in right now,” she says. “Doesn’t every artist go through that every now and then?” Wiggle turns her head toward Vrittany, “Well..yeah, but this is different,” she desperately says. “I can’t let a song I made in my sleep be the best thing I’ve ever made! I know I can make something that’ll shake the world more than whatever ‘Do The Wiggle’ was.” 

Vrittany pulls back her paw from Wiggle to put on her best thinking cap. As deeply in thought as she was, her face immediately relaxes into a deadpan expression, “Have ya tried singing from the heart?” Wiggle cracks a smile, “HA, if only that’s how it works! It takes a musical genius to write a hit song in show biz, not just some field day with my feelings.” “Eh, worth a shot. Got any other plans?” “I’m still trying to figure that out. I need some kind of inspiration...almost like a-”

Before she could finish her thought, they both caught a glance at the muted green furred grump who walked up to them. He mustered up the words and said, “E-excuse me, you’re Miss Wiggle, right?” Wiggle turned in her seat to get a better look at the young Grumpus. She could tell he was nervous, clutching his sketchbook in his arms rather tightly. She quickly put on a more relaxed front to help calm things down, while also still showing off a bit of her excited side. “Why yes I am, Darling,” she said enthusiastically. “And I can tell you must be a fan of mine.” “Y-yeah...!” The green grump looked a little more relaxed, but still stiff in the shoulders. “Hey now, no need to be so nervous. I always got time for my fans.” “Thank you, Miss Wiggle. Um…” “No need to finish that thought, Darling, I know what you’re about to ask and I’m happy to oblige!”

Before the young man could stop to say something, Wiggle pulls out one of her many professional hand out photos that she has, and quickly signs with her autograph before handing it to him. “O-Oh, thank you, Miss, but that’s not what I was going to s-say.” he sheepishly says. “Really? Not an autograph,” Wiggle says surprisingly. “It’s usually the first thing fans ask of me.” “Sorry, I just...I wanted to show you this sketch I made…” 

The nervous grumpus slowly turns his sketchbook around to reveal a fully sketched art piece depicting a stylized Wiggle singing her heart out at the bar with Vrittany hanging out in the background cheering her on. He hands it to Wiggle to give them a closer look. It was still somewhat messy, showing a few guidelines and early roughed out shapes, but for what it was, it was still impressive to the two girls.

“Woah, that’s pretty rad!” Vrittany yelled out, leaning out from her seat trying to get a closer look. Wiggle was pretty stun, gasping at the sight of such a piece of artwork. “Darling, you drew this?! Just now,” Wiggle asked in awe. “Yeah! I was listening to some of your music and then you came in and sat down. It made me wanna draw you as fast as I could,” the green grumps says excitedly before rubbing the back of his head. “Sorry if it’s still a little messy looking though…” “Don’t be, because it is beeeaautifuuul~” “T-thank you so much, Miss Wiggle! T-that means a lot to m-me!” the grumpus says while his face lights up red from the praise. “You’re like an inspiration to me.” “Really now? Like a muse? All I do is sing the night away, Darling. You draw little masterpieces like this from me?”

As Wiggle continues to be enthralled by the young man and his work, Vrittany notices the coffee pot had finished brewing. She gets up from her seat and go back behind the counter to finish her last cup for the night. Wiggle and the green grump continue their conversation.

“W-well kind of,” says the grump, “it’s a bunch of music that inspires me when I draw. A lot of your stuff is so upbeat and fun, it gives me lots of different ideas to pump out!” Wiggle looks back, almost flabbergasted. “I’m...honestly a bit stunned that I had that kind of impact on you, Darling,” she says, almost with a melancholy tone, “...heh, kind of forget sometimes I do make some kind of impression on grumps like you.” She looks back down at the sketchbook, entranced by the creativity that sparked in the moment. That dazzling moment where it all clicked...where could she find that, when someone else can find it in her?

After an awkward minute of silence, the young grump spoke up and said, “If you like, you can keep the sketch page, Miss Wiggle?” Wiggle snapped her head back up from the sketchbook to the green fuzzball. “W-wait really? Are you sure you wanna give up this piece of art?” said Wiggle worryingly. “It’s no problem at all,” said the green grump proudly. “I already took a picture of it to save for later. I’m gonna make a painted version of it online later! Besides, it’ll make me happy if you kept it, since I was going to give it to you anyway.” “Oh Darling, you’re nothing more than a sweet one now, aren’t you? I’ll gladly keep it!” “Thank you so much, Miss Wiggle!”

Wiggle hands the sketchbook back to the green grumpus and he tears out the sketch. “No, Darling, thank you,” Wiggle says ecstatically. Vrittany returns from behind the bar with a to-go cup in hand, saying “Here’s your order, kid.”  “Oh, thank you, Vrittany. How much was it again,” the green grump asked. “Eh, don’t worry about it. Don’t feel like counting change. It’s on the house.” “O-oh you sure?” “You wanna change my mind?” “Don’t think I can, so thank you!” The green grump turns back to Wiggle and says “It was so nice meeting you in person, Miss Wiggle!”

“The pleasure is all mine, Dar-,” Wiggle catches herself before she realizes something. “Actually, what was your name?” “It’s Grite, Grite Tillsland!” Wiggle lets a genuine soft smile grow on her face. She felt a lot more at ease and happier knowing her new friend was much more relax and happy overall. She reached out her paw for a handshake, and Grite reciprocated.

“The pleasure’s mine, Grite, Darling.”

[kashuan]

All right, there are quite a few things that come to mind with a question as broad as this, so here’s my best attempt to sum up what character design means to me in like 5 minutes :,D. I’m going to start with a few very quick sketches that talk about more my general approach to drawing, but I’m going to build up to how it all connects with character.

Step 1) Find reference! Whenever you can, use reference, it will always make your character’s posing look 100 times more genuine than anything you can pull from your brain, and that’s nothing to feel bad about. It’s not cheating because we’re not stopping at Step 2 either, which is where the misnomer comes in that you’re just ‘copying’ (protip: even step 2 isn’t a straight Copy; as long as you’re not tracing, you’re not copying, and even tracing has its uses for personal studies). I could do a whole answer of it’s own about picking your reference, but I’ll keep it short by saying: not every reference will fit every character. Keep in mind your character’s attitude when choosing your ref. Some poses are so generic they’re one size fits all, but even this very simple pose has unique character to it. The way the legs are posed, to me, gives it a young and girlish feeling, and depending how you played with the expression, you could even make it come off shy. An overbearingly confident character, while also taking an arms crossed pose, will likely position their legs differently, assuming a stance that takes up more space, etc.

Step 2) Draw pretty much exactly what you see first, but keep it simple. Think of the body like individual shapes; anatomy is not the focus right now, and you’ll actually hinder yourself if you hone in on that first. What you want to do at this stage is capture what the pose is generally doing; character isn’t involved yet Step 3) Now, working off 2′s framework, start considering body type. If you skip the previous step, you might have a hard time capturing the gesture correctly, since it’s a lot for your brain to juggle at once. When I sketched these two different body types, I built it straight off the first drawing, erasing lines as needed.

So the first image includes some extremely basic body type variations, this one pushes that idea further. 1 is the basic frame from the last image, while 2 is about playing with proportions. There are a lot of ways you can play with proportions, and as I’ll come to sound like a broken record about: make those decisions thoughtfully. For example, when I made this version shorter than the reference base, I had to consider exactly where I wanted her to lose that height. Here, I made her shorter waisted, took a little length from the legs, and gave her a squatter neck as well. You can do one of these or all of them. Just keep in mind those are all individual options. Letting your train of thought stop at ‘this character is short/tall so I’m just going to generally shrink/stretch their body’ means you’ll run out of variety pretty fast, and sometimes the overall proportions can end up looking wonky (though there’s always exceptions to the rule, remember that the individual body parts should remain correctly scaled in relation to each other). Image 3 is another approach to proportional manipulation, except rather than focusing on height, it focuses on fat distribution and to a lesser extent bone structure. Again, there’s so many individual places you can focus on here, make sure to mix them up. Arm size, shoulder broadness, chest and hip size, leg thickness and musculature, foot and hand size and so forth.   Image 4 is a further exaggeration of image 3 and the lines have started to get a little more stylized. While image 3 is still reasonably realistic, 4 is just starting to cross into cartoon territory. Advantage of 4 is that when you are able to push the proportions further due to the leniency of style, you can sell a clearer idea and a clearer character. Downside is, well, it looks more cartoonish now, and depending on the needs of your image that might not be what you want ie: it can look like a mistake rather than a purposeful choice if everyone else around the character is drawn more realistically.

Also… I see variations on this general advice quite a lot for women, but don’t forget about doing the same for men. It’s great to see how eager a lot of artists are to experiment with the female form that is simply absent in a lot of mainstream media, but I find that men really tend to fall by the wayside here even though they often get equally shallow treatment in the mainstream. There’s usually like 2-3 ‘go-to’ body types for men and that’s it. Men’s bodies can have the exact same amount of variety as a woman’s, including the individual ways the fat can be distributed on it, and the assorted ways their proportions can be played with. Whenever I find an artist that does this it’s like striking gold to me tbh. 

So there’s some very rough hows. But, perhaps even more importantly than any of that, is WHY you make these choices. This is going to get a little stream of consciousness, but with a question this broad, I tried to hit on as many general points I could think of in regard to my own process.

-When I start to design a character, I really need to have an understanding of them first. This includes things like backstory, personality, habits, so and so forth… Yes, all of this stuff shows up in their design, even if it’s just a drawing of them standing straight up. This isn’t just like ‘this character got this scar at age 7 so I need to know where it goes′, I mean in depth info about them. I touched on this a little bit earlier, bringing up the different ways a character would assume the same general pose, but let me expand on that. -What do I mean by personality? So there’s the most obvious answer, which is that a bubbly character will assume bubbly poses, a sullen character will slouch more, etc… But let’s take it further than that. This is a concept I’ve touched on in past tutorials, but here’s a quick recap. A character’s personality involves their opinions, for one; how do you make that show up in their design? Well, one of the most obvious questions I always ask myself is: what is their opinion on their own appearance (the thing we are drawing)/how do they want to be perceived by others? Consider a strong character. I see a lot of artists who take this thought as far as: okay, this character is strong, so I’m gonna throw a 6 pack on him, maybe a nice pair of guns, and call it a day. Which leads to like, nice art, but also...kind of bland? I think that’s because this is a rather half-baked approach. How can we take it further? Ask yourself more specific questions. Is your strong character concerned with being perceived as an ‘ideal’ sort of fit by others (the type you give that showy 6 pack to) or does that not matter to them? (more likely to look ‘chubby’ if not outright fat, though probably is just as if not more capable of actually doing some real heavy lifting than saran wrapped abs man). If they’re some kind of mystical being that can look like whatever they want (ie: the anime waif that can also lift 1000 lbs-trope), you should still take into account their personal perspective on appearance. Don’t just stop at ‘this guy/girl is strong so they’ll look super shredded’ or ‘they’re magic so I’ll do whatever’. Doing this, you’ve instantly lost a chance to inform the audience more about the individual there beyond ‘they’re strong’ -Break it down further with their habits. What is their daily life like? If they’re running ten miles every day they should probably have some strong looking legs. If their job involves a lot of lifting, maybe focus on the upper body more and leave the legs less defined. Do they eat a lot? Or drink? The way the fat distributes in both these cases will be noticeably different (and this isn’t even taking into account points like an endomorph vs an ectomorphs body, which I always suggest reading up on). I’d definitely recommend drawing as many different body types as you can just as studies, in order to add these variations to your mental library. I’m sure every artist has seen this popular athlete line up by now, but really study images like this. Don’t just mindlessly copy what you see when you create your own characters though; think about why those athletes have the bodies they have, what they specifically did to get them like that, and how that can apply to your character’s own life. -One thing that has always bothered me is how often artists are afraid to use the head (not the features; I’ll get to that in a second) as an extension of the body when it comes to imbuing it with variety and character. While it is absolutely possible to have a thin face and a fat body (as is any combo), it’s another missed opportunity not to experiment with chubby cheeks, a soft jawline, etc. It’s a cliche to mention him at this point as an inspiration, but one of my very favorite things about Mucha’s art was how he was able to make fuller faces look so beautiful despite being a rather nontraditional approach (so many art books try to tell you this is a big NO). example, example. These faces actually look like real individuals to me than a drawing that focuses too hard on being generically aesthetically pleasing. -So, facial features. A face with less traditional features isn’t just going to be more memorable than Stock Beautiful Face #73, but it’s basically a more zoomed in version of informing the audience about the character in the same way the body does. -Know tropes, play with tropes, do not rely on tropes. Sunken bone structure, long features-guy will always pretty much read like a villain (or at least someone off-putting), but find somewhere to make the formula your own. Give him thicker eyebrows or big ears. Give the girl with the standard doll-face a nose that sticks out a little more prominently or a crooked smile. -Speaking of are so many different ways to draw a smile, do not underestimate the mileage you can get out of this one feature alone. Artists tend to have a favorite way to draw smiles, in my experience, but remember your character. Would they have a big toothy grin, a handsome ‘cool’ looking smile, a small shy lopsided one, ones that touch the eyes, ones that don’t… This is probably a repetitive point by now but just do whatever you can not to draw the exact same feature on two different characters, and make sure to think through your reasoning for every choice you make. To me, it’s always immediately evident if an artist really knows their character or if they’re just trying to make something aesthetically pleasing. The former is always more attention grabbing in my opinion. -One of my favorite things to consider when designing a character who’s part of a family: genetics and how you can play with them to inform the audience more about the character’s story. Does this character take after their mother or father? How? Why? Why why, you might ask? This isn’t a photo of a real person, this is an illustration that you should be making deliberate choices about every step along the way. It’s one thing to draw a character that looks like their parent simply because logic dictates they should, another to make meaningful decisions as to where and why they do. Some examples: He has his father’s eyes because they carry the same intensity and other characters are a little put off by him because it (conversely, maybe he’s such a gentle character that this detail stands out twice as strongly). He has the same hair as his father, but he styles it differently to avoid the association. She has her mother’s nose which everyone compliments her on so shes happy to be seen in profile. She has her father’s broad shoulders and she’s a little self conscious about it so she tends to wear baggier clothing. Etc etc! In all these cases, you can communicate these details through even a simple drawing of the character standing alone, and should try to as often as you can. -In the end, the only way you’re going to know how to draw all these different details, whether they be different body types or different facial features, is by studying real people. Draw as many different kinds as you can, add them to your mental library. Your reference will never give you everything you need to work it, and I’m not sure if that’s maybe what this question as getting at-- if I have a reference folder of go-to ‘types’ or something. I don’t. I have a folder of poses labeled with characters I think they’d fit, and that’s about it. If you’re just imitating what you see in a photo, you’ll always be drawing That Person, not Your Character. So you are going to have to pull some of it out of your brain. Note, however, the important difference between just ‘making it up’ and recalling information you’ve studied in the past. That said, while on this last topic of expanding your mental library, that includes not just doing studies, but also learning and observing the ways other accomplished artists work. Here are some of my book recommendations when it comes to those which have most helped me in regard to this particular subject. This includes books that specifically tell you how to vary your body types, but also ones that just have a lot of examples of different kinds: Morpho: Anatomy for Artists Morpho: Fat and Skin Folds Famous Artists School Course in Illustration and Design (If anyone is interested in this one and has trouble finding a non $500 copy, hit me up and I’ll help you out) Spirit of the Pose Anatomy Lessons from the Great Masters Drawing People: How to Portray the Clothed Figure Figures from Life (my favorite currently; not the most varied array of figures but he goes in depth on how to successfully grow an academic study of a model into an illustration influenced by your own ideas and personal style) If you found this answer helpful, although it isn’t specifically about character design, I go a little more in depth about some of the topics I briefly covered here (such as choosing the right reference, good vs bad reference in general, honing in on shapes, pushing the pose, etc) in this short book of mine :>

[level247-table-tech]

here are the sprites on their own! not all of them, but there are way too many to fit up there. i’m leaving the rest under the cut.

others include significantly asymmetrical sprites, as well as a bonus set. 8)

these don’t really clarify their relative heights. they are not adjusted to the bottom pixel i actually drew for sure, that’s not how i aligned them. i actually have a guideline in the file, but. i can’t really show that.

above are the regular sprites. it took ages to figure out what i wanted to do with virgil’s plaid, but it turned out going simple with it was the best plan. also it looked very bad until i figured out to use values correctly.

also, while we’re at it, i can tell you some things i changed between projects! this is a remaster of my last attempt at pixelology, and i do  believe it’s an overall improvement.

virgil’s plaid, yeah, changed that, but also the colour of his hair, because the old one blended too much with his skin. glad that happened to virgil, because i was trying to keep the hair highlights the same for everyone, with differently-tinted shadows. i did give him a bat instead of the wings this time, because a, he seems like a bat kind of guy, and b, the wings sucked and i don’t think i could improve them. like, the best thing about those wings is that they were the ace flag colours, and since his general colour scheme is already like that, it’s not a spectacular saving grace. they also made the frame fit weird, but i don’t like drawing wings absurdly small, like why bother? i alos tried to be a bit more competent with the jacob lines in his shading. those are an indicator of fear so of course i wanted to keep them included, but last time i feel like i didn’t do great, and this time i think i improved. especially on the legs. it is kind of a pain how there are adjacent sections where the shadows are done in the same colour, but. that’s really who virgil is, let’s be real. wouldn’t be the same without the all-black clothes.

also, patton’s different skin tones were really bad, you could barely see the shadows, so i changed them. his overall shape also did not work, so this time i stylized it a bit more to fit with the pixels. also i gave him a different weapon. hopefully it’s still funny in its incongruity!

roman had very little change. like, i really like his original sprite! i did change some of the gold details, but the biggest thing is probably the pants. they’re white with a red stripe because, a, it looks very good, and b, it set up a parallel with remus.

and remus. most obviously in the first one, his different head angle super didn’t work. it was very bad! which, in his case doesn’t automatically rule it out, but this one looks way better next to the majority of these. i mentioned relative heights earlier and this one should actually be the same height as roman, you can align them by their chins. aside from that, i added a lot mor detail to his ruffles, i tried my best to maintain clarity on his torso, i got the sleeves just plain wrong, but it looks fine, and it happened to be very good art that led me astray on that, so whatever. i feel like his morningstar might have gotten worse between versions, but what can you do. maybe i accidentally put it at a slightly harder angle to make look nice. whatever.

logan! i don’t think i’m doing these in any real order, sorry. like patton, his shape has been changed to be more stylized to fit the pixel thing. like, a realistic taper on the legs, as it turns out, looks pretty bad! exaggerate it or make it just straight lines and it is better. i feel like i very much improved his hair, and i also added the belt that he wears which i forgot last time.

lastly, janus. well, lastly for now, but the next one won’t be a remaster of anything. i gave him his canon weapon instead of snakes, which, not sure what i was thinking gameplay-wise for those. [that’s a lie, i was thinking nothing about gameplay because i am no gamemaker. i’m not even an animator, much as i’d like to be.] when i made his last sprite, i forgot the lining of his cape is yellow. also last time i had not seen the magnificent longer cape from the game sections of svsr, which as i’ve mentioned elsewhere i am never letting go of, ever. so that features here. it kind of blends with the backgrounds i use for the vs character selection screens, but i don’t think that’s necessarily a downside. aside from that, i did remove some scales from his right hand because we have now seen it, and it’s proven bereft of those. as you’ll see in a second though, fortunately no such thing can be said of his legs. nor upper arm.

now for the bonus set. you may recognize this theme if you’ve followed this project awhile. 8)

some notes on these specifically:

-this is simply a complete set based on janus’ bonus sprite from the original project this is remastering.

-i tried to base the colours on their onesies. that proved harder than expected. remus and janus have no shown onesies, but

>i had janus’ previous sprite on hand, so that was him taken care of.

>virgil’s onesie didn’t really have multiple colours, so it’s just different shades of black, with some grey thrown in because white is already a base colour.

>logan’s, oh boy, i thought i remembered it having two colours, but i was wrong, it is just blue. and white, but again, that doesn’t work. so i gave him a couple of shades.

>patton’s, i didn’t really want to use grey as a colour, but it actually had two others, they were just in trace amounts. it was okay.

>remus. nghh. i wanted to use like, an inverted version of roman’s colours, but it turns out blue and yellow inverted is yellow and blue. so i used the orthogonal colours instead, and i’m not really sure it was a good look.

-aside from colour schemes, each of these has its own little variation, because i felt like having fun. aside from any kind of socks/leggings, because whatever, those are pretty variable anyway, each has one detail different. from most to least noticeable as i see it:

>patton has pants instead of a skirt. i just thought the look suited him better. the thing about patton is i always imagine him in Dad Fashion, which doesn’t have a ton of skirts in my mind. maybe that’s just my dad, but eh. i do think it’s a good look but i didn’t draw it very well.

>roman has a different crown. need i explain further? adding the others’ crowns was a bit of a pain considering how they interact with hair that isn’t drawn in anime style.

>virgil’s might not be too noticeable on its own, but the leggings kind of direct the eye there. he’s wearing his own boots instead of any variety of sailor scout ones. mostly because they are much, much cooler.

>logan has a different collar. closer to his usual polo than... whatever the sailor collar is actually called. he also might not have the same choker necklace as everyone else, but mostly you just can’t tell. still tied with a weird bow thing, though. how the hell do those bow accessories work?

>janus has a longer cape. again, need i explain further? he’s also the only one with a magical girl wand, because his colour scheme* was the most permitting and i really wanted to draw coily ribbons.

>remus is kind of like virgil with the leggings, but again, those don’t count, and with remus they draw attention away from his change. anyways, the different thing about his outfit is the sleeves. i only noticed long after i was out of the pixel stage that none of the sleeves are accurate, but his are even more not accurate, they do the poof thing. also his neckline’s a bit lower, but i mean, how could i not?

-i might assemble a full scene with these, if anybody asks. or nobody, i kinda just want to. it’s not too much trouble, but it won’t be animated this time, that took ages and i don’t think it even turned out well. i gotta find somewhere to actually get taught things about animation, though it also just does not gel with my medium.

-i can’t for most of these, but for janus i can talk about some improvements. his crown looks more visible, though that might just be compared to this side of his face. the skirt is not better and might be worse to be honest. also the bow on his chest. other than that it’s definitely better for the gloves actually being incorporated in this one.

*i do actually have set colour schemes for these. i tried to even limit the number of colours for each one. that said, most of them have exactly 17 instead of the nice power of two 16, and one of them couldn’t even fit that bill.

[lavalampelfchild]

Lava’s Art Masterpost

Hey, all!  Welcome to my art masterpost!  I have no idea if this is a thing that is done typically for art, but oh well, I like organizing things, so here we are!  What you’ll find here is mostly Dragon Age, with a few non-DA pieces in there, and there’s a range of styles I like to use, depending on my mood.  But a lot of what you’ll see will most likely combine lineart with some other form of coloring/shading.

Feel free to browse at your leisure, and I hope anyone who stumbles upon this enjoys what they find! :D And thank you to anyone who sees this and likes, or reblogs, or even just stops by to peruse a bit!  

All that said, away we go!

Digital Portraits:

1. Portrait of Nameless Woman, 2020 - This one is just an experiment with a watercolor brush that I did.  It’s not anatomically perfect, but I enjoyed playing around with shading.

2. Sketch of Aja Amell, 2020 - This one is basically sketch practice with my Amell~  Not really the most expressive pictures, but it’s a start toward drawing her more expressively.  Full disclosure: Aja is one of those OCs of mine that I have had trouble with deciding on a definitive appearance for several pictures, and I really want to work on upping my level of consistency when drawing her.

3. Long-Haired Fenris, 2020 - Exactly what it sounds like; this was for practice drawing Fenris’s features (I love how distinct they are), but with long hair because I am weak for it.  This one was a fun piece to shade, and mixing the stylized lineart that I normally use with a greyscale shading spectrum was really enjoyable.

4. Portrait of Ilorin Lavellan, 2016 - This is an oldie.  Basically practicing expressions, and it is technically a WIP, but I’m still very happy with how the shading turned out, especially because this is actually (aside from the unfinished hair) one of the more minimal pieces I’ve done in terms of lineart  It’s still there, and it still shapes the flow of the picture in some ways, but it also ends up flowing with the shading instead of standing out next to it, which I like.  (Both styles are good, though, and I love seeing other artists try both too.)

5. Old Portrait of Aja Amell, 2016 - Much older picture I did of Aja; she... honestly looks very little like the newer one, I think, and that consistency is something I’m still working on, but this one was the first picture of Aja with that particular hairstyle I drew.  What I like about this picture is how young she looks; it fits with her image as a fresh and sheltered Circle mage who’s only about 20 years old at the time of DAO.

6. Old Portrait of Trilyn, 2016 - They very first piece of art I posted to tumblr~ It’s not exactly how I envision Trilyn anymore, but it was still very fun to draw, and helped me get a feel for drawing him in the future. 

Dynamic Movement Pictures/”Moment’s in Time”:

1. Tabris in Arl’s Estate, 2020 - TW: blood.  I am super proud of this one.  My ultimate goal is to draw all of my Warden DAO OCs, and I could not believe I’ve never drawn my Tabris, and so here she is.  This was, in large part, practicing expressions because I absolutely love art that depicts characters in motion, or capturing some kind of expression.

2. Velyn in the Rain, 2017 - This one was actually based on some art that I saw in a Teen Wolf fic!  It was an experiment with a more expressive style (and one of the first pieces I did without lineart left in the finished version) and it was a huge step out of my comfort zone.  But overall, I am extremely happy with how it turned out.

3. Jem Nocking an Arrow, 2016 - And here is the lineart version.  This was entirely an excuse to draw my DAI baby, Jem, and to do a cool archer pose because archers are my fav, and I love characters in motion.

4. Solas Teaching Trilyn Fade Magic, 2016 - This one was a painterly picture that was also (like the Velyn picture) something which I tried to keep lineart out of.  Overall, I am proud of a lot of parts of the pic, but I think I would definitely go back over it and change a few things now if I had the patience.

5. Trilyn Closeup WIP, 2016 - TW: injury, blood, mention of abuse in the author’s note.  A lot of early pictures I have are of my OC, Trilyn, and this is one of my absolute favorites.  His entire upper body is technically in the picture, but I hadn’t finished rendering it yet, so this was what I posted.  And it was an experiment with a cross-hatching style with the pencil tool for some texture, with air brush shading and a blurring tool.  It’s a style I had fun playing around with!

6. Trilyn Blood Ritual, 2016 - TW: blood, injury (the slight cut used to supply the ritual with blood).  This one was definitely a sort of “captured moment” from a backstory I gave Trilyn, and I think what I was really going for was an atmospheric piece that could fit with any potential fic I wanted to write for Trilyn.  And then it ended up being practice for extreme lighting/shading techniques, and drawing the blood and the gross mass of demon ichor (or whatever the heck that is) turned out to be highlights of making the piece for me.

Art + Text:

1. Freedom and Control, 2020 - TW: scars, but very difficult to see.  This one was ambitious for me!  It started originally just as Solas and my Tal-Vashoth OC, Saara, facing each other, because I love the dynamic I’ve built for them in my head, but then it turned into an attempt at a tarot-esque background, and just sorta grew from there... Overall, I’m happy with how it turned out, especially with how Solas and Saara themselves turned out.  The version you can actually see a larger view is here.  

2. Marianna and Delia Codex and Art, Pt. 1, 2020 - I love writing my own codex entries, first off, and I love combining art with text to create a (hopefully) seamless work.  This work was an attempt to flesh out these OCs of mine with both art (because unique facial structures are hard for me to get down, but so important regardless) and text (because writing~).  I think it turned out well overall, but there are elements of the portraits that I might at some point touch up a bit.

3. Marianna and Delia Codex and Art, Pt. 2, 2020 - Part 2, with what I refer to as a “DAI Outfit Change” because I have always loved seeing fans show their own OCs as they look in DAO, DA2, and then finally DAI.  So I absolutely wanted to jump on that bandwagon myself.  The skin tones are a little off (and I’m sorry about that!) because I was playing with the watercolor brush at that point, and it dilutes the colors I use.  Still working to figure that out, but I was very happy with the overall lineart and structures of the faces.

4. Alistair/Aja Amell Picture with a Blurb, 2017 - Ooooold, old, old, old, OLD!  I still love the art, and I’m soooo happy with how the interaction between Alistair and Aja turned out (drawing kisses is extremely difficult for me; I always end up creating a distorted weird lip-creature, instead of realistically puckered lips...).  I’m not as happy with the blurb that went with it?  At that point, I was still very much figuring out my own DAO worldstate, and the characterization for everyone, so, eh.  Take it with a grain of salt!

Unfinished Costume Designs:

1. Ancient Elvhen Armor with Dwarven Influence, 2018 - People who do costume design work are amazing and mystical beings, and I wish I could do what they do.  This was an attempt at merging the Keeper robes from DAI with a more dwarven armor aesthetic, solely because I created an ancient elvhen character, Ceda, who was taken in by the Cad’halash dwarves mentioned in the Witch Hunt dlc, and I wanted this character to have a mix of the elven style of armor and the dwarven style.  I’m overall decently happy with it, but there’s still that persistent level of self-criticism present.

2. Herald of Andraste Outfit WIP, 2016 - This was a very old picture, not one I showed around a lot, but the idea for this was entirely born of my intense interest in how fashion and outfit designs could be used to create a symbolic image for the Herald of Andraste.  In general, I love the combination of ceremonial armor with long and flowing cloth, so that was what I went for here.  I’m still actually very proud of how this came out, and headcanon something similar for my Herald in my canon DAI worldstate.

Pencil Sketches:

1. Quick Saara Sketch, 2019 - TW: saarebas mouth scars.  Exactly what it says; very quick sketch of Saara I did in a small notebook I carry around with me.  This was basically a test for myself to see if I could manage to draw Saara with the features and facial structure I envisioned for her without needing to use a lot of references.

2. Mass Effect Character Sketch; Jesse, 2018 - Similar reason for drawing this one as the above Saara sketch!  With these characters, I love sometimes the way they can turn out with the specific character creator used for them, and when I draw them, I enjoy trying to create a definitive look for them using what I get from the CC, and my own knowledge of Hooman Faces.

3. Saara Sketch, 2017 - TW: saarebas mouth scars.  A more detailed sketch of Saara than the one above, and one I definitely put more time into overall.  It’s currently the profile picture I’m using for ao3, and is the definitive go-to reference picture I use whenever imagining Saara in a fic, or for other Saara pics I make.  I am extremely proud of this picture, and feel like I should work in graphite more often.  It’s such fun, and the texture is so nice to look at.

4. Sketch of Nameless Alamarri Woman, 2017 - This was a sketch I did of what I envisioned some Alamarri tribes to look like; I used artistic depictions of Gaul tribes and hairstyles for inspiration, and have used this as a go-to reference for my version of Alamarri tribes.  Nothing super notable about this one, but I really liked the way the shape of her face turned out.

Events and Gifts:

1. Another Scar, 2020 - TW: blood, injuries, gore.  The most recent piece of art on the list, and a gift for @cartadwarfwithaheartofgold; featuring sisterly love between Rica and fem!Brosca, which was her requested prompt.  This was a tough piece for me because of the difficulty with the lighting I dealt with.  For some reason, that one particular element of it gave me so much trouble.  Overall, I’m very happy with how it turned out, though, especially the skin tones of the sisters; Brosca I always sort of like as having this greyish, more gaunt look to her, while Rica I like seeing with a darker, richer, and warmer tone to her.  

2. A Very Cousland Christmas!, 2019 - This was for a holiday exchange for a server, and I drew a friend’s Cousland (Elissa, the girl on the left) with my Cousland (Gazza, the girl on the right).  I love kid-fic, and I love kid-art, and so I decided... baby Cousland art!  Drawing kid proportions was the toughest part, I recall, and I thiiiink it turned out well, and I’m still quite proud of it overall.  Elissa’s design came entirely from my friend, but I added the holly~

3. Exchange Gift with Dis Brosca and Mabari, 2018 - This was an exchange gift for @fanfoolishness, using her lovely Dis Brosca, and was my first real attempt at backgrounds... I struggled with the coherence of the foreground and background a bit, but I’m still very proud of how it turned out, especially with the colors I had to work with.  What I also really enjoyed working with was the lighting and the expression on Dis’s face.  Backlit subjects are always fun to play around with!

4. Inktober Picture, “Deep”, 2017 - TW: scars, injury, mentions of abuse in the author’s note/attached dialogue snippets.  This was for an Inktober prompt (the only one I’ve ever done, sadly... because I am bad with deadlines...), and again features Trilyn.  Trilyn’s backstory has him a former slave in Tevinter, and a lot of the early works I do for him are sort of deep-dives into his life there.  It’s all meant to be an exploration of the things he endures, and then those moments when he overcomes it all and takes back his own autonomy and self.  This art is definitely provocative, and I can understand if not everyone likes it, but to me, I just wanted to show just what he faces (without glorifying it) before showing the moment of his own triumph.

5. Christmas Holiday Picture with my Brosca and a Friend’s Amell, 2017 - This was a piece of art drawn first by a friend of mine, @nanahuatli~  She drew the Amell, the background, the mistletoe, etc.  All I did was add my Brosca to the mix to finish the image.  It was a lot of fun to do, 1) because it was fun trying to match her style so that the picture looked cohesive, 2) because I love doing collabs with friends, and 3) because it was just such a fun thing to imagine my surly short Brosca, looking at this weird plant/fungus/thing dangling over some puckering human!  It was an absolute joy to do this collab with her!  

6. OC Kiss Week Pic of Jem and Saara, 2017 - TW: saarebas mouth scars.  A spur-of-the-moment thing meant to demonstrate just what kind of dynamic my OC, Jem, has with my other OC, Saara (both of whom are members of Leliana’s network in DAI).  This was a very quick picture (deadlines...) and was mostly just to have fun drawing these two characters interacting, and to see if I could make them look like themselves.  I think I did a decent job with it overall, especially with Jem’s kissy-face!  (Again... drawing kisses are the bane of my existence, although hands and feet take a close second.)

[killfaeh]

Péguy

Hi everybody! In this news feed I've told you a few times about a project I named Péguy. Well today I dedicate a complete article to it to present it to you in more detail but also to show you the new features I brought to it at the beginning of the winter. It's not the priority project (right now it's TGCM Comics) but I needed a little break during the holidays and coding vector graphics and 3D, it's a little bit addictive like playing Lego. x) Let's go then!

Péguy, what is it?

It is a procedural generator of patterns, graphic effects and other scenery elements to speed up the realization of my drawings for my comics. Basically, I enter a few parameters, click on a button, and my program generates a more or less regular pattern on its own. The first lines of code were written in 2018 and since then, this tool has been constantly being enriched and helping me to work faster on my comics. :D This project is coded with web languages and generates vector patterns in the format SVG. In the beginning it was just small scripts that had to be modified directly to change the parameters and run individually for each effect or pattern generated.

Not very user friendly, is it? :’D

This first version was used on episode 2 of Dragon Cat's Galaxia 1/2. During 2019 I thought it would be more practical to gather all these scripts and integrate them into a graphical user interface. Since then, I have enriched it with new features and improved its ergonomics to save more and more time. Here is a small sample of what can be produced with Péguy currently.

Graphic effects typical of manga and paving patterns in perspective or plated on a cylinder. All these features were used on Tarkhan and Gonakin. I plan to put this project online, but in order for it to be usable by others than me, I still need to fix a few ergonomy issues. For the moment, to recover the rendering, you still need to open the browser debugger to find and copy the HTML node that contains the SVG. In other words, if you don't know the HTML structure by heart, it's not practical. 8D

A 3D module!

The 2020 new feature is that I started to develop a 3D module. The idea, in the long run, is to be able to build my comics backgrounds, at least the architectural ones, a bit like a Lego game. The interface is really still under development, a lot of things are missing, but basically it's going to look like this.

So there's no shortage of 3D modeling software, so why am I making one? What will make my project stand out from what already exists? First, navigation around the 3D workspace. In short, the movement of the camera. Well please excuse me, but in Blender, Maya, Sketchup and so on, to be able to frame according to your needs to get a rendering, it's just a pain in the ass! So I developed a more practical camera navigation system depending on whether you're modeling an object or placing it in a map. The idea is to take inspiration from the map editors in some video games (like Age of Empire). Secondly, I'm going to propose a small innovation. When you model an object in Blender or something else, it will always be frozen and if you use it several times in an environment, it will be strictly identical, which can be annoying for natural elements like trees for example. So I'm going to develop a kind of little "language" that will allow you to make an object customizable and incorporate random components. Thus, with a single definition for an object, we can obtain an infinite number of different instances, with random components for natural elements and variables such as the number of floors for a building. I had already developed a prototype of this system many years ago in Java. I'm going to retrieve it and adapt it to Javascript. And the last peculiarity will be in the proposed renderings. As this is about making comics (especially in black and white in my case), I'm developing a whole bunch of shaders to generate lines, screentones and other hatchings automatically with the possibility to use patterns generated in the existing vector module as textures! :D

What are shaders?

Well, you see the principle of post-production in cinema... (Editing, sound effects, various corrections, special effects... all the finishing work after shooting). Well, shaders are about the same principle. They are programs executed just after the calculation of the 3D object as it should appear on the screen. They allow to apply patches, deformations, effects, filters... As long as you are not angry with mathematics, there is only limit to your imagination! :D When you enter a normal vector in a color variable it gives funny results.

Yes! It's really with math that you can display all these things. :D Now when you hear a smart guy tell you that math is cold, it's the opposite of art or incompatible with art... it's dry toast, you'll know it's ignorance. :p Math is a tool just like the brush, it's all about knowing how to use it. :D In truth, science is a representation of reality in the same way as a painting. It is photorealistic in the extreme, but it is nevertheless a human construction used to describe nature. It remains an approximation of reality that continually escapes us and we try to fill in the margins of error over the centuries... Just like classical painting did. But by the way? Aren't there a bunch of great painters who were also scholars, mathematicians? Yes, there are! Look hard! The Renaissance is a good breeding ground. x) In short! Physics is a painting and mathematics is its brush. But in painting, we don't only do figurative, not only realism, we can give free rein to our inspiration to stylize our representation of the world or make it abstract. Well like any good brush, mathematics allows the same fantasy! All it takes is a little imagination for that. Hold, for example, the good old Spirograph from our childhood. We all had one! Well, these pretty patterns drawn with the bic are nothing else than... parametric equations that make the students of math sup/math spe suffer. 8D Even the famous celtic triskelion can be calculated from parametric equations. Well, I digress, I digress, but let's get back to our shaders. Since you can do whatever you want with it, I worked on typical manga effects. By combining the Dot Pattern Generator and the Hatch Generator but display them in white, I was able to simulate a scratch effect on screentones.

In the traditional way it is an effect that is obtained by scraping the screentones with a cutter or similar tool.

Péguy will therefore be able to calculate this effect alone on a 3D scene. :D I extended this effect with a pattern calculated in SVG. So it will be possible to use the patterns created in the vector module as textures for the 3D module! Here it is a pattern of dots distributed according to a Fibonacci spiral (I used a similar pattern in Tarkhan to make stone textures, very commonly used in manga).

Bump mapping

So this is where things get really interesting. We stay in the shaders but we're going to give an extra dimension to our rendering. Basically, bump mapping consists in creating a bas-relief effect from a high map. And it gives this kind of result.

The defined object is always a simple cylinder (with 2 radii). It is the shaders that apply the pixel shift and recalculate the lighting thanks to the high map that looks like this.

This texture has also been calculated automatically in SVG. Thus we can dynamically set the number of bricks. Well, this bas-relief story is very nice, but here we have a relatively realistic lighting, and we would like it to look like a drawing. So by applying a threshold to have an area lit in white, a second threshold to have shadow areas in black, by applying the screentone pattern to the rest and by adding the hatching that simulates the scraped screentone, here is the result!

It's like a manga from the 80's! :D I tested this rendering with other screentone patterns: Fibonnacci spiral dots, parallel lines or lines that follow the shape of the object.

Now we know what Péguy can do. I think I can enrich this rendering a bit more with the shaders but the next time I work on this project the biggest part of the job will be to create what we call primitives, basic geometric objects. After that I can start assembling them. The concept of drawing while coding is so much fun that I'm starting to think about trying to make complete illustrations like this or making the backgrounds for some comic book projects only with Péguy just for the artistic process. Finding tricks to generate organic objects, especially plants should be fun too. That's all for today. Next time we'll talk about drawing! Have a nice week-end and see you soon! :D 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/302/

[same-side]

hiiii! i just wanna say, i adore your art. second, im teaching myself to draw and while i can draw simple basics (mouths and sometimes eyes if im lucky), im still a beginner. ive watched many art videos and im still a bit confused on wtf im doing. so i just came here to ask if you had any words of wisdom for beginners? could be anything from what tablets to buy to simple mistakes to avoid. ive read some of the other posts here and have found it all extremely helpful so far! Thx for all you do!!

Hey there! Thank you so much!

I would put a read more but tumblr is broken. I’m trying to cover a lot of varied thoughts in little points, so if there’s anything you would like me to elaborate on or otherwise have questions on, feel free to shoot me an ask or dm me!

General

I think the biggest thing to remember is not to compare yourself extensively to others. A little bit of comparison is healthy... But too much will destroy your confidence, motivation, and take the fun out of art. Particularly if you are comparing yourself to someone older than you (life experience and coordination come into play here) or that has been drawing much longer (practice). 

Additionally... If you’re not having fun (and you’re not getting paid to do it), don’t force yourself. If you find yourself being frustrated or bored with art, don’t force yourself to do it. That’s how you burn out and get art block! This applies to parts of a peice, too! If you don’t feel like drawing a face or a hand today? don’t force yourself to finish it. Come back to it later when you aren’t as frustrated or are getting better results. Even if its a week or a month from now. Honestly, at any given time I have probably ten headless bodies in my drafts. That’s okay! I just come back to them when I’m ready to do the face. And don’t be afraid to abandon something if it doesn’t feel right!

Something that also doesn’t get said enough.... take care of your body! I never knew when I started art, but artists are supposed to do warmup sketches and stretches and muscle exercises! I didn’t do any of this, and i went through a period of a few months where I was drawing for 5ish hours every single day. I developed carpal tunnel from it! So remember to take care of yourself. Take breaks, stretch, remember to eat.

Practice

Practice!!!! Even if its just for fifteen minutes every day. Or twice a week. But if art is something you really want to get good at, you have to put in the time and effort!! You can’t expect to draw an hour per month and be on the same level as someone who draws an hour a day!

I know I say this a lot but I think the biggest thing is just reference! If you don’t know what something looks like, look at a picture of it when you draw it! To go hand in hand with that, though, don’t just copy what you see! Learn from it and apply it! So take, for example, a shoe! pay attention to the way the heel is shaped, the location of the eyelets for the laces... how large the toe is, how steep the top! While you’re at it, look at other styles of shoes as well, and compare them! See what makes it look like a boot versus a trainer! And then the next time you draw it, hopefully you’ll remember all the things you learned the first time around!

I do lots of studies that serve no purpose other than to teach me things! I use referencing/studies to learn about color theory, shapes, and anatomy in a real environment. For example, hands or fabric folds! Oftentimes I’ll do them timed (20 or 45 minutes) so that I don’t fixate on perfecting things, just on the process itself and what I can learn from it. This also helps with getting better acclimated to your software and more coordinated with what you’re doing. Repetitive learning, like with playing sports. 

I’ve realized a lot of people don’t quite understand what a study is? Basically you just look at a photo and try to replicate it so that you can learn about lighting or color theory or textures or anatomy or whatnot. So here’s an example of a timed study.

Additionally, don’t avoid!! We, as humans, have a tendency to avoid things that make us uncomfortable or are difficult. But it will make you a better artist in then end. When I first started, I absolutely hated doing fabric. I felt like I wasn’t good at it. So instead of avoiding drawing clothing, I sat down and did studies and sketches of different kinds of fabric. By the end of this learning period, I became comfortable with it and grew to enjoy it. These days, I adore sketching clothes, and it’s why my pants and shirts and things tend to be detailed instead of stylized in line art. If you don’t like drawing hands because you feel like you aren’t good at it? Sit down, look at a bunch of pictures of different hands, and practice it. By the end, you’ll be more comfortable, you’ll have learned something. Even if you feel like the drawings you ended up with aren’t good, you’ll still have learned, and that’s what matters!

Style

I worked on basics before I tried to develop a style. I made sure to start with a very realistic method at first, so that I could be sure I understood how fabric folds, anatomy, and realistic expressions worked before I tried to stylize them. I think in the long run this approach really paid off for me. It also allowed me to be conscientious of what elements I was absorbing into my artwork. I hear from so many artists that they started drawing when they were younger and into anime or cartoons or things like that, and tried to emulate it. Because those styles became so ingrained into their artistic skillset, it becomes near impossible to iron out those influences and get rid of them later. So starting with realism is a way to ingrain proper anatomy and other good practice into your artwork.

One way to develop style is to take a look at the artwork of someone you admire, and try to list out the things you like form their style - perhaps the thickness of their lines, or the way they do eyes. Do this with several artists, take all those little details you like and try them out! See if you enjoy using them in your own drawing process! Think of it like a grab bag or a pick-n-mix, sprinkling in the elements you like here and there to create something new and your own - not just copying another artists style word for word.

Don’t worry too much about it though; don’t allow yourself to become anxious or fixated on “achieving a style”. Its a natural ever evolving process that comes with time and practice. I know a lot of people get hung up on style, but just take it one day at a time!

Also try to keep in mind what style you’re going for as you begin drawing. And I don’t mean that like sailor moon vs. ghibli. I mean that as in, is this piece going to be a painting, a lineart, a lined painting, cell shading...? It will help you in the longrun if you narrow down the broad kind of style you use, and refine from there. 

Workflow

My workflow for paintings is very different from my workflow for lineart and cell shading. A full tutorial on how I do paintings can be found here! A process video for how I cell shade can be found here!

Everyone is going to have a different method that works for them! You just have to experiment and find out how you like to draw! For me, personally, I use color blocking for painting (see the tutorial above) and a spine method for lineart. How the spine method works is that I will draw lines that represent the legs, arms, back, etc. so that I can determine the placement, length, and composition. From there, I’ll add a dark outline that actually shows the shapes of the body. Then, I’ll use thinner lines to add details. This is the method I’ve found that works for me. Another commonly used method that I’m sure you’ve seen is representing body parts with cylinders and cubes. There are lots of good tutorials out there on breaking down bodies into shapes like this!

Something that I do is if I’m not quite happy with a part of a drawing, I don’t just erase it. I duplicate the layer so that I always have the original copy, and then I make changes from there. Sometimes I can end up with five or six different versions of the same arm or face that i’ve made minor changes to. And then I compare and pick the one I like best, or condense all the parts I like from each version to make a “best” version.

Tools

Currently I use Procreate and the standard Ipad with Apple Pencil. Prior to March I was using a Wacom Bamboo Touch and Photoshop Elements 2008. I find its harder for me to do full paintings in procreate, but its made my life a million times easier for lineart and cell shading. The pen pressure is phenomenal, and I also adore that its wireless / active screen instead of plug in like the wacom. The programme itself is intuitive and easy to get the hang of; it simply lacks a lot of the neat tricks that photoshop has, like rendering (lens flares, for example), gradients, and gradient maps. Try testing out different trials of programmes... firealpaca, photoshop, autodesk, whatever it may be! What works for me may not work for you!

[clarenecessities]

what’s up sluts i actually made some art for once

my interpretation of Hero!Touya/Dabi, as per my fic Dragon Head, Snake Tail

patented nerd rambling below the cut

let’s start from the head down! the hair thing.. idk, he’s 22. i’ve never met a 22 year old who could keep their hair dyed consistently, and the stakes are much lower for Touya than they are for Dabi.

the mask i was initially basing on like those protruding jaw/cheekbone masks you see in kabuki theatre, but nothing had the right dragon feel to it. in reading about the color symbolism in kumadori (blue is usually villainous lmao) i saw comparisons with Chinese Opera. while kabuki isn’t descended from chinese opera, the aesthetics of the face-painting share similar approaches to emphasizing expression and alignment. so i flipped through some designs and stumbled across this one, the mouth of which in particular inspired me (well, i say inspired; the mouth is more or less identical in design).

oh fuck i’ve given him an extra piercing. well. that’s canon now

the jacket is sort of a cross between classic biker gear and traditional japanese firefighting coats. the material is hardy, dyed with indigo, and insulated with the aforementioned liquid nitrogren. since Touya is cold-resistant, he can touch it with no ill effects for about as long as Shouto can use only his ice side.

what’s the red u may ask? welllll traditionally hikeshi banten are reversible! and as a reward for trying to parse my bullshit, you get to see the inside of the jacket:

i was going back and forth on the reverse side tbqh. couldn’t decide if i wanted to draw my own or find a pre-existing image. i did find a lovely print of the stage at kiyomizu that i almost went with, but in the end this Daoguang tapestry won me over with its bold colors and beautiful representation of a flaming pearl. since the tapestry is chinese, i had to edit some things, which is why i ultimately decided against putting this on the ref sheet–i feel almost as weird editing this kind of stuff as i would making my own shitty attempt–but it was mostly to naturalize the dragon to japanese depictions of them. like i changed it from the imperial 5 claws to the japanese 3, took out the bats because the pun doesn’t translate (they’re lucky, it’s a whole thing, don’t ask) and then the clouds because they looked weird without the bats. and of course, took it down to one dragon. both for size constraints (it’s not that big a jacket) and because touya’s counterpart is the phoenix

god i didn’t realize how much i had thought about this shit until i started writing it all down. there’s something wrong with me man we’re not even through his torso yet

the necklace looks at a glance to be either a magatama or half of a heart, but it’s actually a stylized red wing, bc i’m not subtle at all

kept the elbow braces from Dabi’s villain costume, bc it makes sense with the backdraft his quirk has exhibited

the bracers have more concentrated cells of liquid nitrogen because his forearms seem particularly vulnerable, particularly the way he wields his quirk hand-first. if the pattern is incidentally similar to someone’s hero shirt, well, that’s none of my business

the claws were a spur of the moment, how-can-i-distinguish-these-as-dragon-scales-and-not-fish decision. there are three because again, japanese dragon. the resemblance to wolverine is unintentional but retrospectively hilarious. the tricky part with those was actually figuring out how he gets them to retract–i didn’t want him to like accidentally hit a button and spear his coffee or some shit. so he can either smack his fists together or slam one into a hard surface. he doesn’t actually use the claws much, since his quirk discourages would-be melee battles, but they sure do look cool

ah, the fire pole thing. another borrowed element of traditional japanese firefighting. he uses it to maneuver in burning areas, not for combat. i wish i could say it was telescoping because i thought “oh, it would be inconvenient to carry” but uh. the reason is much less rational. in journey to the west Sun Wukong got his Ruyi Bang from the Azure Dragon and i was like ‘oh that’d be cool’ lmao. anyway it attaches to that red strap at his hip

the belt buckle! i spent way too long on the belt buckle. it’s kind of his ultimate ‘fuck you’ to Endeavor, tbh. the shape is the same as All Might’s belt buckle (though inverted) and the character inside is… well, you know how Enji’s a narcissistic bastard and put the 炎 from his name on his belt? Since that’s just two fire kanji stacked, this is going for something similar–except the kanji for ice (氷) doesn’t stack. nor does the ice radical. but you know what has the same aesthetic?? the Old Chinese version of the ice radical, 仌! that’s right baby. touya was so psyched to flip off his dad that he resorted to old chinese. yeah. his decision. don’t mind me

the boots are cobbled together combat boots & hiking boots, and are treated with the same material as Endeavor’s. so like theoretically, he could be walking around with hotfeet all the time, but that’d be like, silly. it’s great for kicks though

alright, i think that’s it. god help me. god help you, the reader at home

[picturesmadewords-blog]

We can fly - a Teddy & Billy ficlet

Hello, fellow Young Avengers fans! This is my very first non-reblog post on my all-new tumblr that I decided to create for my writings - if and when I get to write more, that is. The thing is, I used to write a lot until a few years ago. I was very active in my country’s Harry Potter fandom and wrote tons of Remus x Sirius stories. But, as I got older, I abandoned writing more and more… until this summer, when I couldn’t take it anymore: I had too many scenes and characters in my mind to let them sleep there forever, so I decided to start writing again. We’ll see how this goes.

I wanted to try something with my absolute favorite Marvel characters, Teddy Altman and Billy Kaplan. Being a gay man who was a teenager when these two first came bursting into comics, I owe a lot to them. And I have tons of little scenes and snippets with them floating around in my head, so here we are. My first post is a ficlet set during the events of Young Avengers v1, specifically right after Teddy’s mom’s death. On the day of her funeral, to be more precise. I’m sure this has been done before, but I really wanted to give shape to my version of it. It’s not much, but there’s a lot of heart in it and all the fluff I need to survive the horrible world we’re currently living in.

As I said, this is my first real piece of writing in years, so any kind of comment is welcome. I just want to see if I still have something worthy to say with my writing. It’s also my first piece of writing about Marvel characters AND my first piece of fiction in English. English is not my first language, so ANY kind of comment about style/form/possible grammar mistakes is highly appreciated.

Now, onto the fic!

Title: We can fly

Fandom: Young Avengers (Marvel comics)

Characters: Billy Kaplan, Teddy Altman, Jeff Kaplan, Rebecca Kaplan, Eli Bradley

Rating: G

POV: Billy (first section), Teddy (second and third sections)

“Call me, man. Whenever you want. Don’t ride this out alone. Neither of you should.”

Billy nodded. He stared deeply into Eli’s eyes and saw something unexpected there. He hadn’t seen Eli cry at the funeral, he didn’t think so. But the boy’s eyes were now shiny. If he hadn’t cried, he looked like he was about to. That wasn’t something Billy was used to. That look of defeat in his teammate’s eyes. In his friend’s eyes. Those eyes said so much more than “I’m sad because my friend’s mom died.” Those eyes seemed to say that now it was real. Not that Billy thought Eli hadn’t taken it seriously from the first moment Nate appeared in his life, but what they had gone through, the terrible, scary things they had gone through, weren't enough to prepare them for this. Losing someone, actually losing someone. Billy saw Eli's love for his grandparents in those eyes. He had seen the fear of losing his own parents in his own eyes that morning, when he had briefly looked at himself in the bathroom mirror.

And then, something else wholly unexpected. Eli hugged him. He pulled him close and hugged him and hugged him. When he let go, Billy had no idea how to react. He smiled faintly. The kind of gratitude he was feeling for Eli couldn’t be expressed in words.

They were on the doorsteps of his house. The sky was grey and there was a chill in the air. “Like in the movies,” Billy thought. “There’s always bad weather at funerals.”

Eli looked at Kate, who was waiting for him outside. He gave one last friendly smile and left. Kate waved at Billy and, once they were out of sight, the boy closed the door.

He turned to the living room. He was facing the back of the sofa, which was placed right in the middle of the room. The sight of the messy blonde hair visible just above the back cushions made his heart jump a little. “Man up, Kaplan. Man up,” he kept thinking. He closed his eyes, took a heavy breath and walked towards the sofa.

“Hey.” Billy tried to put on his best comforting smile. Teddy was sort of slouching on the sofa, his head low, his hands dangling between his legs, his black tie loosened. The plate Billy had prepared for him still lay untouched on the coffee table – a sandwich, some chips, a small portion of some sort of casserole one of his aunts must’ve brought. Glancing at it, Billy suddenly recoiled at the smell of food lingering in the house, as if he had only noticed it now that everyone had gone.

He sat on the sofa next to Teddy. The boy looked like he was somewhere else, somewhere far away, where hopefully he was still a happy teenager with a beautiful boyfriend and a loving mother, and not an alien prince with a dead parent who had lied to him his whole life.

Billy leaned on his shoulder. He enclosed Teddy’s huge frame with one arm, or tried to. And then the most exquisite, the most heartwarming thing happened. Billy had feared anger, tears, coldness, all things that would have been natural and that he would have faced with strength and perseverance for his boyfriend’s sake. He had not expected Teddy to melt into his embrace, his lovely face burrowed into Billy’s neck, his arms tight around Billy’s waist.

Teddy was big, much bigger than Billy’s slender figure, and yet he looked so small and fragile in Billy’s arms. All the boy could do was to rest his head on Teddy’s shoulders, feeling Teddy’s breath close to his chest, so warm, so soft through his white shirt.

They stayed like that for several minutes, in complete silence. There were no tears, no words of comfort, just two boys tangled together, Teddy safely hidden in Billy’s arms, Billy slowly stroking Teddy’s back.

A sound coming from the kitchen. And, a few seconds later, Jeff and Rebecca Kaplan standing in the doorway, both looking tired and much older than Billy ever remembered. Billy didn’t even try to let go of Teddy, he had no intention of letting go, parents or no parents. If anything, he held Teddy even closer, a sudden, overpowering sense of protectiveness washing over him. He’s mine and he needs me and I will hold him for the rest of my life if that’s what he needs.

“Billy, son, we’re going to your aunt’s to bring the hellions home,” Jeff said with a sweet smile. “But before we go, your mother and I need to speak to you boys.”

At that, Teddy jerked up. He didn’t let go of Billy’s waist, though, as he looked at Billy’s parents. “Mr. Kaplan, Mrs. Kaplan… I am so grateful, I will leave as soon as…”

“Hush, dear,” Rebecca said warmly, as she approached the sofa. Her hand reached Teddy’s forehead and she half-stroked, half-brushed his hair. Teddy smiled as Billy felt a sudden surge of love for his mom.

“That’s what we wanted to talk about,” Jeff said, stepping forward himself. His wife put a loving hand on his chest, and he put an arm around her shoulders. Billy smiled at the gesture.

“Billy told us that you have no living relatives,” Rebecca said tentatively, careful not to hurt the boy any further. “Now, mind you, we don’t want to force anything onto you, but…” she paused and sighed. Billy felt his heart skip several beats. He also felt Teddy slightly trembe in his arms. “We don’t, and as soon as you’re eighteen,” the woman continued “you will be able to choose what is best for yourself. But right now, if you want, Jeff and I were thinking that it would be our pleasure to have you with us.”

Billy was beaming. Teddy looked at the couple with wide, shimmering eyes. “We’re sure that there will be some legal stuff to take care of, which we will do once we’re all a little rested,” Jeff said, sitting next to his son. “For now, though, consider yourself our guest. Tomorrow we’ll fix the guest bedroom for you, and Billy here will help you make it your own with a few Pokémon posters or whatever you kids like nowadays. I really hope you will come to consider this your home, in time.”

Billy couldn’t keep it all in any longer. He let go of Teddy, turned to his father and hugged him, whispering “Thank you,” in his ear. Teddy sat motionless, incredulous.

“As for tonight,” Rebecca started, with a voice that exuded both motherly affection and practicality “we thought you could… sleep in Billy’s room.”

Teddy’s eyes widened even more. Billy, having let go of his father, jumped up to embrace his mother. Rebecca put a hand forward, making her son wait for his thankful hug. “This is a one-time thing, young men. Don’t make a habit of it. It’s only because the guest bedroom needs airing and,” she sighed. “And I guess we could all use a little affection and caring tonight.” She let Billy briefly hug her, then tightened her wool cardigan, as if a sudden shiver had passed over her.

“Your mother can’t wait to get the boys back from your aunt. Imagine being that desperate for affection,” Jeff said, getting up from the sofa and walking towards the front door to get his car keys.

Billy chuckled. So did Teddy, through teary eyes. He had met Billy’s bothers and both he and Billy knew that wanting those pests back was the act of a woman desperate to bring life back to what was, at that moment, a very grim house. They both couldn’t wait.

------------------------------------------------

Hours later, as if in a dream where you wander from place to place without any rational reason, Teddy found himself sitting on his boyfriend’s bed. A stylized cartoonish Captain America was staring at him from the heavy bed cover. He looked up, admiring Billy’s model replicas of all the major spaceships from Star Wars, hanging from the ceiling, while a glance at Billy’s desk revealed several action figures and statues of Thor and the Scarlet Witch, all of different sizes and some of them sporting costumes that Teddy recognized from an era of the Avengers that went back to before either he or Billy were even born. Taped to the wall behind the desk, he saw some pencil drawings, mostly of Billy’s winged headgear.

Teddy never thought he would ever find someone who was as big a nerd as he was. Billy couldn’t quite name every single Doctor Who companion from the 1950s onward, not yet, so he felt his nerd crown was safe for now. But still, Billy was a threat.

A wonderful, wonderful threat. He started fantasizing about spending entire afternoons playing computer games and swapping comics with Billy in the comforting space of the room he was now in. Watching their favorite shows together, while holding hands or spooning on that bed, which was thankfully big enough for the both of them. Stealing kisses when they were alone, stealing more than kisses whenever possible. And maybe, one day, building a life of their own, together.

His mind was full of all those incredible thoughts. He forced himself to focus on them. He willed them into his mind, fearing that he would soon wander back into the darkness. He knew that there would come a time when he needed to go back there. To mourn, to cope. But not tonight.

Tonight, he felt like he was given a second chance at life. And he wanted to take it and make it his own.

“I don’t think my PJs will fit you.” Billy’s voice, coming from the walk-in closet, startled him out of his haze. “But maybe this old jersey… it will be a snug fit.”

Billy came into the room holding a faded football jersey and a pair of shorts. “Not that I will complain.”

“I could make myself a little smaller,” Teddy said, taking the clothes from Billy’s hands.

“Oh, right. Please don’t. I really don’t mind the bulging muscles.”

Teddy laughed. He knew what Billy was doing. He was playing right along his little fantasy of “this is just a sleepover with your boyfriend, it’s not like your mom is dead and not even your real mom.” He loved him even more for that.

Teddy took off what remained of his funeral suit. He had tossed the jacket over the desk chair as soon as he had entered Billy’s room, and the tie was dangling from his neck, completely loose. Billy had turned around to get the spare pillow from the closet and, when he turned back, he found Teddy wearing only the Bionic Woman boxers he had bought for him on eBay.

“Oh come on now,” Billy half-whined, admiring his boyfriend’s sculpted chest and incredible legs. Not to mention Lindsay Wagner’s cotton face hugging Teddy in all the right places. God, that was wrong. What was he thinking when he bought those boxers. “Put that shirt on before I decide to completely destroy my mother’s trust in the both of us.”

Teddy smiled, putting on the shorts first, then the jersey. It was a snug fit and he had to shrink just a little to even put his muscular arms through the sleeves, but not so much as to avoid the tight effect that Billy had hoped for. He loved teasing Billy like that.

Billy was flushed. He swallowed and playfully threw the pillow (now fitted with a fresh Lion King pillowcase) at Teddy, who caught it and held it close to his chest.

“Oh, can you feel the love tonight, baby,” Teddy commented in the most suave voice he was capable of.

“You are such a dork.” Billy went back to the closet, while Teddy jumped on the bed, resting his messy golden hair on his new pillow.

“You know,” Billy’s voice came from the closet “if you feel up to it, if you’re not too tired or anything, the brats have this junior league soccer game tomorrow, I don’t think mom had time to pull them out of it. It will most likely be a total bore, but it might do you good to get out and OH MY GOD NO.”

Teddy jumped up, scared half to death. Billy’s screaming had felt like a well-placed punch in his guts. His mind immediately went to the worst possible scenarios, which flashed in his mind one after the other in a matter of milliseconds. Something had fallen on Billy’s head and he was injured. He had slipped and fallen and had really hurt himself. The Skrulls were back for him. Kang the freaking Conqueror was hiding in Billy’s walk-in closet.

“Billy! B, what’s wrong?” he yelled, worried. The Kaplans still hadn’t come back from Billy’s aunt, what could he do now? The thought that both he and his boyfriend were superheroes never even crossed his mind. That night, he felt like a kid who was in desperate need for somebody to look out for him.

“Nothing, nothing.”

Billy’s apparently calm voice made Teddy calm, too. Still confused, but calm.

“It’s nothing but oh my God this can’t be happening.”

“B?”

“Okay, so, apparently,” Billy’s voice, still coming from the closet, had assumed that tone that Teddy had come to recognize as bitchy Billy. “Apparently…” Billy continued “I only have three pairs of PJs. And the one I wanted to wear tonight, the one I wanted you to see me in, a nice, simple, elegant light grey thing that my grandmother gave me for Hanukkah, well, it’s in the wash. Which leaves me with two unspeakable options.”

Teddy half-smiled, still puzzled. “Okay?”

“Yeah, not okay. Not really. But here goes nothing.” Billy came out of the closet and Teddy had to blink a few times to fully understand what he was seeing.

Billy, all messy dark curls and hot red cheeks, was wearing a pair of light blue PJs. The shirt was a little too tight and the pants, which, Teddy assumed, were supposed to come to his ankles, were a couple of inches short of reaching them. And the pattern. Oh, the pattern.

It was small cartoon cowboys.

And cowboy hats and little white clouds and bright green cacti. Teddy was suddenly reminded of Andy’s room in Toy Story, before the arrival of Buzz Lightyear.

“Oh my God,” Teddy cried, grinning like a maniac. “That is the most adorable thing I’ve ever seen.” He jumped from the bed, covering his smiling mouth with a hand. “You are the most adorable thing I’ve ever seen.”

Billy blushed furiously. “The thing is, I haven’t really grown that much since I was twelve so I still have these old things lying around and…”

Teddy shut him up with a kiss. He cupped Billy’s face and kissed him and kissed him, Billy standing on his toes, his thin arms embracing Teddy’s waist.

“I love you and I have to take a picture,” Teddy said, coming up for air.

Billy’s eyes became two enormous saucers. “You… wouldn’t dare…” he said slowly, stepping back from his boyfriend.

“Please please please I have to immortalize the unthinkable cuteness right before my eyes,” pleaded Teddy, already grabbing his phone.

“No way! No way!” Billy laughed.

“I promise I won’t show it to anyone! It’ll be just for me!” Teddy wasn’t going to take no for an answer. “Would you really deny me this, tonight of all nights?” He looked at Billy with his best beaten puppy stare.

“Oh, that’s low,” Billy sighed. He opened his arms, defeated, and gave Teddy the sweetest of smiles as Teddy took as many pictures as possible. Yes, he was going to keep them for himself. Well, maybe one could find its way to Kate and Cassie. Maybe.

Of course Teddy knew that Billy could’ve just worn a T-shirt or something. He didn’t know if the adorable pajamas were chosen intentionally or not. But he did know that his boyfriend was the most incredible boy to ever walk (or, occasionally, fly) the earth and he had, once again, made him smile on one of the worst days of his life. He knew, right then and there, that anyone who could make him laugh on a day like that was someone he wanted to spend the rest of his life with.

------------------------------------------------

“Tired?” Billy asked, when the excitement over the PJs was over. They were lying on Billy’s bed, side by side. Teddy was staring at the ceiling, lost in thought. Billy was staring at Teddy.

“Exhausted,” Teddy replied. He turned his head towards Billy, a faint smile on his lips. “Thank you.”

“For what?”

“For being here. For being you,” Teddy whispered. He had tried to avoid it, but he felt the darkness getting closer and closer. He reached a hand and stroked Billy’s cheek.

Billy closed his eyes, enjoying his boyfriend’s loving touch. He leaned closer to Teddy and rested his head on Teddy’s chest, listening to his heart, getting drunk on his scent. “Is this okay?” he asked.

Teddy snorted. “Are you kidding? This is perfection.”

Silence fell over them. The room was mostly dark, only an old Mickey Mouse lamp illuminating the desk with all its action figures. Teddy closed his eyes and listened to the soft hum of Billy’s breathing.

“B?” he asked, with a wavering voice. “Am I going to be alright?”

Billy frowned, but didn’t look up. “Give yourself some time, babe.”

“But I mean…” Teddy continued, slightly hesitant. “When we get older. If… when we get to be adults together. My life’s so fucked-up. How can I… what kind of… man could I be? What kind of… father could I be…”

Billy’s head jerked up at those words. “You’re going to the most amazing dad. You are selfless and caring and goofy and you can shape-shift into all sorts of funny animals! Are you kidding, our kids will love you.” Billy paused, realizing what he had just said. “Yes, I did say our kids because I’m not going anywhere, T. Oh, and I want a small army of brats and I hope each and every one of them is as impossible as my brothers so we don’t get lazy in our old age.”

“Oh, God,” Teddy chuckled. After a silent pause, he added “I hope you are right. I just want to be free from this… this fear of failing and… and falling into dark thoughts. Dark places.” He wiped a tear that had made its way across his cheek.

Billy had rested his head on Teddy’s chest again. “Don’t be afraid of falling, T. It’s natural. It’s human. Neither of us might exactly be human human, but you get my point. Don’t be afraid. Because, if you fall, I will pick you up. Always. I will always be there to pick you up and lift you up, just as I’m sure you will be there for me.” Billy felt Teddy’s arms tighten around his shoulders, and he burrowed his face into Teddy’s chest. “We can both fly, if we can’t lift each other up, who can?”

Teddy smiled.

There was a long pause, which Teddy interrupted just to whisper “Goodnight, my sweet cowboy.”

“Goodnight,” Billy replied, grinning. He paused for a couple of seconds, then added “Hey, can I sleep like this?” holding Teddy even tighter for emphasis.

“You have to sleep like that,” Teddy replied, then placed a delicate kiss on Billy’s curly head.

Silence fell into the room once again. Both boys were half-asleep, when Teddy spoke up again. “Hey, what was on the other pair of PJs that was so terrible you went with cartoon cowboys?”

Billy snorted and hid his face in Teddy’s chest even further.

“Smurfs.”

Teddy grinned.

He definitely had something to look forward to.

[nostalgebraist-autoresponder]

It is possible that I will someday do something with this idea and I'd like a bit more than just "localizing" things.

I have a bunch of ideas that could use alt versions of the title logo and I just don't know what would be appropriate enough to use it for (like, it's not really a good titlelogo-redesign, in the same way that some of the logos for some old TV shows are terrible). (I'm currently considering just doing a titlecard for the one big movie I'm going to make and then using this design for the others.)

For now, I've been working on more of a concept than a specific idea, which I'll try to describe with a series of increasingly abstract images (and, when they get too abstract, I'll be glad to know that you have good objections to them and can help me figure out what the right idea looks like).

First there's a series of line drawings showing the difference between (1) our current logo and (2) the (conceptualized) ideal logo. Each image shows an idealized version of the logo, and all of them have the same width and height and color -- the differences come from the shapes of the letters, and the way the different components of the design are arranged within the ideal logo's borders. Each drawing is labeled with a phrase to remind me what the different parts represent. (Ideas are welcome, I welcome any kind of comments. I don't know if "representation" is as important as I feel it is right now, but it's very important.)

There's a very literal drawing showing the differences between the current logo (top left, labeled "The Actual Logo"), and an idealized version (top right, labeled "The Conjectural Logo" [and then the whole process should be called "The Conjectural Logo-Converter," don't you think?]). The "idealized version" is almost perfectly rectangular -- it has a nice, clean look to it, a simple geometric form that gives us the feeling of solidity and stability even though the real logo is quite messy and irregular.

The second one shows a very detailed drawing of what the "idealized" logo does look like (bottom right). It has very little detail, and is still a bit too smooth and flat, but it's a start.

Then there's a very abstract drawing showing the difference between (3) the actual logo, and (4) the ideal logo (bottom left, labeled "The Conjectural Final Logo"). The "idealized version" is much more interesting now. The shapes are still almost entirely rectangular and unadorned, but there's a lot more interest and complexity within that, especially with the way the words are written. It looks very much like the beginning of the "idealized version" described above. I'm not entirely sure how much more detail I could squeeze out of the "idealized version," but you can see what I'm going for.

But now we want to introduce some sort of symbol that goes between the "actual logo" and the "idealized logo." A circle or a star would be fine (top left); both of those symbols are already in the current logo. (And if we put the "idealized logo" rectangle on top of the "actual logo" rectangle, the result looks more like the actual logo than either of the other two examples.)

So we try (top right) with the circle, and it's just really bad. This is one of those cases where the details don't really work out. This symbol is just not very interesting as a stylized symbol -- it doesn't make you stop and think or make you feel anything, and it's boring, especially since it doesn't really seem to have a "symbolic" meaning (a "circle" symbol is boring!). (If it was symbolic, it would need to be in a symbol-heavy style, but it's not.)

Now we give in and just try the old standby of the simple, symmetrical star (bottom right). The problem here is that the simple, symmetrical star does not communicate very much information about the actual concept logo. It's a good star, but a star is just a symbol for the concept logo.

Here's what I've got for the symbol now: it's just another star, but now it's really big. It is made up of a circle containing a star, the same way the actual logo is, but with that big circle on top (the "idealized logo" is a circle).

And here's the end result, which is a very complicated symbol that is almost an abstraction away from any of the details of the ideal logo.

I guess I want to do something that's more than just these pictures. For one thing, I don't want to rely just on my own opinions for what symbols are "good" for this. That's something I should get other people's feedback on, to see if they agree with me. The point of these drawings is to give me concrete feedback on the visual style of the "idealized logo," in particular, so I can see what kind of features of the "actual logo" will need to be preserved or modified.

Then there's my "writing" for this, which goes into more detail than any of the visuals. There's a big document called "Ideas for the Project," which I wrote last year. It has about 50 pages of writing about what the project is, what it will be, and what it is not, how I think of it, and where it might come from. I won't publish it or anything, and I'll edit it down to a smaller size to show here if that ever happens.

that being said if i DO end up using that logo in something, it's a good thing I used photoshop so I can quickly just take out the little bomb me so I can use it in stuff like youtube videos. Yeah there'll be alt versions OF any videos (probably just one where it imitates the titlescreen to Twisted! though) with the true version, but being able to easily "localize" things for my parents' viewing is always nice.