#page will be done in a few days! just gotta finish flats/shading but the lines are all done

[taffingspy]

your honour, they're dating <3

[recurring-polynya]

Writing/Art Update 2.20.2024

Well, I had another very solid week. I hesitate to call it good, because I didn't actually enjoy it very much, but I did grind out 8,642 words last week. I finished Chapter 8 and made a solid dent in Chapter 9a. Basically, I just tried to write at least a thousand words a day, which I accomplished almost every day. Yesterday, I only did 800, but I did 2000 on Sunday, plus the 800 was the ending scene for the chapter, so I deserve a little grace there. And it was a three-day weekend for my kids!

I am at the stage of the fanfic where most of the ambiguity is gone--I know what scenes are left and I just gotta write them. It doesn't matter if I want to or not, the fanfic isn't going to be done until I write them, so I just do it. I always worry that writing in this mindset is going to produce bad, unlovable writing--like, if I don't love writing this, how is anyone going to love reading it? Historically, though, that doesn't bear out--big chunks of Call Me Back and What We Do with Our Hearts were written in this exact fugue state, and I often end up loving them after the fact, and they still contain parts that are really funny or insightful or heartfelt or whatever. I literally do not know how this is possible, it just is. Also, like: there is going to be editing. It is truly astonishing how hard it is to slap anything at all down on a page and then how easy it is to shape it up into something good later on. It is a lot like throwing flat colors down on a piece of art and then adding a little texture and shading later.

The other thing I don't like about writing in this mode is that it makes me actually insane, which I don't like. I just roll word counts and percentages around in my head 24 hours a day and I'm not really able to relax and do things that are not grinding away at my writing. I can do it for short periods of time, but I think I have too much of this story left to tough it through, plus, like, what's the point? This is the thing I allegedly do for fun, and even though I really really really want to be finished, I feel like I should actually try to enjoy the process a little, at least.

So anyway! My first goal for this week is to be less insane about my fanfic. My second goal is to finish Chapter 9a (I think I have about 3-4k to go). My third goal is to edit Chapters 7 and 8 and send them to the beta.

After that, I'll just have 9b (of which I've already written about 4k) and the epilogue to do. After that, of course, there's still more editing, a beta pass for chapters 8->the end, and then I may try to read the whole thing through again from the beginning. So, 3 weeks, maybe, give or take a little?

In the interest of trying to have a little fun, I think I'm gonna try to post some previews for the next couple weeks? In the past, people have enjoyed previews. Today's is a little long, but it's the opening to the whole thing. It's below a cut for those who'd rather wait until the whole thing comes out.

“I don’t know if they’re trying to capitalize on Boy’s Day, or what,” Rukia said, idly inching her hand toward the plate of hot, steaming gyoza sitting on the countertop next to Renji’s stove, “but they’re having some sort of Seafood Festival out in East Sixth.”

A dish towel appeared out of nowhere, the tip whipping painfully against Rukia’s hand.

“Ow!” Rukia howled.

“They’re hot! It’ll hurt worse if you jam one of those in your mouth whole like I know you were gonna,” Renji replied, stuffing the dish towel back into his obi, and juggling the pan of gyoza he was currently frying. “What about a Seafood Festival? Why the Hell is the East Sixth having a Seafood Festival?”

“It’s being put on by the Train Museum, I hear,” Rukia continued grumpily, rubbing at her hand. “I guess they’re hauling a bunch of spring fish up from the Shiranui Sea at the other end of the line. It only takes a few hours to get out to Six. There’s probably carts making the run that we could take, but I would honestly just flash-step, at least on the way out. I want to eat my own body weight in katsuo. Possibly your body weight in katsuo.”

“Mmm,” Renji replied noncommittally, dumping the rest of his gyoza onto the plate and turning off the stovetop.

“I was thinking of asking Hisagi if he wanted us to take some pictures and do a little write-up for the Bulletin,” Rukia went on. “Get us a little walking-around money.” Not that Rukia lacked for pocket money, but it was a little more expensive than their usual weekend activities, and Renji got a little cagey when she tried to treat him to things.

“That’s a bad idea.”

“Why? We had fun the last time we played reporter!”

“Grab the bowl of sauce, would you?” Renji gestured with his chin as he picked up the plate of dumplings and the teapot to carry them to the table. “Don’t you remember when they built that damn train line? Took ‘em over over thirty years, and there were three to four articles every single Bulletin about the delays, the graft, the politics, the environmental impact, whatever. People got so mad about the idea of a train inside the Seireitei that it doesn’t even go anywhere useful. I didn’t even know they used it for anything aside from twee holidays for bored nobles.”

“I heard a story from my friend, Lady Akizuki, that the old head of the Seshimo clan actually lives on the train! He hasn’t set foot outside it in fifteen years!”

Renji cocked an eyebrow at her. He looked like he desperately wanted to hear about the Train Noble, but also did not want to be a guy who cared about Train Nobles. “Anyway, don’t mention the train to Hisagi unless you got six or seven hours to kill. Preferably when I’m not there.”

Rukia picked up the big, fragrant bowl of ginger dipping sauce with both hands. “It was just an idea. So what do you think? Do you want to go?”

“When is it again?” Renji asked, frowning.

“It’s running for all of May, but the weather has been so nice lately, I thought maybe we could go next weekend,” Rukia suggested. 

Renji was quiet for a moment, but Rukia figured that maybe he was just focused on serving her dumplings, which was, in her opinion, very important. 

“Ru,” he finally said slowly, as he poured her a cup of tea. “There’s something I need to tell you.”

“Is it that you want to go to the Seafood Festival with me?”

Renji took a big breath through his nose and let it out again. ��If things work out, I’d love to go later in the month. Next weekend’s not gonna work, though.”

“Oh.” Rukia frowned. “That’s fine. That’s no big deal.” She looked down lovingly at her gyoza and then up at Renji hopefully. “Itadakimasu?” she asked hopefully.

Renji blinked. “Huh? Oh, yeah, please help yourself. That… that wasn’t the thing I had to say.”

“Well, spit it out, already,” Rukia groused, her mouth already crammed with gyoza. “Why are you being weird?”

Renji still hadn’t touched his own food. He had circled his right wrist with the thumb and middle finger of his left hand and was rotating it back and forth. He used to make that gesture a lot when he was young, and Rukia realized that she hadn’t seen him do it in years.

“I’m having some surgery,” Renji finally said. 

Rukia froze. After a long moment, she slowly finished chewing her dumpling and swallowed it. “Are you okay? What’s going on?”

“I’m getting my arm fixed.”

Rukia watched him rub his wrist for another few seconds. “Did it not heal correctly after the, um, accident?” “The accident” was when Byakuya had stabbed him through the forearm during a demonstration fight the week prior. Everyone was being very polite about it.

“Wellll…” Renji drew out. “I mean, no, that healed up fine. Very clean cut, Senbonzakura, as always. But, uh, while I was at the Fourth, the topic of my burnt-out kidou ducts came up. Captain Unohana thinks she can fix ‘em. And I’ve decided to, um, let her try.” “Oh,” said Rukia. Her chest was filling up with a lot of strange feelings. “Oh.”

[comicteaparty]

August 10th-August 16th, 2019 Creator Babble Archive

The archive for the Creator Babble chat that occurred from August 10th, 2019 to August 16th, 2019.  The chat focused on the following question:

What is your process for planning out the paneling/layout of each comic page?

kayotics

I’ve finally gotten my process down to a process that works for me. For Ingress Adventuring Company https://www.ingress-comic.com/ I start with scripting the whole chapter out. Step two is thumbnailing the whole chapter out, so I can figure out pacing and paneling. I started to do thumbnailing on sheets of printer paper, which has been easier to figure out my drawings and to see how the comic flows on paper. Once that’s done it’s pretty straight forward. Panel borders in pencils > rough sketch & balloon placement > letters and tight sketch in pencils > ink letters > ink bubbles and borders > ink the rest of the page. Then I scan it and do the colors. With the thumbnail process I kind of do the chapter twice in pencils but it ended up being way easier in the long run, since I hate doing panel layouts and doing that work in the beginning is way easier.

Steph (@grandpaseawitch)

Afraid there's no scripting for https://oldmanandtheseawitch.tumblr.com/. It's all pretty much in my head but I go over it literally every day, and I have a few roleplays archived to keep things on the right track, but that's about it. Thumbnails are done in big batches. Last batch was about 20+ pages done at once. Thumbnailing is also where I figure out composition and such. Just detailed enough to give me the idea of what I want, with enough leeway to do as I please on the page itself. Thumbnails done, I make a batch of empty pages, and go in and make all the panels for the 20+ pages. Since I already know the composition from the thumbnails and I have digital guides set up on each page, that's super easy. With all of those done, then I just go back in, do rough sketches for each page. Cleaner than the thumbnails but not too clean yet. Once the rough sketches are done, this is actually where I'll add text and balloons, so that I know what the bubbles will be hiding and don't have to waste extra time. After that, I do as much in large batches as I can, usually cleanup sketches, then inks, maybe flat colors. But after that point, I just have to sit down to work on individual pages until they're done. And voila!

authorloremipsum

http://signsofthreecomic.webcomic.ws/comics/ For Signs of Three, I always start with the script, get the basic idea of what I'm going for in the page. Then panel layout and gesture sketches of people and the environment. THEN! BEFORE I START DETAIL SKETCHING! I LAY IN THE SPEECH BUBBLES. Seriously speech bubbles are critical to controlling how readable your page is and so so many people don't seem to see that. They must lead from one bubble and panel to the next in an easy to understand way or your reader will get lost and confused. So I always make sure to put bubbles in during thumbnailing. After that it's just basic refining the sketch, lining, coloring, and shading.

AntiBunny

Typically in AntiBunny http://antibunny.net/ I thumbnail a page first to decide what needs to happen. After that I look at those event and decide panel layout based on how best to depict them, factoring in what needs to fit, who needs to be there, and how time will pass. I'd say time is the most important aspect, followed by emphasis, and then content. Typically bigger panels depict more time passing, but that's not a concrete rule. A big panel can depict a very short moment in time. The amount of population has a big play in that as well. A lot of action in a big panel can be a short moment in time that's just heavily emphasized. A big panel with very little movement depicted is great for dwelling on a single moment, which is great for slowing down the pace of reading.

heroesofcrash

I used to not have a script at all, but now I tend to write out scripts in advance. I keep a four-panel format in mind (2x2) when I write a strip, but I'll sometimes combine or split panels depending on the flow of the story. (I'll place some sample strips below, showing a "default" 2x2 strip, and a few that combine or split panels based on that structure) I then draw guidelines in Manga Studio (I have the CD, not the digital version that became Clip Studio Paint) for where each panel will be. I put the dialogue in each panel, sometimes editing for space or to fit it nicer in a speech bubble. I can usually visualize how a speech bubble will generally fit in a scene; it's easier for me to draw around the bubble than to draw first and add the words later. After I sketch out the panels, I may move the words around to fit in the scene a little better. I may even tweak it a little when I draw the speech bubble around the text, if I don't like how the text fits in the bubble or how the bubble fits in the scene. As I mentioned earlier, here's two strips. One has four panels (which is the most common for me), the other has six. The latter is made by splitting the upper right panel into two skinny panels, and breaking the bottom half into three panels rather than two. Not only does it give me enough panels to do a complicated visual gag, but having panels with a similar layout next to each other makes the action easier to follow, and thus makes the gag flow better.

Desnik

For http://ask-a-warlock.tumblr.com/, I make tiny thumbnails to quickly go through layouts. I tend to have a few different ideas and doing small/quick is a lot easier on the revisions

LadyLazuli

For Phantomarine (http://www.phantomarine.com/) I've gotten into the habit of thumbnailing each chapter extremely roughly in a sketchbook, then bringing the pages into Photoshop and shifting the panels around to improve the flow throughout the chapter. I put in rough dialogue bits to anticipate balloons, then I get going on rough sketches and color placement in Procreate, then clean up and paint the sketches, then bring them back into Photoshop to finalize the page. It's honestly really haphazard, just because I tend to change details and dialogue around a lot, depending on what I feel is working/failing - but that core chapter flow doesn't change too much, just so I don't get caught needing more pages in one part. So... I keep the roughs very rough, but I adhere to them quite strongly? The details are where things get experimental (edited)

JUNK

I am a fool who hasn't been doing thumbnails lately, so my process is the typical script>sketch>inks>tone.

MJ Massey

I start with my storyboards, which are just skethcy first drafts of the pages in a sketchbook. I have a vague genreal story outline, but this is where I really figure things out--both the layouts and the script.

In my head, I tend to see things as if they were an animation, so I am usually trying to catch that sense of movement in the comic panels. I try to keep things interesting and thinking outside the typical grid layout, usually resulting in some pretty crazy stuff. It's easier with action scenes, but I try to mix up everything. I do my final pages on 9x12 bristol (I used to work on 11x14 but that was...too big for markers), but there are many times where I will scrap the storyboard and do something totally different for the final page, or add or take away things. But it's good to have that first draft down as an idea, it's easier to adjust from there if I need to

FeatherNotes

@LadyLazulii love your process ahhh!!!

LadyLazuli

@FeatherNotes MERCIIII

Nutty (Court of Roses)

For Court of Roses http://courtofroses.thecomicseries.com/ I mostly sketch out thumbnails, scan them in, and lineart/color. Like most of y'all, I have a general story outline, and specific scenes get more detail as I work closer to them. If there's a scene that has emotional hits and I want the right dialogue for it, I'll script it. If there's lots of exposition and detail, I'll script it. Just, largely winging it on my end!

Tuyetnhi

I usually work from loose script dialogue for a chapter, to get the feel for the page, then start thumbnailing. After thumbnailing tho, I redraw the thumbnails on csp, sketch, then change/define panel layout or render till finish. Often, my thumbnails don't give me enough info till I start the page. And that's good for me since it's still under a set guideline but I don't feel rigid on "Oh gotta make it exactly like this" or some sorts. Same goes with dialogue/scripts too since I tend to go back and correct panel layout if i don't think it was strong enough on the first go. Idk, I treat it more of a fluid process that I can go back and fix due to how I digitally paint/render things. Still the process depends on the page i'm working on, how strong the thumbnails are, dialogue, and color scheme theme I had with certain pages. Most of it is 40% gut feeling tho. Images shown here how I got OIYD! Ch. 2 - Page 15 to be to its finished form. [thumbnail-> Rough sketch -> add with color -> final render with dialogue]

ErinPtah (Leif & Thorn | BICP)

I took scans/notes about each step of the BICP page-making process back during chapter 5: http://www.bicatperson.com/comic/step-by-step/ ...and then again, seven years later, during chapter 28: http://www.bicatperson.com/comic/the-webcomic-page-making-process/ The art has gotten better, but the actual workflow...basically hasn't changed. (If it ain't broke...)

snuffysam

First I have the script for the entire book, which I'll have finished ahead of time. At the start of each chapter, I'll divide the upcoming script into pages based on how I want the comic to be paced - e.g. making sure the setup and punchline to a joke aren't on different pages, making sure there's not too much dialogue to read on a single page, etc. Then, when it comes time to do the page, I'll split things up into panels. That's pretty easy - I generally want to keep things to one line of spoken dialogue per panel, or one "action" per panel. Sometimes there'll be beat panels, sometimes two people will talk in one panel, but that's the general rule. Next I... put together the panels. I don't really use thumbnails to work this stuff out - important panels or panels with more dialogue are bigger, less important panels or ones with less dialogue are smaller. I try to make sure panels don't intrude on each others' vertical space, because i've always found that complicates things in a web medium - but that just means there's less for me to worry about. I make sure the panel layout is different from the previous page, and if there's an action I need to emphasize I'll do something weirder than just a rectangle. If there's not enough space on one page for the panel sizes I want, I'll make it a double-length or triple-length page. As for the actual artwork - I try to make sure the reader's eye line is led along the page. So panels on the left would have the characters generally facing to the right, and panels on the right would have the characters generally facing downward and to the left. I try to leave enough space for word bubbles - and in general, the characters on right panels will be placed lower than characters on left panels, because i want the speech bubbles to move downward as you read across a row. And, well, that's basically it!(edited)

authorloremipsum

finally someone who considers the eyeflow (am joking, mostly)(edited)

snuffysam

i didn't always, but a reviewer once told me how one specific action scene was really difficult for him to parse because the eye flow was just completely in the wrong direction, nearly every panel. so since then i've been making a conscious effort about it :p it's tough when there's two characters up against a wall and you need the page to flow the other direction from how they're standing though, lol.

[teratomart]

2018 Commission Prices

My commissions are OPEN, and here's what you need to know:

Read the Commissions Terms of Service BEFORE commissioning me.

Pricing

Traditional Media:

Traditional Sketch

waist up: $20

full body: $35

sketch page: flat $50

Traditional Ink

waist up: $35

full body: $45

Digital Media

All of my digital media is now priced by the hour! My rate is $15 to open, and $12 an hour, rounded up to the nearest dollar. Please see my Terms and Conditions for pricing specifics. Digital media comes in:

(New!) Icons ($25 flat)

Chibis ($25 flat)

Sketches (1-2 hrs)

Inks (2-5 hrs)

Flat color (5-6 hrs)

(New!) Lineless (2-4 hrs)

Shading (6-8+ hrs)

(New!) Full rendering (10+ hours)

Sketch pages (2-4 hrs)

Shipping: Shipping prices will vary by size! I am available to ship internationally (as long as you’re willing to pay for the shipping!).

Additional characters are available! Pricing does NOT change when characters are added to a single project, but if you plan on dedicating each character to a separate project, the initial $15 fee will apply to each.

Prices are based off of character complexity, estimated finish time, and detail put into the work. Prices usually fall in the mid-to-low range unless your character is particularly complex or a lot of concept design has to go into the work. However, I, the artist, reserve the right to price my commissions as I see fit. I'd be happy to review your character references for consideration, please feel free to ask me questions about my pricing!

New! - Returning customers no longer have to pay the initial starting fee! All repeat customers will only be charged $12/hr for single projects!

New! - Late fees will now be applied for overdue invoices. See below.

Breakdown

My commission types and what you’ll get with each commission, in order:

Traditional sketches: Variable size, quick, detailed pencil sketches of your character(s). When ordering a sketch page, pages typically include a handful of headshots, a couple waist-up pieces, a full body or two, and possibly a handful of chibis. Regardless, you’re definitely getting your money’s worth. Sketch pages are available to be mailed at your request!

Traditional ink: These pieces are large, high-detail, black or sepia ink graphics of your character. You may also include a single color to be used with the ink that will be added in copic marker or colored pencil. Ink pieces can be mailed at the your request!

(New!) Icons: Simple, small icons. Headshots of your character done in a graphic style to show them off. Can be done in a circle or a square!

Chibis: Small, cutesy, expressive representations of your characters.

Digital sketches: Just about the same as traditional ones, but digital. Smallish, messy, sketchy pieces of your character(s). I have a few sketching styles you can select from! A sketch sheet contains what a traditional sketch sheet usually does: 1 full body, a couple waist-up sketches, and a handful of headshots/busts!

Digital ink: These pieces are large and incredibly detailed black or colored ink. I am very passionate about my ink work and have multiple styles for you to choose from! These are my favorite to do :3c

Flat color: Simple, flat, with a fair amount of detail and no shading, and few additional effects. Typically ink work with color, but this can be changed to be a colored sketch.

(New!) Lineless: A messy, free-flowing, lineless style. Quick and easy, though detailed and tons of fun.

Shading: A shaded commission will vary in appearance, contain cel shading, and have more in-depth color than a flat color or colored sketch.

(New!) Fully rendered: Fully rendered pieces are my most extensive commission type. These commissions take hours upon hours, and play will numerous complex shading techniques, but are painstakingly crafted to be just right. These commissions are HIGHLY experimental, but the result will be worth it.

Media

As you see above, my commissions are broken into traditional and digital media. I am available to mail traditional commissions! Please contact me about shipping prices if you wish to receive your commission in the mail.

Digital commissions will be sent to the client in full resolution and size, and I will also send PNG flat files of the individual layers at your request. I will NOT provide the .psd/.sai/.mmd file for your use (with very limited exceptions). Digital commissions will be sent in the form of a .zip/.rar file at the client's request, to avoid the compression of images.

How do I get one?

Instructions:

Request a hold* on a slot purchase if necessary/available. The preferred/default hold time is seven days (1 week), and the maximum hold time is fourteen days (2 weeks).

Establish a payment plan, if applicable. Purchases $50 and over are available for a payment plan. Purchases under $50 must be paid up front before commission materials will be delivered.

Send me a thorough visual reference of your character, or VERY well-written description. Either format requires: Height, body type, color palette, and a brief description of their personality and behavior. I reserve the right to properly judge my ability to illustrate your character in the format requested, and the to decline a commission request based on my current skills. Creating concept art of characters without a previously established visual will take a LOT of extra time. Be mindful of this when providing characters without a clear reference.

Inquire through email by contacting me at teratoma.art@gmail.com, or private message me a valid email address via your preferred social media site. My available platforms are: DeviantArt, Tumblr, Twitter, Toyhouse, and Instagram.

Pay the invoice you receive from PayPal in your inbox. Credit, Debit, and PayPal payments are accepted. While payment is pending, the commission process and your commission slot (if applicable) will be put on hold. You are given ten days to pay your invoice after the completion of your project. Afterwards, late fees will be applied.

If you do not pay your invoice on time, you will be subject to an additional $5/day late fee. These fees are non-negotiable and will be sent with reminders for each late day.

Yes... You may purchase a commission from me with DeviantArt points. However, I greatly favor USD over points due to the high percentage that DeviantArt takes from me when converting points into cash through the commission widget, and the fact that points given to me personally cannot be exchanged for money. Clients who offer USD WILL take priority over those who offer points. Sorry, a zombie's gotta eat.

* - Holds are a temporary pause of the payment and commission process to allow for payment. Want a commission before the queue fills up, but you don’t get your paycheck until next weekend? Request a hold!

What I won't draw:.

Reference pages. Honestly, I’ve barely made ref pages for my own OC’s.

Comic pages.

Pixel art. I’m still figuring out my style!

Animations. Still learning!

Vehicles/mechs.

Complex scenery/nature.

Complex architecture.

Political statements.

Fetishes.

NSFW work. Nudity is acceptable when it’s tasteful, but I won’t do sex scenes.

Anything that includes hate symbols or has association with racism or hate. This includes any racism/discrimination-related symbols or slang, or hate directed towards any people in particular. Hateful content includes: abrasive commentary concerning race, orientation, kin or specific person/organization, hateful commentary concerning race, orientation, kin or specific person/organization, or slanderous political ideals.

Scenes self harm. This includes anything drug related, characters actively harming or attempting to harm themselves, or other requests along those lines. Mild gore is acceptable, such as bloodied hands, blood spatter, or bleeding eyes/blood tears, but I reserve the right to refuse a commission if I deem it too extreme. Please inquire if necessary.

Scenes of potentially triggering, sensitive, or disturbing material. Self-explanatory. I’d like to keep my work as much of a safe place as possible.

Transformation scenes.

Hypermuscular/obese scenes.

Current Queue:

Srirachaflash - Abigail + Calvin and Hobbes <3 (complete)

TrustyArts - 3 icons (complete) and 1 gem mural

Qh0sties - 1 shaded fullbody

NN7 - 1 icon

FULL! Check back later for more openings!

Additional Notes:  Feel free to ask me for samples of a certain commission type! There are many present across a small handful of sites. I'd be happy to show you what you're getting!

~ Charlie

(see the original, alternate post HERE)