#the layout of how i draw these may change

[unknownhyperial]

Pomctober Day 1: The Terrible Digital Circus

Fuck I know Im 2 days late at this point but I decided I was gonna join in last minute. I may be behind the rest of Pomtober cuz of it but thats fine. It'll be a good way to learn how to draw Pomni!

I'll post the Day 2 and Day 3 when I finish them. If I finish before Day 4 then I'll just post them when its appropriate to :]

(Pomctober by @tadc-funfair-au Terrible AU by @obamerzslop)

[maddragon15]

Obscenely late hermitaday day #23 & 25! - Impulse & Tango

Was this meant to be a simple cel shaded drawing on the 30th? Yeah, yeah it was lmao but somehow the power of fire excels at overtaking the rendering capabilities.

But since it's late I'll use this as excuse to ramble below about well, the headcanons and the process down yonder. Also there's variations.

(Also just realized that the compression is high with this one, please click on it to see the details pretty pleasee)

So! Let's talk about that haircut shall we? First off Tango's haircut is basically just me slapping my very neglected oc's haircut onto him lol. There's no function usage or any other lore about it, literally just I wanted to use that haircut more. But Miners and Crafters that's not all! The intensity of the flame actually has meaning believe it or not.

Since Tango in the headcanons is already a nether born blaze hybrid the redstone kinda didn't have an effect on him. This is because blazes produce glowstone which is a power source onto itself. He gets minor effects instead which is a mild (there's literally no other word) high, a intensified hair flame and a brighter eye night shine. Negative effects include mild joint & jaw pain, and a small localized headache behind the left eye.

I like to imagine that other blaze hybrids' hair flame aren't normally that intense, not white-hot heat but rather more red n orange hot similar to the flats. Mainly due to the fact that glowstone is not as powerful as redstone and it's also dependent on how strong a blaze is. Now imagine with me that blazes determine how strong each other are via the color they're emitting. Now remember the blaze boss Minecraft had a vote on to add or not to add? What if Tango is constantly mistaken as a high ranking blaze because of how intense his fire is and he doesn't get attacked a whole lot except for the few that want to challenge him. Meanwhile Tango is just highly infused with redstone like all the other redstoners and he doesn't know what's happening half time as seen by his terrified scream-laughs /hj

He's also semi modified with redstone for the pure purpose of comms just like the other redstoners minus mumbo. I also would've leaned into the steampunk aspect of this season but I figured I'd do a character sheet like etho for all of the redstoners and finalize the aspects on those.

Onto Impulse!

I like to imagine that Impulse was a regular human and over the course of redstone exposure he gained pointed ears and horns. For what reasons? I have no idea but redstone works in mysterious ways and mutates on whatever happens to be in their system. You may see that he has purple lines across his face but then red pupils, why is that? Well since he's cyperpunk themed this season he modified his redstone implants to be rgb. He can change everything else except his pupils because those are deeply affected by redstone and would require surgery to remove the build up of redstone. Will any of the redstoners ever actually get rid of it? No but you can beg all day.

You also might be wondering what's happening in their ears? Well those are the advanced comms that are actually used across all hermits except the ones who've opted out for glowstone variants. They kinda work like bluetooth except more hermit-magic way. I haven't had time to fully think of how it'd work down to the circuitry (that's my usual process for headcanons before I ship them out) but I'll post about it when I think of the full layout. Other design aspects on impulse are derived from his skin and the poster design by applestruda!

Process wise for this piece was kinda a rollercoaster heh. I had started this piece a while ago (can't remember the day on the dot) and then I got insanely busy during the last week of hermitaday. I had done sketch, refined sketch and flats in two days. Then events proceeded forth and we arrive on the 4th which I tried for an entire day to figure out how to render this piece. I then gave up and tried again the day after and pulled up references this round on Pinterest. Tango was surprisingly easy to paint with ref and went rather fast. I will admit the entire time I was rendering him I did say every minute or so "I love you man" because he was turning out so good. Halfway through I then realized I still had to render Impulse. That's when I pretty much ended that night because it was already 5 am working on Tango and demotivation was setting in fast. The next day I was able to continue with hesitancy on Impulse but I managed to keep on keeping on and in the early hours of today I finished up the piece. Where I'm now writing about it close to 2 pm in a restaurant. Man though it was kinda hard to make Impulse and Tango look like cohesive and as if they were painted together.

Enjoy!

(Side note I applied for inprint and if I am to be accepted this will be available along side the three different eefs I've drawn and doc.)

[bonus-links]

DIRECTORS COMMENTARY PLEASE I LOVE HEARING YOUR THOUGHTS AND PROCESS <3!!!!!!!!

YEAHHH lots to say for this update

there's a scene I didn't so much as cut from the beginning of this update as significantly shorten: Wolf, Loft, Wake, and Slate are changing into their lighter outfits. Loft says the same line as having the party, Wake begs them for this one day with his Gran Gran, and they all agree they can wait. I've been trying to get better about like, not putting a ton of work into unnecessary connecting scenes, which is why I cut it down. Wake sounding more cavalier also works better for the overall chapter. But i was sad to leave this joke out lol:

may I present to you, Slate's picture gallery! he was mostly on task documenting flora and fauna but he gets a little sidetracked sometimes

I love the idea that he's just, like, kind of terrible at photography. he documents stuff for Zelda and it's always weirdly cropped and kind of out of focus, but she appreciates it anyway.

Slate is also picking flowers for the party! so he is still helping out on that front lol

idk if i've mentioned this before, but beetle does still have pincers! they're just. idk what the right word is. retractable maybe? yeah. like the ancient weapon blades

the filling of the half moon pies is pineapple :-) i was. so worried about it looking like an egg HAHA.

I thought way too hard about how they were going to cook these pies. I was originally going to draw a clay oven or some other setup, but ultimately I thought the Zelda tradition of only having pots over fires to cook was a funnier nod lol. So, they're frying the pies

believe it or not, I wrote this scene before reading dungeon meshi HAHA but it certainly served as good reference for how to set up shots for it

Aryll did in fact eavesdrop on Wake telling Tetra The Situation

That's Champion's little sister in the memory! I like the headcanon that her name was also Aryll.

Champion and his sister are making meat pies instead of pineapple ones.

One again, made a bunch of layout mistakes I ended up having to fix, except this time I didn't catch them until I had already gotten to rendering :-( if you're a patron, you probably saw these versions in the WIP:

problems here: Wolf is walking the wrong away. I was sad we'd be losing his expression but alas. And for the panels with Champion's sister, the angle is too low to be an actual POV shot. I could've left it and said he's just sitting or something probably but it was really bothering me lol so I redrew everything. and then recolored all of it. woof.

as a general rule, if he has scars, that's Slate. No scars is The Other Guy

I understand the complaint about this in BOTW, but I actually kind of like that weird moment that occurs after you finish a memory cutscene, and it just abruptly goes back to Link looking blank-faced like nothing happened. It implies this kind of....distance from the memories that I find interesting. Slate has complicated feelings abt the memories of Champion's life he gets, but like. there's pies to make

shout out to peony she's a real one

[honey-tongued-devil]

↠The last drop tour

| Part 1 | | Part 2 | | Part 3 |

Alright, alright, I know I’ve already shown you the Last Drop, so here we’re looking at the one from the alternate timeline, as seen in Episode 7. The elements and layout don’t change too much, but there are variations, and since my story is set in this universe, I imagine this version is the most helpful for anyone wanting to explore the universe I write about. The link to the story is HERE, but I hope this can also be useful for anyone writing or reading their own work.

Here we are once again! This tour might be a bit challenging, but don’t worry—your guide has got you covered! This time, we need to start outside.

I know we all recognize the exterior of the bar, which hasn’t changed, but I ask you to take a closer look at the streets. They’re clean and bathed in sunlight. (The Last Drop is in the Entresol, the middle level of Zaun’s three depth levels.) While it may seem almost normal or expected, the smog that used to accumulate made it impossible for light to filter through the thick air, even during the day. As a result, the underground city never got to see this much light. This is the first time.

In Heimerdinger’s sequence where he’s seen playing "Spin the Wheel," we can catch glimpses of glass greenhouses protecting plants, and people in wheelchairs, hinting that the city is now more accessible.

This is the third post where I’ve mentioned this damn ceiling, so I went back just to show it to you, because it was necessary at this point. Let’s start with the fact that the Last Drop has been renovated. The fact that Ekko is wearing a gold earring and is so well-dressed suggests that their profits have increased, and the first thing they did was fix up the place. But enough talk—let’s get to the proof. Now that natural light reaches Zaun, the LED lights on the ceiling aren’t needed anymore. What is needed? Glass, to let the light in.

And so, we move on to another small but significant difference. Scattered throughout the Last Drop, but especially at the bar counter, there are terrariums with plants. Claggor and Mylo are even working on plants capable of converting the dense air of the Sump into clean oxygen. But why do plants have such prominence here? In Season 1, we’re shown that in Zaun, only one place had plants: the Chembarons' meeting room. It was so high up and so clean, thanks to the ventilation on the ceiling, that plants were a privilege of the oligarchy, not something for everyone. But here, even ordinary people in Zaun have plants around, and they thrive.

The bar counter remains the same, the barrels behind Vander are still protected by the same glass partitions as always. The difference now is that everything is adorned with what used to be a symbol of luxury.

Did you recognize these booths? Now, instead of the Chembarons' photos, there are sheets with dart game scores written on them—both for the kids and the three older men. To be honest, the one I’m showing you in the photo from Zaun’s original timeline is actually the first booth on the left from the entrance. Meanwhile, the one shown where the kids are sitting is the second booth, a bit closer to both the bar counter and the narrow hallway that leads to the arcade area and the pool table.

Which ones? These. Actually... this photo was taken in front of the first booth, and we can see Powder's drawings hanging there. Basically, we understand that they’re portraits of all of them together, happy. Maybe some are solo portraits, but they’re definitely very different from how things are now. (the comparison)

I imagine that the basement where Vander and his children used to live is now the place where they store alcohol and reserve drinks, or maybe it has become a boiler room. We don’t have photos of the lower area (which, I remind you, can be accessed by taking the door to the right of the bar counter and going down a long staircase) nor of the upper area, which is reached by climbing the stairs to the left. So, I can’t show you more parts of our beloved bar, but I can tell you that according to what we’re told in episode 7, they now offer both live music and events. So, the Last Drop has continued both Vander’s family-oriented, rustic management and Silco’s vision of a nightlife hub and heart of the city.

As for the rest—how we got to this point, what brought the change, how Silco's eye healed, how they managed to reach such an economic development to renovate the bar in that way—I can only speculate. But, I won’t do that here.

The theme of the universe’s development from episode 7, starting with Vi’s death, is what I talk about in my fanfiction. So, I’ll take a moment to advertise myself during this tour and let you know that if, in addition to the objective facts, you'd like to hear my opinion, I address it HERE (Everytime it rains).

From these three tours, I think you've gathered that I’m someone who pays a lot of attention to details, which is why a superficial analysis of the differences wasn't enough for me. I needed a bigger space to narrate (and analyze) the politics and the domino effect of events. So, I don't know, I hope to see you again at the bar.

Sincerely, your guide, provided by...

-Kiramman's chronocare

[sonicboomrevisited]

THE WEEKLY CHECK-IN

Issue 2 Updates:

6/22 Pages have been fully inked

Page 7 is still in the sketching process, but I hope to have the inks started today!

I am technically ahead of schedule on inking pages! Yay!

Issue 1 Page 13 WIPS:

You guys voted last week on what you'd like to see from this blog between now and issue 2s release. WIPs from issue 1 won! Every week, I'll showcase a page. This week I've chosen page 13!

The Initial Sketch: When I first start working on a comic page, I always focus on getting the general layout of the page done first. This means understanding how the panels fit together and jotting down a general sense of the action. You may notice that some of these initial plans changed in the final version. I wasn't originally going to have Amy hit Sonic with her Piko Piko hammer and panel 4 was going to have Sonic kicking Amy again rather than vaulting over her. I wish I had saved more of the in-between sketches to show you guys how these evolved overtime, but I just didn't think to do it during the process. I'm saving a lot of the sketches during Issue 2, though to make up for it!

Final Ink: A page without color! You can see how some of the sizing on the boxes changed, Sonic's surprised face was turned around to better fit with his new vaulting pose and what I originally intended to be a fully in-shadow panel was turned into just having Knuckles in Shadow. This is one of the prettier inks in my opinion. It's the first page that I felt completely happy with the art once it was finished. Looking back now there are things I would do differently, but I can still be proud of it.

Color: And here's the final product, without text, in all it's glory! Coloring is not my strongest suit. In fact, every time I draw something complicated I think about how much trouble its going to be to color later. I'm always up for the challenge, though. If I were to go back and color this page again, however, I probably wouldn't use so many gradients on the background.

Let me know what WIPS from Issue 1 you'd like to see next or if you have any questions about page 13!

[lemondaydream]

013 . CLEMENTINE — [ 𝚕𝚎𝚖𝚘𝚗 𝚍𝚊𝚢𝚍𝚛𝚎𝚊𝚖 ] ...... DOWNLOAD NOW

Just in time for spring, CLEMENTINE is that sort of melancholic, soft, scrapbook feel. Took forever to place each one of those florals but I know so many of you have wanted something like this for a long time. Edit it in any way, shape, or form just please don’t remove my credit and link to lemondaydream.

These are meant to be only used by one person per purchase. Allowing others to make copies off of your copy is stealing. Please read the instructions on how to prevent this.

how to use

The link on the PDF you receive after purchase will take you directly to your copy when you click "make a copy"

Do not remove the credit from the top and bottom of the template

how to edit

All images on this doc are in "Drawings." To edit "drawings" simply right-click on where the image is, click "select image," and the box that pops up underneath has a button that says "edit." Edit will bring you to a pop-up window that will allow you to change the images by clicking "replace image" at the top right of the toolbar when clicking the picture.

Do not resize or paste any images into the doc, only use the method above.

The pictures on this doc are of Kedar Williams-Stirling, beautiful avatars made by ultra-violences, please go support this fantastic creator. The png images are found on pngtree, pngwing, and marginpar, edited in photoshop.

Changing the fonts may cause tables to shift and resize, be careful in doing this, and remember, ctrl+z is your friend, if something messes up, immediately undo. I do not recommend doing this.

The tables are structured in a way that will move pages and elements if their limit is exceeded, if you need more space, I highly recommend linking to a continuation at the end of that space.

May take a second to load on older pcs or poor wi-fi connections. On mobile, give it a second or close it and reopen it to have it load faster in print layout mode.

Thank you so, so much for your support! Likes and reblogs are super appreciated always!

[faeruy]

Tarot Time - Agatha All Along, Episode 7 - "Death's Hand in Mine" Part 1

HOLY FUCKING SHIT THIS EPISODE. There's so much to talk about with regards to the Tarot used in this episode. I had to take a couple of days and watch it a couple of times to catch everything. First off, all of the kudos to the writers - their use of tarot is inspired, the way they connected it throughout the show was BRILLIANT, and I honestly didn't see the reveal that Lilia was seeing her final reading coming. I am legitimately in awe of these writers.

So lets talk about it, as this is mostly going to be me trying to wrap my head around everything that happened. As always, I'm an amateur, so I may get things wrong. I'm also splitting this up into two parts because there's A LOT. First part is Lilia's Reading, the Second part is going to be all of the other cards drawn in the episode.

First up; Lilia's True Reading. I'm starting with this one because I've already talked about a number of the cards and what they mean, although even they take on some new aspects now that they are revealed to be part of the final draw. If you haven't read my earlier posts, there's links at the bottom of this one. This is also going to be tough for me, because while I have a decent familiarity with what each card symbolizes, I've never been particularly strong when it comes to layouts, and how to take in the cards as a whole reading instead of individual pieces. But also, someone can correct me if I'm wrong, "Safe Passage" is a layout that - while visually is based on the Celtic Cross - is made up for the show.

The Traveler is The Queen of Cups - Lilia. She described this card in the show - Full of intuition, but also calm, compassionate and nurturing. Warm hearted in tune with those around her - though in this case not consciously, since earlier callouts of the cards were done involuntarily and out of time. She has some aspects of a Reversed reading; her gaps and out-of-time phasings indicate a bit of emotional insecurity, and by her own admission she's bottled things up so she doesn't have to deal with the pain of seeing the future. But the Upright has been stronger with her by far. The fact that she put a sigil on Billy to give him time to come to terms with who he is speaks volumes about her compassion. It's a card that fits her to a T. I also love the modified card - for the most part, they're using a bog-standard Rider-Waite Deck, but most of the cards are in this drawing are modified. The Queen is usually depicted sitting in a throne, but this deck has her in front of a table - ready to divine and interpret and intuit. Less above her people than the normal card, and more of an equal.

What's Missing - Three of Pentacles - The Coven. I talked in depth about this one before. The only thing that changed is who the reading is for - in the first episode it showed up, the reading was for Agatha. But she wasn't the only one who lost her original coven, Lilia lost hers too. She needed them as much as Agatha did; after all, what is a witch without her coven? And as much as they bicker and lack trust in each other, they have become what they've been missing. This card is modified by making the figures standing in a group look like the Coven - Lilia, Agatha, Jen, Billy, Alice, and yes, even Rio. Oddly enough, not Sharon, suggesting either a) the art department didn't have enough room to fit her in, b)she was never a true witch, therefore not part of the Coven, or c) she was close enough to death even before the Road that Rio was essentially following her - metaphorically.

Path Behind - Knight of Wands - Alice. I talked a lot about this card in episode 5, and I don't know that there's a lot to add here. Lilia goes for the simple definition; a knight full of fire and energy. She leaves out the impulsiveness, but probably has to do with sentimentality and choosing to remembering her heroism. Path behind is obvious; her death was significant, and affected the Coven strongly. Since this is Lilia's reading, I think Alice's death is maybe the catalyst for her to start really confronting her own mortality, and her own Path. Again, the card is modified, depicting a knight holding a staff (interchangeable name for Wands) in the same stance Alice was using to save Agatha. Normally it's a knight on a reared-up horse, with the staff held upright. Both versions of the card indicate a very aggressive, action-oriented person, which Alice very much is.

Path Ahead - The High Priestess - Jen. This one is making me FERAL. So the card here is barely modified - the only difference is the High Priestess looks like Jen. And I've talked about what that means in the first post I made about tarot in this show. What it means HERE, however, is super interesting. First of all, Lilia uses the phrase "unwilling or unable to use it" which specifically refers to a Reversed reading, even though the card itself was drawn Upright. And we know that while Jen succeeded in her Trial, all it really did was help her feel confident in her knowledge of the craft; her origins as a root-worker. It didn't remove her bindings. So in some ways, she's not yet the High Priestess Upright, But given that this is the Path Ahead, I think it means she will be. But what does it mean that she is the Path Ahead? I have a guess, but stick with me here. First of all, The High Priestess is the master of the unconscious and spirituality. Secondly, the Path Ahead is for the Traveler, meaning it's specifically LILIA'S Path Ahead. Also, There's a line in the Ballad about "Spirits as our Guide." So my guess, is at some point, Jen is going to be unblocked, and when she is, she's gonna call on the spirits of those who died on the Road - including Lilia. There's a reason Lilia was okay making the sacrifice she did, and why she was so insistent on Jen specifically getting out of there. I could be wrong, but I think the signs are there, and I cannot wait to see if I'm right.

Obstacles - Three of Swords - Agatha. Interesting, this one probably has several implications. Three of Swords represents heartache and grief. For Lilia specifically, one of her biggest obstacles has been her grief over seeing everyone she knows and loves die well before they do, and being unable to stop it. It's stopped her from using her power to it's full potential and kept her from connecting with and caring about people. She's needed to let that go, accept that Death comes for everyone, and that her visions having meaning and purpose, even if she can't change them. The card is mostly the same, they've just put a figure in the foreground that doesn't normally exist, aka Agatha. So it also kind of implies that Agatha, specifically Agatha's own heartache, has also been a giant obstacle to Lilia, and probably the coven as a whole - continuing the theme that actually, Agatha is her own worst enemy, which tracks.

Windfall - Tower Reversed - William/Billy/Teen. I've already talked about how this relates to Billy, but this reading is for Lilia. So the personal transformation is HERS. Violent and disruptive, but she'll become something new. What will she become? A spirit, maybe? Something else, something more? Or is it that in her final moments, she becomes the strongest, most complete version of herself? I'm inclined towards something beyond - she looks almost ecstatic when she draws it, and tied together with her Path Ahead being The High Priestess, I think she realizes while she may die, she's not done, and she's gonna be GLORIOUS. The card here isn't significantly modified, I believe it might be, but it was so quick I couldn't catch exactly how.

Destination - Death - Rio. And we get the (highly telegraphed) reveal that Rio is Death. Normally the card is Black Knight on a White Horse, but here it's just Rio in Grim Reaper guise. Makes sense, given that in this universe she predates Tarot, so in this deck, the card is based on her. Reading superficially, it's just that all roads lead to Death. But the card is more complicated than that and Lilia knows it. Because the Death card isn't just about physical death. It's about embracing the endings and accepting fate so that something new can begin. The personal transformation promised as the Windfall cannot happen unless one is willing to let the old self end. And Rio is the original Green Witch. A flower cannot grow without nutrients, and soil is enriched by what dies in it. So Lilia knows at this point she has to die. But it's okay now, because it's not an end, it's a new beginning. And I'm crying as I'm writing this. And I think the writers were SO CLEVER that the last shot we see of Lilia is of her as young girl, with her mentor saying "Let's Begin".

I think overall the writers have been very good with their use of tarot, and their layout is very cool. I also think it's very smart that they've associated certain cards with certain witches, and that the words Lilia was using in association with the cards were their basic definitions only. It makes sense; we're talking about a visual medium, and the way she did it was punchier, and more dynamic than doing an in depth interpretation of the cards. But what it didn't do was give us the reading as a whole, and almost tricked the audience into forgetting or dismissing the idea that the reading was for Lilia alone instead of the coven, and that the cards are working together to paint a fuller picture. But this episode has also shown that somebody on the writing staff knows their tarot, or at the very least did a lot of research. And I think there's a deeper interpretation to be had; Lilia's died, but she is not done.

I'm so excited for the last two episodes. I don't know if we'll see more cards after this, but I'm not ruling it out as a possibility. I also have the rest of the cards that were drawn this episode, which I'll go into in Part 2 of this (maybe 3, who knows, there were a LOT of cards). It should be up soon, but I need a bit of a break after writing this one. hope you all enjoyed it!

Here's the Links to Past Episodes

Episode 1-3 Episode 4 Episode 5 Episode 6 Episode 7 Part 2

[jelliedlimes]

Spock keychain 3D render because this is the closest I’ll ever get to making my own keychains. [Spinny version below the cut]

I haven’t done any 3d in a while and they changed the layout of the program I use [gack!] I wish I could make myself acrylic keychains of them. I love the little Kirk

But Jelliedlimes, you may ask, how many times will you draw Spock with a Lirpa? The answer is until they outlaw it, dear tumblr user. 

[sabrinatvband]

Notes on Comic Art #2: To Hatch or Not to Hatch, also some coloring stuff

One of the most influential things I've ever read on the subject of comic art is a piece Jesse Hamm wrote on Alex Toth where he talks about flatpacking.

[I discovered while writing this that Jesse Hamm passed away in 2021. He was a brilliant educator, one of the best in the history of the comics medium, and will be sorely missed.]

In the piece Hamm basically discusses how over-rendering objects usually makes them function worse as comic art. Many other people have discussed how using thicker lines for objects closer to the "camera" is good practice, how colors can seperate shapes and create depth, etc.

The question is, where does cross hatching fit into all of this? Or rather, various methods of adding more detailed rendering to artwork? I'm trying to figure this stuff out as I'm doing layouts for my comic, because I want to know the answers before I start inking the final artwork.

I try/want to have an uncluttered, clean, easily readable art style. I occasionally add hatching to my drawings, because hatching is fun, but I often feel like I've slightly ruined my artwork when I'm finished.

I've decided to look at some of the art that I feel like my own work is trying the hardest to emulate, at least philosophically, to see how other artists "weigh in" on this debate. It's important to remember that inkers embellish artwork [hence the alternate title "embellisher"], and so I'm going to try and find inkers most representative of a given penciller's intentions when applicable.

As I was working on this piece, I read Hamm Tips vol 1.1, and I discovered this diagram, which seems to relate with what I'm going to discuss later:

I think it's accurate to say that my desired approach is Uninflected/Deliberate; I think most people going for a clean and cartoonish look fall into that quadrant. Some people might describe Toth's work as being "clean", and so I should clarify that I'm talking about clean in the spirit of "lines meet neatly".

Some of the artists I'll discuss have lines that fall somewhere between being Inflected and Uninflected, and I think a lot of this comes down to inker approach. I feel like, in spirit, all of these pencillers are Uninflected, but some of the inkers use brushes, which creates a sort of middle ground. Brushes add different weights to a line, whereas crow quill nibs and pens have a uniform width. [The technical term for unweighted inked lines is "dumb line"; I believe this was coined by David Mazzucchelli.]

Let's first look at Adam Warren's work in the Dirty Pair volume Fatal But Not Serious. I'm a huge fan of how this comic looks; the flat, cel animation-style colors are very clean and easy to read. It's a very pleasant look, and I'm surprised more comics don't do this.

There is some hatching here, but it's not "serious" hatching. Just a few lines on cheeks, hands, etc. 98% of the artwork is shapes delinated entirely by a clean line and color. The convention floor panel is able to have a ton of detail without really changing the visual "rules" of the comic. An artist who does things in a more highly rendered way may've, for instance, reduced the crowd to a series of heavily shadowed figures, or colored in a single expressionistic wash to paper over things, etc.

Warren's Magical Drama Queen Roxy used a very similar approach to Fatal But Not Serious:

Let's now look at Rick Mays. I'm not a huge fan of Rick Mays, I've only actual read a single issue of a comic by him, but as I was reading Gen 13 he immediately stood out as being the best artist on that series, aside from Adam Warren himself [speaking only about issues Warren wrote]. It feels very telling that Rick Mays later did the final art for a graphic novel Warren laid out called Livewires.

These are from Gen 13 vol 2 #70:

The biggest difference between this piece has nothing to do with Warren or Mays, and everything to do with the coloring approach. I don't think the coloring here is bad, but the gradient-y colors do create a vastly different visual effect than the cel look I highlighted earlier.

The inking approach feels quite similar between the two artists; while Mays's art takes one or two steps towards realism relative to the Fatal But Not Serious stuff, texture is largely used to the same degree [with the grass and tornado being understandable exceptions]. What's interesting is that this issue has three different credited inkers; Karl Story, Rick Mays, and Jason Martin. I'm assuming this happened for deadline reasons.

I feel like I'm maybe starting to sound a little repetitive, and so I feel like I should share an issue of Gen 13 that I disliked, and then we can move to things that aren't Adam Warren-adjacent. These are from #43 and #44, with pencils by Lee Bermejo and inks by John Nyberg:

I'm not a big fan of this. The borderline chiaroscuro inking makes everything look heavily referenced, labored, and weird, and the "acting" in the comic suffers because of the over-rendered faces. It's a real shame the artwork is like this, because this two-part story is actually quite solid and would be a minor classic with better artwork.

I notice that many newer comic artists [which is to say, people who began their careers during the 90s onwards] put a lot of heavy shadows on figures in a way that feels too slavishly devoted to a certain kind of realism. I say a "certain kind" because the high contrast look of black spots being put onto a figure make the shadows way darker than they'd actually look in real life, so it almost makes the figures look dirty.

Look at comic art from the olden days and figures are largely defined by outlines/color. If a figure in an old comic has a lot of shadow on them, it's for reasons that are obvious and motivated; noir-y venetian blinds stuff, a mysterious villain being obscured, someone being underlit, or having half their face obscured, etc. There's a clear reason shadows are being used in these cases, rather than it being done to add usually unnecessary detail.

Anyways, let's look at Amanda Conner's work. Image on the left is from a Vampirella story called Fantasy Feast, and the image on the right is from Power Girl #12. Texture is used, like on the walls of the bathroom, but sparingly.

Looking at Conner's work in this context makes me realize, I don't think I've ever seen Amanda Conner's stuff colored flat [at least after she fully matured as an artist]. I don't think the more three-dimensional rendering used in any of these panels is bad, but I'm not going to be doing that kind of coloring in my book, and so it's not quite as instructive to me.

That being said, I really love Conner's style. I've noticed that Marvel and DC are increasingly using artists with styles that are broadly similar to Conner's; I've included an example below. Maybe it's because the artist below is too lazy to draw a proper background, but their work feels so much more flavorless than Conner's in comparison. I think it's because the "acting" is not as impressive, and Conner brings a fun-factor that feels completely absent in the page below.

I realize "fun" isn't always the order of the day, but this page doesn't really reflect . . . anything. It's completely bland.

Here's Kirby, who couldn't be bland if he tried. The left image is from the Young Romance collection Fantagraphics put out, and the right is from OMAC. The former is from the 40s, latter is from the 70s. [By the way, the Young Romance image is photographed from my own collection; there's no warping visible because Fantagraphics knows how to design a book].

Looking at these pieces side-by-side really challenges a lot of my assumptions about Kirby's artwork, because in some ways his artwork changed less than I previously thought it did without direct comparisons. There are some things that are more abstract about the OMAC page, like the wiggly shadows. Someone unfamiliar with Kirby might assume these were drawn by two different people, but only because 30-odd years of growth seperate these two pages.

Kirby's style, in my mind, is highly geometric and defined more so by abstract shorthand squiggles than hatching or other forms of rendering, but there actually is a fair amount of hatching on the OMAC page.

However, that OMAC page I believe was inked by Mike Royer, or at least someone using a brush. I noticed that, by sheer coincidence, almost all of the Kirby art from my first post in this series was inked by D. Bruce Barry, who didn't use a brush and also followed Kirby's pencils perhaps more literally than any other inker he ever had. In those images, it's clear that most of the hatching in Kirby's work was added by his inkers.

When Kirby did ink himself [using a brush], his style was oddly clean. He did add in hatching, but it was never particularly dense.

Anyways, I want to close this by including some Jesse Hamm quotes from his instructional PDFs:

-Simplicity is great, but often you need extra texture to seel weirdness.

-Another sign of experience is texture. The pro-level artist has learned to give different textures to grass, hair, tree bark, bushes, etc. Meanwhile, the amateur uses the same one or two shading techniques on EVERYTHING, giving it all a samey feel.

-Open spaces of black or white may be "activated" with a bit of texture. A few pebbles/ripples/etc will spur the mind to fill what's missing.

-We talk often about spotting blacks, but spotting greys (i.e., details/texture) is also crucial to clear compositions.

The lesson in the bit of Hamm writing I most often revisited, the flatpacking post, was that too much texture and rendering can make a comic exhausting to read. But reading more of his work, it turns out he had a more nuanced, texture-inclusive view of things.

What's the lesson here? Discretion.

[38sr]

How did you get where you are now? Job wise I mean? Were you a college student before doing this or did you go looking for jobs in the art industry straight away?

Oh, well it's been quite a journey for me in terms of how I got to where I am right now but here's the full timeline (?):

August 1996 - BIRTH

April 2007 - I watch Brave Story at Tribeca Film Festival, life is changed and I decide to purse animation

June 2014 - Graduate high school and accepted into Montserrat College of Art for Animation & Interactive Media

Summer of 2016 - Studied abroad in Japan attending Niigata School of Art & Design

Summer of 2017 - First animation job as an animation intern for Sesame Street (yes that Sesame Street)

December 2017 - Graduated from college (yes I graduated early due to having college credits in high school), did not have a job lined up

2018 to 2019 - Living back in NY with my parents, working on indie animation productions, creating emotes and animated intros for content creators, applying and getting rejected from many job listings, received and fail multiple storyboard tests, developing my own projects and story ideas after years of not being able to for school work

July 2019 - Fly to California for the first time, made the decision to move in order to further pursue a career in animation, at this time the Nickelodeon Artist Program were accepting submissions so I busted out boards for a personal project in 3 days and submitted it (please do not be like me, take your time haha)

September 2019 - I receive a call from Nickelodeon and I go through a series of interviews for 2 months straight

Thanksgiving 2019 - I receive news I was selected as a trainee for the Nickelodeon Artist Program

January 2020 - Move to California and begin work as a trainee at Nickelodeon (specifically for Rugrats reboot)

March 2020 - The pandemic

July 2020 - I leave Nickelodeon and move onto Titmouse as a storyboard revisionist for Star Trek Lower Decks

November 2020 - My Supervising Director for Lower Decks recommends me to the first Critical Role show Legend of Vox Machina

December 2020 - I do freelance boards for Vox Machina and get hired as a full time revisionist for season 2

January 2021 - I receive a interview request for a job on WondLa at SkyDance due to one of the directors finding my work online, I heavily consider the job

May 2021 - My Adventures of Superman is announced, I draw a piece of fanart that goes viral

July 2021 - Vox Machina season 2 wraps, I receive an offer to return to Lower Decks season 3 as well to work on X-Men 97 (I said yes to Lower Decks)

August 2021 - Spiderman Freshmen Year (now known as Your Friendly Neighborhood Spiderman) asks if I be interested to do boards, I decline not knowing what it was for

September 2021 - Showrunner for Spiderman contacts me personally for interview, my Superman fanart from May 2021 finds it way in front of the eyes of one of the creators for MAWS, still currently doing revisions for Lower Decks S3

October 2021 - Accept job offer as board artist for Spiderman, freelancing on MAWS as a character designer (first time doing this job), turn down SkyDance job offer

December 2021 - Wrapped on Lower Decks S3

January 2022 - Launch as board artist for Spiderman at Marvel Studios, still been developing my own personal projects at this point

February 2022 - Studio Shaft offers layout and genga work for Madoka Magia Record after seeing animation work of my personal projects, I accept

April 2022 - My episode of Madoka Magia Record airs, Studio Pierrot sends offer for work on Boruto

May 2022 - After my first episode on Boruto I am offered to work on Bleach Thousand Year Blood War, I accept and continue to on Bleach as of this post (3 seasons in total), Studio Mir offers me animation work for XMen 97 (I accept but only work on the first episode)

Summer of 2022 - Working on Spiderman, animating on animes, I think at some point this is when I was offered to do animation work for Castlevania Nocturne

November 2022 - Complete season 1 of Spiderman, Marvel/Disney lays me off for *reasons*, I receive an email about potential work on an unannounced show at Nickelodeon, I'm unemployed at this point

January 2023 - Collecting unemployment, freelancing on animes, trying to survive in general, also approached by Colosso to create my own course

February 2023 - Land a short gig on Big City Greens movie over at Disney TVA, Studio Mir once again offer me work but this time for second animated Witcher film

March 2023 - Land an interview as a character designer for that unannounced Nick show, didn't get the job

May 2023 - Wrap up on Big City Greens and Witcher, fly to Japan to relax (I failed)

July 2023 - Land a layout artist position at A24 (no it's not for Hazbin Hotel), Studio Mappa offer me work on Jujutsu Kaisen Shibuya Arc

September 2023 - Land another interview with Nickelodeon (this time for storyboard artist), freelancing on layouts and animation for Castlevania Nocturne S2, A24 job is stressing me out way too much so I decide to leave, MAWS hits me up for retakes on season 2

October 2023 - Wrap up at A24, I land the board artist job at Nick, I am also drowning in Jujutsu Kaisen production meltdown, complete my online course for Colosso, wrap up on MAWS S2

November 2023 - I start at Nick as a board artist, Colosso course release, I am still dying by the hands of Studio Mappa

January 2024 till now - Still boarding over at Nick and still animating on animes (I am VERY selective now about it though after JJK), I am also in therapy now Yeah so that's like, a real rough timeline over everything from school till now (and even then I am missing a lot of work details like video games and development projects due to NDAs). But pretty much what carried me was putting myself and my art out there on social media along with building relationships with people in the studios (outside of just my production) and that's how I've been able to maintain a steady work flow even when I was unemployed. Also not being afraid to develop my own ideas and share them since most of the times that gives the leadership a pretty good idea what sensibilities I have (and they just happen to match). I hope that answered your question!

[loftec]

okay so bear with me here. for some reason i had an unshakable need to draw the layout of corner diner in order to finish my ntw mickey fanart and i am being a very brave girl and showing you now 😂 there may have been a group effort involved to collect all the mentions of where things were etc. so like... how close did we get? 😝

Omg this is amazing, and very close! This inspired me to dig up the half-finished 1:50 scale plans and model I made of the diner in 2016 (I thought I had thrown it out just last month, but I found it!)

(Oh and... did you send me an ask about the diner logo a while back? I got a wonderful ask about the logo which compelled me enough to crawl out of my cave to answer it. And I started and left it in drafts to find my old design files, and then time happened. And now I can't find it anywhere, so if that was you or anyone else reading this, I'm sorry! I was so excited to yap about graphic design for way too long, but I failed! And now I don't actually remember what the ask was specifically asking me about. So if you or anyone else recognise this, please send it again if you want!)

Some diner pictures under the cut!

Found it in the literal corner of my attic, it has survived several moves and a very recent attic purge. It is very unfinished and damaged, but still here!

I remember thinking that the kitchen ended up a bit too big, and I was going to change that once I'd made all the furniture and such and gotten a better feeling for the space, and looking at it now I agree with my past self. I'd probably compress the whole room a lot and remove some of the storage, and definitely re-arrange the tables (the first plan was mostly just to see how much would fit in the space). This is closer to what it's like in my head:

And I also found the actual cd covers I made for Ian's band, and some test tour posters... I uh, I was doing my illustration BA and used every opportunity I had to incorporate NTW into my course work 😂

[paeliae-occasionally]

hi pae pae!!!

what is your process of designing your maps? and how do you approach lore? how does that brilliant mind of your work to create such fascinating history and complex worldbuilding?

je would like to know the trade secrets pretty pls

p.s. how far along are you on xaeren? if it’s not far enough, im afraid i’m going to have to start protesting soon… 😔

p.p.s. before you say school is taking up your time—understandable. have a great day. keep being brilliant. i just really want more xaeren content.

p.p.p.s. in my head, i imagine xaeren as so mighty fine that there’s an occult in some middle school of a suburban neighborhood with an old classroom turned into a shrine for his feral fangirls to host club meetings simping over him

that’s it’s. that’s all the pspspsppsss i have. miss you! have a great day! cheerios!

Hello Naveena! Lots of questions! We will go through them one at a time.

What is your process of designing your maps?

So with maps I will start by just noting down the history and current function of the city which gives me an idea of style and layout e.g. all of the cities that were part of the Laith’Edrels have lots of circular designs whereas a modern altic city may have more typical alleyways and rectangular buildings Next I plot in the districts of the city, like where the upper class live, where the high streets are etc. I also add any key buildings at this time, like a plot relevant church or a mages tower. Lastly I go back in and draw boxes and house shapes for 2 hours.

How do you approach lore?

A lot of my lore is just a set of stories where I look at a place on the map, or a group of people and go ‘what could have happened here?’ The bigger worldbuilding points like the dissolution came from me wanting to have magical decay from fewer more powerful beings to more less powerful beings, so I needed gods. However it always frustrates me when there are canonically gods in a world who just sit back and ignore the world crashing and burning as one frustrated hero has to fix the problem, so I made a reason for them to be gone

History and worldbuilding

Honestly a lot of my history writing was based off of the large amounts of real life history I read in my free time. Studying how cities and empires develop then putting my own spin on them because magic would change some things. Worldbuilding comes from my maps really. I will label different cultures on the map then come up with myths and legends for that culture, magic specific to them or their ancestors, wars and internal conflict. Then that spirals into pages of notes on the socioeconomic background for Onkairel. It is lots of fun.

“would like to know the trade secrets” she says after writing a whole book with detailed political lore and plenty of depth to the world.

You know the secrets. You also know the secrets to actually writing the book too.

So about Xaeren…

I will be writing the scene where he meets Kell soon so I will tag you in it when I do, but you are right about the school work :( so it may take a little while.

“an occult in some middle school of a suburban neighborhood with an old classroom turned into a shrine for his feral fangirls to host club meetings simping over him”

So you say that jokingly… No, to be fair he isn’t known for his an appearance but he is quite well known in Zairel as an assassin and member of house Hiresias. He is terrifying and intriguing to many because of his unique magic that Lysandri can’t explain so I would not be surprised if there was discussion of him in the lower ranks of Lysandri and Hiresias.

I will write some Xaeren soon. Have a lovely day <3

[malecdiscordserver]

Calling all Shadowhunters creators--it's time to dust off your notebooks, sketchbooks, laptops, drawing tablets, and other creative instruments.

Welcome to By the Angel Bingo!

What is By the Angel Bingo? By the Angel Bingo is a Shadowhunters-themed event where you request a grid of prompts in the layout of a bingo board. The goal is to fill the prompts until you get a traditional bingo (filling 3 or 5 in a row, column, or diagonally) or until you blackout your entire board! 

Do I have to be a part of the Malec Discord Server to sign up? No, being a part of the Malec Discord Server Community is not required to be a part of this event, but it is highly encouraged if you’re looking for friends to bounce ideas off of, if you need help finding a beta reader, or if you’re just looking for Shadow Fam to hang out with. 

What is the schedule?

Sign-ups open: February 1st

Sign-ups close: February 29th

Last day to request prompt changes: March 31st

Masterpost due by: September 30th

Have more questions? Join the Malec Discord Server or keep reading under the cut for official rules, minimum requirements, and other FAQs!

How will it work? On Thursday, February 1st, sign-ups will open for a bingo card. In your sign-up, you will be asked a few questions including what size bingo card you’d like (3x3 or 5x5). You will then receive a bingo card from one of the Mods to your preferred method of contact within 3-5 days. Sign-ups will remain open until Thursday, February 29th. From there, you’ll have until Monday, September 30, to complete what you can on your bingo card! 

What if I don’t like my prompts? You may request 3 (for 3x3 cards) or 5 (for 5x5 cards) replacement prompts at one time. If you need more than 3-5 prompts replaced, you will be sent an entirely new card. This can only happen once. If you receive a new card, you can request 3-5 replacement prompts again for the last time. You can request changes to your board until March 31st, a month after sign-ups close. 

Can I sign up if I’m under 18? Yes! Anyone is able to receive a bingo card, but you must be over the age of 18 to request NSFW prompts or submit NSFW fills. You also must be over the age of 16 to join the Malec Server. 

Are there any content restrictions? This bingo is open to all creations; fic, art, gifs, videos, moodboards, playlists, cosplay, physical art, etc. All bingo fills must be Shadowhunters-related. Any ships/characters/ratings are permitted as long as they are properly tagged. RPF is not allowed for this event. 

Am I required to get a bingo or blackout my card? Not at all! You can fill as little or as many prompts as you have the time/energy to complete. This is low to no stress. Low risk, high reward. HAVE FUN. 

Can I combine prompts? Each prompt needs to be its own fill, but you can post a multi-chapter fic or art series with one prompt per chapter/piece. 

What if I black out my entire card before the final posting date? Congrats! You did it! You can either be done OR ask for a second bingo card. 

Minimum requirements: 

Fic: 500 words

Digital/physical art: 1 piece

Photomanipulation: 1 piece

Gifsets: 2 gifs

Moodboards: 4 images

Video: 30 seconds

Playlists: 10 songs 

Podfic: 500 words (with author’s permission)

Rules: 

You must be over 18 to request NSFW prompts and submit NSFW fills. You have to be over 16 to join the Malec Server. 

Any Shadowhunters-related ships/characters/ratings are permitted as long as they are tagged appropriately. 

You may create works based off of the show, books, or movies, but no RPF is allowed. 

You may request a 3x3 card (8 prompts) or a 5x5 card (24 prompts). 

You may request 3 (for 3x3) or 5 (for 5x5) replacement prompts at one time. 

If you need more than 3-5 prompts replaced, you will be sent an entirely new card.

This can only happen once. If you receive a new card, you can request 3-5 replacement prompts again for the last time. 

You can request changes to your board until March 31st, a month after sign-ups close. 

Each card has one “FREE SPACE” to be used as a wildcard where you can submit any creation that follows the rules of the event.

Each prompt needs to be its own completed fill, but you can post a multi-chapter fic or art series with one prompt per chapter/piece.

Each fill must be NEW during the bingo posting period. No past creations may be used as a fill.

Fills can be combined with other events (i.e. Femslash February, Any Fandom Bingo, Trope-specific bingos, etc.) only if the other event allows it and you meet the minimum requirements for both events.

Prompts can be interpreted as literally or figuratively as you like (I.e. A/B/O meaning a frat house, or falling to your knees in the sense of lust, despair, clumsiness, etc.) If you think it fits, it probably fits. 

All bingo fills must be added to the AO3 collection. If posted on Tumblr/Twitter, the Malec Discord Server must be tagged (@malecdiscordserver/@MalecServer).

If you are participating in this bingo, you are not allowed to shame any ships/kinks/characters/content of any kind created by other participants. Failure to follow this rule may lead to a lifetime ban of Malec Discord Server-run events. We’re in this for a good time, not a dramatic time. 

[frokenkeke]

Making of Ashes to Ashley

Recently I posted my comic Ashes to Ashley, and got such a tremendously kind and loving response that I felt like sharing a little bit more about where it came from.

The story is about a transgender awakening, where the quiet and somber Ash explodes out of the closet as the loud and colorful Ashley. This was always the plan, however the details changed along the way. Quite quickly I realized that I was writing about myself and my own trans journey. I never played in a band and I don't imagine I'll ever grow bunny ears (sadly), but still Ashley is undoubtedly a reflection of myself. I just allowed life to become a stage and gender performance a rock concert.

Above are the first idea doodles I drew late at night in early April. I quite enjoyed giving Ashley lipstick and prominent eye shadow, since I hadn't ever done a character like that before. The idea was a bit of exaggerated femininity that accidentally becomes raw punk expression. One or two people have pointed out the Um Jammer Lammy similarities, and they are absolutely not coincidental. Initially I imagined Ashley would've been more reluctant about her transformation, which is why she looks a bit more annoyed in some of my sketches, but the story became more bright and funny if it was made immediately clear that this all happens off of her own volition.

Some method and color tests. My girlfriend suggested I instead go a lot more raw with it, which is why I ended up adamantly using an ugly sponge brush built into Photoshop. Sapphic Disaster are some form of punk-shoegaze band, so combining rough pencil linework with crunchy texture coloring felt like a fitting visual representation of them. This also side-stepped the biggest problems I've always had with drawing comics – dealing with inking is a boring waste of time, and working digitally always makes me fixate on perfection. By just using pencil on paper I had to stick with whatever errors couldn't be saved by a regular eraser, in fact I dedicated myself to only using an old worn down Bic mechanical pencil and embraced the idea that the comic would consistently look a bit off and amateurish. Of course I allowed myself the luxury of cleaning up my drawings digitally before coloring, but that can only take you so far. This way of working helped me make fast progress and kept each step engaging, I've never had as much fun drawing a comic as I had with Ashes to Ashley.

Here's a before and after from initial scan to finished panel. I often only tidy up around focal points like faces or hands, and allow the rest to remain as it is, usually parts like the legs or Ashley's ears.

Character references and my initial color picks, they went through small changes as I went along. I liked giving all the band members different sorts of rabbit ears to make them all look distinct from each other.

Here's some ideas for the Sapphic Disaster band logo and the comic's color palette, notice how Ashley is more vibrant than Ash.

While working I filled up numerous papers with doodles trying to workshop panels and layouts. It's too much to show all of them here, so I composed a few collages of my favorites.

It was pivotal for me that Ash would always look painfully cute. The sketch of the table scene with Floyd shows a rare out-of-character confident and laid-back Ash. In the presence of Floyd?! Never!

I was very concerned about the reader recognizing the old Ash when first seeing Ashley. She may be all excited about being a girl, but her nervous cluelessness remains. I ended up going back and redrawing two panels in Ashley's introduction to strengthen this impression.

For those not in the know, shoegaze is a rock subgenre that centers around noisey guitar textures, typically achieved through heavy use of effect pedals at the musicians feet; hence the name. When Ashley plays her guitar she produces a cacophony of strange sounds, the reader will have to imagine what they actually sound like, but I always imagined their opening number "I Wanna Be a Girl" to sound like a couple of amateurs trying to recreate Lush's Blackout.

The page where the band go around looking for Ashley while she's receiving her makeover was shoehorned in at a later stage for pacing purposes. That's why Gabriel is suddenly back to pulling cords after previously claiming they're all set, oops!

One of the core rules to this story is that everyone is always overly supportive of Ashley's transition no matter what. This is what makes the otherwise stern and serious Floyd especially funny, my girlfriend was pivotal in sprucing up his dialogue, adding bits like "have you seen the health care waiting lists?, "I know an endocrinologist who owes me a favor or two" and "give me 35% more danger"

Towards the end I discovered that Ashley and Debbie dancing was apparently the most important panel in the entire comic, judging by how much I tried to perfect it. (For the record, my favorite panel is when Ashley screams into the microphone that she wants to be a girl.) Maybe Ashley and Debbie dancing should've replaced the final full-page panel? Well, we got a lot of cute doodles out of it regardless. Just kiss already!

Initially I imagined Ashley to be standing alone in the "could this be the real me" final panel, but I realized her odd family of friends was equally a part of the real her. She was always right where she needed to be, she just needed to find herself within that place. (I ended up giving Ashley a cigarette because otherwise it looked like she was praying.)

Here are some ideas for the cover illustration, of course in 1:1 format to look like an album cover. Up until last minute I planned for the comic to have You Made Me Realize as its subtitle to distinguish it from eventual follow-ups, which is why the You Made Me Realize EP cover art is paraphrased in the top-middle. I ended up just going with Ashes to Ashley to keep it clean and simple. The title Ashes to Ashley was blurted out immediately by my girlfriend when I first showed her my concepts for the story. It's perfect, she's perfect.

I drew two Ashes and two Ashleys for the cover art and let my fingers smudge all over the latter. While most obviously riffing on the cover for My Bloody Valentine's Loveless, it's equally taking from the Ecstasy of Saint Theresa's Pigment.

And there you have it.

However I never intended this to be the full extent of Ashley's story, just a satisfying and complete end of a chapter. I've already finished writing the next story, Today Forever, and I hope I can get it out to you all soon enough. Your love for Ashley keeps me going.

/Kiki

[comicaurora]

As someone who’s thinking about creating a webcomic (largely for myself but may potentially make it public), can you provide advice on outlining and panelling? Those are the things I think I’d need some of the most help with other than backgrounds which… I can figure that out myself. Probably.

Good question! I've answered a similar one about paneling in depth here.

Outlining/storyboarding is a different animal, and depends strongly on your personal writing style and how your brain works.

There are a few ways you're "supposed" to write/outline comics, but pretty much all of them start as a script, similar to a screenplay. You note down character dialogue, the panel it takes place in, what the character is doing at the time.

You describe the panel like a shot in a movie - establishing shot, long shot, close up - and contain within that panel the script for what you'll put in the word bubbles. You might also include a thumbnail for what the page layout you're envisioning would look like.

This is because most comics are made by teams of more than one person, and the person who writes the plot/dialogue is not the person who does the layout and sketches - and usually that's not the same person who does the inking, the coloring or the lettering. So each stage of the process needs to be clearly laid out.

This is not how things work for comics made by a single person, and this is also not how my brain works in specific. If I try to write a script first, the characters inevitably end up being incredibly wordy and go off on philosophical tangents, and the dialogue doesn't fit right on the panels. And once I start drawing the actions I've choreographed, half the time I'll only get a few panels in before a character wants to do something unexpected but much more interesting that completely derails all my best-laid plans. None of my scripts ever survived contact with the page.

Fortunately, because I make art digitally, I can do things like "write all the dialogue straight onto the blank page" and then move/edit the text however I want. So the process I've developed that works for me specifically involves me storyboarding out the dialogue and paneling straight on the page rather than starting with a screenplay or script.

That's not to say it goes straight from my brain onto the page. If I'm stuck on a scene I'll usually crack open a little notes file and write out things like "what just happened, what is this character feeling, what do they want to do next" or just spitball possible dialogue options or write out a little mini-timeline of events in linear order. This gives me a guideline to reference when I sit down to storyboard, and it can help me work through a little knot of writer's block. Even then, the dialogue I hash out there isn't going to be as well-paced or as good as what I end up putting on the final page. It's a first draft of a scene - translating it onto the page, it'll play out differently.

This works well for my storytelling approach, which is flexible and character-driven. I like to give myself a lot of options - a toolbox to play with - and that means my outlines are often very loose, and can change a lot before I put them on the page. But this is a strategy I developed for myself through trial and error - it's not going to work for everybody.

I recommend you start off by reading a wide array of comics with an eye for how they were laid out and scripted, and test a few methods for yourself to see what works best for you. And also read Scott McCloud's Understanding Comics, it's an incredibly valuable crash course!

[cutekoala1001]

✨Commission sheet!✨ I can do humans and other things too, not just anthro. ✨🐨 Contact me at jewel-oa@hotmail.com if you’re interested, or DM me if you have any questions. My terms & conditions are under the cut:

Rules / Terms & Conditions:

🐨 Payment up front via PayPal.

🐨 Once I receive the full payment, I will start working on your commission.

🐨 I have the right to decline or cancel a commission for any reason.

🐨 Refunds are not accepted, unless:

I cancel a commission after receiving payment.

I do not finish the commission within the agreed upon time.

🐨 Please do not edit my work or remove the signature after receiving the commission.

🐨 Artwork is for personal use only and is not allowed for commercial use (for commercial commissions, please contact me for quote.)

Will do:

fan art (human, animal, anthro, etc.)

original characters

couples

real people

animals

backgrounds

graphic design

journaling layouts (see my #mood tracker tags)

will not do:

nsfw/kink

violence, gore

political art

anything I find offensive

* This being a “Sing” movie blog, I’m happy to draw the characters from the franchise! But because Buster Moon is a very special character to me, I’m picky about how I portray him. I’ll be happy to draw Buster for you but if I’m not comfortable with your request I will decline.

* For personal reasons I will not draw Klaus Kickenklober for anyone but @picapicamagpie ! (I’m happy to reserve him exclusively for her 🐵🐦)

The process... *note: if you cancel during the process, I will only refund the parts of the process that I haven't done yet. If you want a revision starting from the WIP sketch phase, I will make up to 3 revisions before charging extra.

🐨 If you are interested, please email me with a description of your request, including the pose you want and reference photos (required)! If accepted I will ask for full payment to be made via PayPal (only.) I will then begin working on your commission.

🐨 Thumbnails: I may send a couple of thumbnails and ask you to choose which one you like.

🐨 WIP sketch: I will then send you a heavily watermarked wip sketch for your approval.

🐨 Line art begins: Once you've approved of the wip sketch and I begin the line art, I cannot go back to the sketch phase. Once line art and flat colours are done I will send you another wip for your approval. This is where you can confirm any other details like mood, lighting, textures etc. before finishing.

🐨 Finally, I'll send you the finished fully-rendered piece in PNG and JPEG. Any additional changes you would want from this point will be charged extra.

(Depending on how complicated the commission is, the entire process shouldn't take any longer than 2-3 weeks. Let me know if you need it rushed!)