#this is a sketch that does not have the best composition

[finngualart]

listen...

[dungeonzine]

Need help prepping your zine portfolio or could use some pointers? Here’s a brief guide for choosing and organizing your works to make a successful portfolio!

Let’s start with artists.

What format should you use? Simple is usually best! Google Drive folders are often preferred because they easily display your work with no extra steps. Carrds, websites, or curated social media work too, so long as there is not extra material or posts hiding your work. Try to have as few clicks before seeing your work as possible, so no need to separate work into folders and certainly don’t require a mod to search your entire page for it—they may not have the time.

Make sure that your work is publicly viewable! Double and triple check that your Drive folder is shared publicly or your websites are not behind a password.

When choosing which pieces to include, always choose your best and most polished work. All works should be complete, in full color, and be fully shaded or rendered. Try to have at least some of your works be approximately something that would be found in a zine, which usually means about A5 sizing. Backgrounds are an essential skill for zines; make sure you show you can draw them well. Of course, sometimes some of these elements are excluded in a piece as a stylistic choice, but all are important skills to show you have.

If possible, try to include the topic of the zine in your portfolio. It does not need to be every single piece. If you only have WIPs or messy work of the topic, then it may not be worth it to include it and that’s alright (though make sure the zine does not require art of the subject when making that decision. Ours does not).

Most zines ask for featured works separate from the portfolio. These are the first things mods look at when evaluating your application. Choose your strongest three (or however many are asked for) pieces as your featured works. Typically, try to include art within the fandom as a featured work if you can. Try to have those vital skills on display in these as well (backgrounds, rendering, etc) so it’s immediately clear you’ve got what it takes.

No need for every piece to hit every point. Try your best for the portfolio together to hit most of them and meanwhile you can work on creating some art specifically to show off anything you’re missing!

There are some things you want to avoid including at risk of weakening your portfolio. A portfolio is only as strong as its weakest piece, so having less pieces is better than having weaker pieces. Only include polished work you’re most proud of. WIPs, sketches, or isolated character work may give the impression that you won’t provide a complete zine piece. Including multiple styles or mediums (especially ones that you wouldn’t be comfortable using for the zine) may confuse a mod as they might not know which you’ll use. If you include multiple styles, make sure that you are skilled and polished enough in all of them to use them for the zine. It’s totally fine to have a smaller portfolio, especially if you’re just starting out—don’t clog it with art that’s not your finest.

Merch portfolios are very similar to page art portfolios, but focus on character-centric work often without backgrounds. Do research on what makes a good merch design, because not all compositions translate well to physical products.

Photographs of merch you’ve made are excellent, but if you don’t have them then you can make mock-ups to help mods understand what you’re envisioning for the final product. Merch portfolios can be a combination of photos, mock-ups, and designs. Print samples may look very similar to a typical page art piece.

If applying as both a page and merch artist, you will likely want to have separate portfolios, as the roles require emphasis on different skills.

Writer portfolios are similar to artist portfolios in that they should contain only your best work. You may also use a Google Drive folder or another hosting website so long as it is highly curated and does not contain many other works to sift through. Typically, zines ask for 3-6 works under 3k words, but double check these numbers with each project you apply to.

If you’re applying to a specific role, such as poetry or article writing, try to have those kinds of samples ready. It may help to make a separate portfolio for those more specific applications.

Here are some other tips! Of course, there’s an infinite amount of ways to make a great portfolio, so if this guide isn’t working for you that’s totally fine. Experiment with different ways if you’d like!

Our applications open soon. Good luck!

Got additional questions? Send an ask here on Tumblr or on our Retrospring! We’re always happy to help or clarify.

Learn more about our Dungeon Meshi zine here!

[shakingparadigm]

Once again, I can't really gather my thoughts cohesively on this right now, so please bear with me. Just musing, so the ideas here might be a bit disconnected.

As a prodigy artist well-versed in more than just singing, it's no suprise that art is a prominent part of Till's character. Everything associated with Till seems to carry his eccentric artistic talent, right down to the abstract symbols painted onto his otherwise blank white t-shirt.

(Till's sketching and drawing seem to go hand-in-hand with his songwriting. Doodling and composition are two of his hobbies, and he's stated to be talented at both.)

(His appearance in TOP 3 emphasizes this messy, artistic angle. The symbols painted on the wall are similar to graffiti tags, usually associated with youth and rebellion. Furthermore, there is paint splattered on his face, staining color onto his disheveled hair and baggy clothes.)

(Even amongst the TOP 3, Till is presented with the most color. Between Luka and Ivan's main colors of white and black, their formal attire and elegant, charming personas, Till looks rather out of place.)

(Till's personal/special talent is floral art.)

Art is an integral part of Till's character, something that defines him and his desire for self-expression and freedom (it's no suprise that when Till loses his will to live in ROUND 6, he's dressed in plain and monochromatic clothes that lack any of his own artistic touch). Despite the ties between creativity and freedom, Till's talents are regularly taken advantage of and even tampered with due to the treatment he receives from his owner.

Guardian Urak is an eccentric segyein. A hustler, materialistic and rather pretentious. He shows great pride in Till's "uniqueness" and artistic ability, boasting that he has raised the best human-pet in history. In order to create the success that is Till, however, Urak had to execute his methods on several other pets beforehand. His practices include the thorough abuse of his human pets in order to coax out their talents, pushing them to their limits with harsh training regimens and painful experiments. Violence is a tactic utilized heavily within Urak's line of business, and the human pets under his ownership are the most openly abused.

Urak is said to abuse his pets to the point of severe mental issues. It's due to these mental issues that his previous pets have failed to achieve victory, showing great promise but never making it to the end. He seems to believe in the idea that the peak of a human's talent is tied with their instability, that the more talented a pet human is, they more likely they are to be a freak.

Urak pushes forward with the mistreatment of his humans despite their suffering. He believes it to be a part of creating exemplary art, playing into the idea of a tortured artist. Urak's pets were incredibly talented and top contenders for the title of champion. If not for their heavily deteriorated mental states, they would have brought Urak to victory long ago. It's quite clear that he does not intend on changing his methods because the humans he produces are some of the best products around. He doesn't want to change his methods, he wants a human that can withstand them.

Till's style is already established to be unique, nicknamed a "black sheep" in his official magazine page, emphasizing individuality. His brazen aggression in ROUND 2 caused him to attract much hate, but twice as many fans, too. The bashing of Freddie was framed as a bombastic and somewhat avant-garde performance act, referred to as art. Till's public persona was that of an eccentric and unpredictable artist, a highly reactive contrarian pet who presents both a high risk and high reward. Urak has produced another tortured artist, except this one is different (in his words, unrivaled). A higher caliber of pet, bringing him the closest to winning he's ever gotten thus far.

Till's various artistic talents seem to be things that he has developed on his own, stemming from his own desires and interests rather than something forced onto him by Urak. In one of VIVINOS and QMENG's livestreams it was stated that Till is inherently gifted, a creative genius since birth. Till uses his abilities as tools of rebellion and self-expression, writing his own music, vandalizing and adjusting segyein-provided material and outfits in order to make them more his own. It's unfortunate that even Till's attempts at rebellion are taken advantage of and instead used against him. Constantly battered and bruised, isolated in a cell, forced to endure experimentation, all of his artistic ingenuity and creations have been taken by the segyein and used to promote him as a product. He has been turned into a spectacle, his misery and abuse put on display for others to gawk at. Suffering for the sake of art.

[creaman]

Hi there! I apologize for taking up your time, I am just so curious: When you tackle a comic, what does the process behind it look like?

Asking because I found myself scrolling through your blog once again and couldn't help but marvel at all the beautiful effects you use, at how flawlessly the structure guides the viewer's eye across each page, how the graphic weight seems to always be in just the right places…, and wonder how you learned doing this. Everything you put out looks incredibly professional and I aspire to reach your level of skill 😌❤️

Thank you Finz!! You're no bother at all, I'm an open book. This is such high praise for a guy that really doesn't have a set process, I feel like a hack. Ha. Rest assured my style is still developing. Besides the referencing of the linework and composition of official comic books, (practicing by redrawing panels for fun), explaining the process makes me feel like a serial killer but I will do my best.

(WIP Riddler panel, scrapped Scarecrow composition)

My comics usually stem from a single panel or concept — I like to focus on/emphasise particular panels of my pages, the heavy hitters, the main piece that catches your eye. I know I'm not a profoundly technically proficient artist so I prefer visually interesting elements and formatting, i.e. drawing characters outside their frames, negative space, notation, perspectives etc.

(Kung Fu Panda 4 sketch god I hate Kung Fu Panda 4)

I like to establish 'main focus' panels, the bits of the comic that really, well. make people want to chew on it. This is where the technical effort is concentrated, really, and the rest of the comic is generally build around these concepts.

('Restaurant Balthazar' focus panels)

Textures and effects are done on individual panels first, then the entire page as a whole to even out the unity. Generally, blocking in shadows, hatching for visual interest + middle tones, then textures/half-tones, then highlights.

(Script excerpt WIP)

I'm not a writer per se, but having a vague 'script' in your pages helps with pacing and direction. Comics are a versatile story-telling medium. I only really do scripts for comics longer than 2 pages. An optional but recommended strat is to send your script to a friend for a second opinion.

(Script excerpt — 'Restaurant Balthazar', annotated by @vincepti0n I don't know why he drew a face in the middle)

With the script crudely slapped together, I rough out the thumbnails and composition with the text, prioritising coherence and clean integration of previously mentioned 'main focus' panels.

Settling on a composition sucks the hardest. Drawing is fun, thinking makes brain hurty. Variety is good! Close-ups, wide shots, visual metaphors. Every panel is its own artwork.

The text bubbles are usually added in post, yes, but I'm just one guy and I don't have a writer to call me a good boy for doing things correctly. Bite me.

(Early 'Restaurant Balthazar' drafts)

In addition, keeping the text graphics in mind help create a sounder composition wherein even if the panels don't read cleanly left to right + top to bottom, the text can stagger and create the same reading order effect.

Panels and concepts are constantly tweaked, and my comic process is still highly experimental. A lot of industry standard comics aren't illustrated to their full potential due to deadlines and such — I strive for visual epiphany by treating each panel as its own artwork, and every page as a a bit of a mural.

(Old art hurts the soul)

Constantly experimenting allows you the insight of looking at your current art in comparison to your older works. In more recent works, I've been blocking in more shadows wiht lineart with thinner lines and more line weight, and learned to integrate the subject characters with less plain, abstract backgrounds.

TLDR: I have no idea

[phoenix-art-official]

Ah— ("natural way of spacing", anon, here) i meant that it *looks* very natural! Very pleasing to the eye etc etc ... I'd be even more astonished if you managed to do it effortlessly ... I've been trying to get better at it, personally. And you're right. It does take a lot of work !!

OHHHH OK well then in that case TYSM AAAAA IM GLAD MY ENDLESS NITPICKING PAID OFF!

i actually found the best way for me to conceptualize combined poses was to take some inspiration from comic making! in comics, every page starts as a thumbnail, and the goal of a thumbnail is to be small, non detailed, but easy to read. it helps you "zoom out" and get a better read on the full composition of a page/panel. its how i start all of my sketches at this point. no guiding lines, no focus on anatomy or perspective or accuracy- just form, volume, and readability! theyre also meant to be done quickly- within a minute or two.

heres an example from my latest sketch. this was what i started with. its vague, but it helps me visualize clearly how the lines flow together and lead the eye. you naturally focus first on fords face, then follow his arm to stan.

after that is my proper sketch, paying mind to anatomy, volume, and perspective

notice how i keep it messy! this leaves me room to change things as much as i want, moving or posing things differently depending on what works in the space. thankfully this one didnt need much tweaking!

i generally draw a lot faster than most artists, from what i can tell- i spend maybe 2 or 3 hours on a sketch like this, and then im like, "okay, im done, looks good."

this is just my own process after, like, a decade of teaching myself, so it may not work for everyone, but i find its better to have an ill-fitting guide than none at all. adapt to your own needs!

[rinazurine]

So this animatic kinda started when I thought to myself “I wonder what made Isabella like Phineas” which led to me asking myself “what is the elementary standard trope that gets a girl to like a guy” which led me to “they give them a pencil”

Of course, I put my own spin on it cause I feel like Phineas can’t just casually do something; he has to go the extra mile which I can appreciate in his character. Very creative and very caring as his inventions always seem to be dedicated to someone/to help them in a dilemma , or inspired by them. I feel like that would be some traits Isabella grows to like in Phineas (attentive, having someone’s best interest at heart, fun loving, etc.)

Additionally, Isabella’s daydreams of Phineas, most of them is Phineas declaring that he would do anything for her, meaning her dream like view of him seems to be very chivalries, very prince like, so it’s my hypothesis to reason that she started liking him antically because he gifted her something and or made her feel better in a time of destress— then grew to learn more about him, their relationship developed and she learns to accepts he’s just not there mentally yet but still likes what he does/what kind of person he is without expecting him to be romantic, etc.

Cause i feel like that kind of crush, I feel like it doesn’t happen overnight and just develops overtime (idk I’ve never had a crush but I’ve had really good friendships that mean a lot of me)

Isabella is a bit more in destress at the start of the story than I would have preferred. My reasoning towards it is that she was just a perfectionist at a young age and felt embarrass that she didn’t have a pencil with her and didn’t want to ask for help.

For character design, the only thing going through my head was “What’s more 1st grader than overalls?” (I made a separate Ferb and Isabella sketch where they bond over having overalls 😂😅👍✨)

I made the mistake of having my backgrounds be on the same layer as my rough blocking so that’s why it looks kinda rough. I want to get better at composition so this was a good exercise.

Enjoy the copyright free music I got on CutClip; I think the piano is firing. The music was the last thing I thought about because I didn’t want to have another brain stab. I’m not a big fan of it but hey, that’s what muting is for (but I do like it towards the mid to end section)

👍👍✨👍👍

[ninadove]

For any fandom(s): 12, 15, 16, 19, 23! 💌

As always, you spoil me! 💌

12. Compliment someone else in your fandom

GOD I HAVE TOO MANY FRIENDS TO COMPLIMENT

@beezonia comes up with the coolest AUs and designs. I’m always blown away by their Pokémon team compositions — they’re spot on to the point I consider it its own form of character analysis!

@purplecatghostposts is the genius who showed up out of the blue and took us all by surprise with their amazing prose. Soap, reminder that the reference to Copycat in consider the spare legally binds you to pay for my therapy.

@trishacollins is single-handedly remediating to the lack of platonic bedsharing between the cousins and I can’t thank her enough! She’s also one of the chillest and most approachable people I know.

@luckychatons is our favourite entrepunpurr and constantly lifts our mood with the cutest, most joy-filled sketches! Patting her OCs on the back because they sure need it.

@graythegreyt is such an awesome artist you’d almost forget they’re also one hell of a poet who wields mythological references like Odysseus wields his bow. Did you know they wrote me a poem inspired by God Games? I think everyone should know they wrote me a poem inspired by God Games.

@hartwign is a talented translator and draws hair like no one else. Seriously. I want to run my hands through the cousins’ hair and nestle in there forever.

@phieillydinyia is the picture of dedication! Can’t recommend Candle In The Wind enough, it’s a roleswap rewrite of the Miraculous movie that includes the songs. How cool is that. Thank you for your regular comments on my fics, they always make my day!

@alexandriaellisart words cannot express how much I love your depiction of Feligami. Your writing has made me tear up so many times! AND YOUR ART LOOKS SO SOFT AND COLOURFUL. What a double threat!

@faiirygrahamdevanily we need more fics about the Sentiplot as a metaphor for othering experiences and you’re doing God’s… I mean, Duusu’s work with yours!

@bbutterflies did you know your piece for Sentitwin Week is the best characterisation I’ve ever seen of Felix? This is what people mean when they say a picture is worth a thousand words. And of course your Adrino is always brilliant!

@bittersweetresilience not only are you an extraordinary writer, but you’re constantly looking for new ways to express your love. Always GIFing and weaving and canonising tags and making AMVs and running zines… I can’t wait to see what you do next!

And there’s so many more people I’m forgetting! To say nothing of my friends outside the Miraculous bubble! People are amazing!!! 💖

15. The character that always makes you smile

At the end of the day, it’s all about Clive. He’s been my muse for nearly 15 years! 💙🕊️

16 was answered here! 💖

19. Your current fandom(s)

Professor Layton, forever and always. I can’t wait to share my Big Bang fic and the amazing art that I was blessed with! 💙💛

RWBY, even if I’m lurking more than participating… I love love love love RWBY, yet it doesn’t strike my creative and analytical chords the way Miraculous does. Sometimes you just need to let yourself be swept into a story, you know? Although, it did teach me a couple of writing tricks I’ve used for other fandoms!

EPIC! Wisdom Saga coming soon! 🩵🦉 It makes my little mythology nerd heart supremely happy. The music is a banger and you can feel the knowledge and passion of all the people involved in this project. Jorge in particular is always so excited to share his progress, engaging with creators, explaining his musical choices in a fun and pedagogical way… And the lyrics! It’s free real estate for a fanfic author looking for inspiration and/or titles!

I’d love to start Monte-Cristoposting like I’ve been Cyranoposting and Draculaposting, but I’m afraid of spoilers so for now I’m just screaming in your DMs. As you know. I’m also slowly getting into Honkai: Star Rail, and I’d like to pick up Pokémon Black and White again because a N character study would look great on my AO3 resume.

And of course, Miraculous! 💚💜❤️ It’s the most creative I’ve been in years and it’s all thanks to these sad beautiful silly genius kids. Heart emoji, peacock emoji, sob emoji, etc.

23 was answered here!

Thanks for the ask! 🖤🪶

[collidescopeeyes]

Random Relationship Headcanons: Viego

- Wants to be near you literally all the time. Loves physical contact and will find any excuse to get it.

- He physically can't blush, which is a tragedy because otherwise you could see how flustered you make him :( you still catch him just staring at you with open adoration so it's ok though

- Gives you privacy if you ask for it but his default state is wanting to be around you. Kind of guy who would be thrilled to watch paint dry with you cuz it means you get to spend time together. Will follow you around until you pay attention to him, 100% sulks if neglected for too long but can't stay mad at you for long.

- Gets jealous easily but is working on not being so possessive, so he just gets clingy(er) if he's feeling insecure. It's kinda cute.

- Low key gets freaked out if he doesn't know where you are. His last love died painfully in front of him ok he's got Trauma

- Can tell immediately if there's something up with you, pls talk to him about it, he worries and he just wants to help

- Likes to read, from romance novels to historical texts. Goes through surviving texts from Camavor frequently, trying to jog his memory. Keeps a journal now, in case the mist takes any more memories. A lot of it is prose about how pretty you were today, a fair hand at sketching too.

- Likes animals, especially dogs and horses–royal hunts were a big family event growing up. Animals do not like him anymore, the mist makes them uneasy. It makes him sad sometimes :(

- Has strong opinions on wine and ballroom music. Will talk about the composition of a symphony for hours if you let him. Would love to teach you to dance.

- Used to care a lot about how he dressed, but those memories are still pretty fuzzy and he doesn't really think about it anymore–dying kinda puts vanity into perspective. Likes dressing you up though, and will definitely dress to match if you're going somewhere. He likes the idea of coordinated outfits.

- Gets moody occasionally, it all gets a bit much for him sometimes and he starts thinking about all his fuck ups. Alternates between sad and self-blaming to frustrated and kinda bitchy, but does his best not to take it out on anyone. Instantly feels bad and apologizes if he says anything out of line. Give him time, cuddles and reassurance and he'll start feeling better.

- Can't sleep without you in his arms. Doesn't choose to sleep often anyway (he gets bad nightmares), but will happily lay there all night watching you sleep. Doesn't like to admit that though bc he knows it's kinda weird.

- Doesn't need to eat or sleep or drink, but likes doing it anyway. The other wraiths in the isles are shadowy mist creatures because they're souls the mists have taken, and the bodies are somewhere else. Viego’s situation is closer to him ACTUALLY being the crown and just possessing his own body constantly, sort of like he'd possess anyone else’s. He's still technically undead though so his only real bodily need is the magic that's keeping him walking around

- The crown can't be moved, his head just moves with it. It's sort of like horns, except they're not actually attached to his head. Yank him around by it ;). He can demanifest it if he tries but it makes him feel numb and weirdly claustrophobic

- Speaking of, is claustrophobic. Man was trapped in a sword for like a thousand years; he was only quasi aware that whole time, kind of like having a nightmare or sleep paralysis, but it still makes him uncomfortable. Doesn't come up much since he just kinda mist teleports out if he starts feeling cramped. If it's ever for some reason necessary he will be holding you like an emotional support stuffy and you won't get a choice about it.

- His tears are black and dissipate into mist after a bit. It's very goth. Can control the amount of mist pouring from his heart; at its thickest it's almost like a small waterfall.

- Lets you put your fingers in his chest hole exactly one time. It was so cold you couldn't actually feel anything. He described it as akin to someone squeezing his heart.

- He can float but it takes concentration and he honestly prefers just walking. Also, he's tall asf. You need something off a high shelf, he's your man.

- His sense of temperature is fucked. He can tell if something's hot, but if you hand him an ice cube and a piece of wood he can't tell which ones colder without looking. Worries his hands are too cold for you since you always feel warm to him (they're not)

- Looking at his reflection weirds him out, and sometimes you catch him staring at his hands. Man doesn't have an introspective bone in his body though so he couldn't tell you why, but really he only sort of remembers what he used to look like and sometimes the dissonance gets to him.

- In the far far future of TIARW some of the restored shades will choose to stay in the kingdom, since apparently Viego was beloved by the people before his wife died and he went fully off the deep end. Viego gets the opportunity to redeem himself to his people and kingdom, and another shot at being king but older and wiser now. With you as his queen, he swears not to make the mistakes of his past and to rule with the best interests of Camavor in mind. Maybe I'll write an epilogue along those lines at some point.

NSFW (under cut)

- Look he's perma stuck in honeymoon phase he's Thirsty

- High libido. A menace if you let him be but 100% respects if you aren't feeling like it, he knows he can be a bit much. Does need lot of physical intimacy but that doesn't need to be sex necessarily, he just likes making you both feel good

- Despite this, doesn't jerk off much. It's being with you that gets him going, not that he specifically wants to get off

- He doesn't get tired. Like ever. 0 refractory, will just go until either you tap out or he's so overstimulated he can't anymore. Watching his cum drip out of you just gets him so worked up though so it's a vicious cycle

- He's got a filthy mind and will have you every which way he can think of, in every room you'll let him. Fav position is probably you riding him cowgirl though; he likes the view

- Likes leaving lovebites, but he lowkey feels bad if he bruises you by accident. He gets carried away and forgets his strength sometimes, you'll have to convince him you're fine. He heals too fast for you to leave marks on though, it's tragic :(

- He's touch starved, we all know this, he was trapped in a sword for a thousand years. In particular though, his neck is very sensitive, as well as his thighs and lower back. Doesn't like the area around his chest cavity being touched. Loves having his hair pulled.

- He's got experience. He was a heartbreaker in his youth and he figures out exactly what you like uncannily quickly

- Love love loves going down on you, he loves watching you and he gets to make you feel good, doesn't even care if he cums as long as he gets to eat you out

- Boss him around, he loves it when you take charge. Loves being both praised and degraded, will try so so hard to be good for you. Edge him until he cries, make him cum over and over, yank him around by the crown and tell him what a pathetic cum drunk slut he is, he'll take it all and beg for more <3

- Not specifically dommy so if you aren't taking the reigns he's the perfect combination of loving and so horny he can't think straight. Tells you how pretty and perfect you are while he makes a fucking mess of you.

- He's so loud. If he's not telling you how good you feel or how perfect you are, he's moaning and whimpering and swearing. Ask him a question and watch him struggle to put a coherent sentence together in real time.

- If you want to give him a task you know he'll fail, tell him to keep quiet. Fucks it up immediately and he gets SO upset, full tears in eyes begging to make it up to you.

- Will happily do whatever makes you both feel good, willing to try most things you want to. Hard limits, wouldn't like saying mean things or hurting you even as part of a scene (receiving tho, yes pls). Also, very mixed feelings about doing it anywhere anyone could ostensibly see you–on one hand everyone should know you're his and he's yours, on the other he'd have to kill them. It would be the only way, they gotta die.

- Aftercare is a must, whole nine yards, hot scented bath and cuddles and affirmations all around.

[rudnitskaia]

This note was supposed to appear in a Christmas fanfic, but after @acesandocs sent me an ask about RoMaunce "Who leaves little notes in the other’s one lunch? (Bonus: what does it usually say?)" with an art request, I made a decision to post both the fic and the note much earlier. The fic is under the cut, enjoy the Christmas spirit in the middle of summer. :D

Bonus: the fic also tells the story of The Most Ridiculous Scarf's creation. x))

The Winter Wonder

Working until the last client was an awful practice.

Mau couldn't remember when she had gotten a good night's sleep. Hiding behind the storefront window, she rested her head on her hands folded on the counter and tried her best to keep from falling into slumber. She might have fallen asleep for real if it hadn't been for the cheerful music that was playing from the radio.

“Let's not disturb Miss Maura,” a cheerful whisper sounded barely audible next to Mau. A few coins tinkled quietly as they fell onto the counter, and two visitors headed for the exit.

She didn't instantly realize what was happening, and raised her head too late. Before the front door slammed shut, all she could see was Rocky wrapping a threadbare blue scarf around his neck with one hand, and gently pushing his cousin toward the street with the other.

The two young men who frequented the eatery, and who were different from most of the visitors, were constantly drawing a lot of suspicious stares. When Rocky had first brought his redheaded cousin to the place a few months ago, it had been noon on a workday, and the workmen who lunched at the eatery had become strangely quiet when the two young men had taken the only available table near the exit. Until that day, Rocky had always sat at that table for some reason, but every time he had been lucky enough to come to the eatery when there were few or no other guests. On his first visit with Calvin, though, it was as if he had deliberately chosen the busiest time of day. Like he wanted them to be noticed. But Rocky had guessed, apparently, that they had attracted too much attention, and since then, alone or with his cousin, he had shown up at the eatery either when honest people were busy working or at closing time, when honest people were getting ready for bed.

Such was the case to-day.

“And the following composition will immerse you…”

With a click of the switch on the radio panel the main room fell into silence. Despite the approaching Christmas, Mau was in a horrible mood, and even with all her love of music, she had no desire to listen to another sickeningly festive song. It was a cloudy, unusually snowy day in St. Louis, and Mau was apparently infected by its grayness, so even her usual chores were draining. Mau's father and the owner of the eatery, Mister Augusto Venza, had been away for a couple of weeks in Chicago on extremely urgent business, so Maura had to serve the clients alone and, moreover, had to meet 1928 all by herself. Though she was rather glad of the latter.

There will be no fuss.

Slowly, one by one, Mau counted the coins that Calvin and Rocky had left as payment for the coffee, and was surprised to find a piece of paper folded several times next to them. Unfolding it, Mau saw some amusing, almost childish, drawings in red crayon. On the first one, she herself was sleeping with a terribly sullen expression in a daisy field under a big, angry raincloud. In the second, Rocky held a sheep, which resembled a cloud of cotton candy and was eagerly munching on that raincloud, above his head, while the cartoonish Mau was already smiling. Next to these sketches was a wry caption:

“Don't be sour! Let sweet dreams eat all the bitter thoughts. R.”

Chuckling, Mau shook her head. She scrutinized the drawing for another minute or so, then sat down on the floor behind the counter and pulled one of the wooden baseboards towards herself.

“Come on, stop being stubborn…”

Finally, the baseboard gave way, revealing a narrow gap at the bottom of the counter that Mau used as a stash for part of her tips. She folded the sheet tighter and put it with the notes Rocky had sometimes left on his previous visits.

The front door suddenly swung open, letting cold air into the room. Mau's heart leapt, and she hastily pushed the wooden flap against the gap, then hastily stood up from the floor and shook off her knees.

“What is it, my dear? Are the spoons running away from you again?” the old Missis Bruno creaked in Italian.

“A keen eye you have,” Mau answered her also in Italian and added: “The usual for you?”

The woman nodded and headed for the far table. As she looked at her, Mau noticed the bright green knitted scarf under her coat and walked to the kitchen to serve Missis Bruno her favorite cheese ravioli.

“You have such a lovely scarf,” she said as she passed by. “Where did you get it?”

“Knitted it myself,” the woman's eyes flashed with pride. “There's some wonderful yarn at Scaffidi's now.”

“You're such a talented needlewoman,” Mau said, putting the pot on the stove. “I can't knit at all.”

The eatery became awkwardly quiet for a moment. Maura's revelation made Missis Bruno squirm uncomfortably in her chair. The mere thought that a woman of Mau’s age could not knit not only disturbed her, but appalled her. From the kitchen, Mau couldn't hear the old woman muttering worryingly to herself:

“Poor girl, there was no one to teach her…”

But even that wasn't enough of an excuse for her. She had friends, neighbors, and yet Maura Venza, at the age of twenty-two, could not knit! It's not a long way to ruin one's fate, thought Missis Bruno, nervously rubbing her napkin in her fingers. No, she could not let it go! A little while later, she said loudly:

“This is just unacceptable. What's your father thinking about? Certainly not that his daughter is so mature and can't knit. That's embarrassing,” her tone changed from condemning to admonishing. “Tell you what, Mau, honey, I'll teach you how to knit. It's easy, you'll see. Mama left you needles and yarn, didn't she?”

“I don't think so. Even if she did, it remained in Kansas City,” Mau lied habitually, barely containing a grin. She was amused at Missis Bruno's attitude toward such things. No wonder, though; things had been different when she had been young. Mau couldn't prove to her that knitting wasn't a required skill now.

“Not good. Not good at all,” the old woman continued to wail. “Back in my days…”

Mau sincerely hoped Missis Bruno hadn't heard the low chuckle that escaped her lips. She pulled a small bag out of the freezer. Knitting. Well now! There was a book she couldn’t finish for more than a month, and today there were mountains of plates, cups, and baking pans to wash. What knitting to think of.

Listening to Missis Bruno half-heartedly, Mau soon put a steaming plate of cheese ravioli with pesto in front of the old lady and returned to the counter. With the toe of her shoe, she again tried to discreetly slide a piece of baseboard back into the gap.

“…and then on Christmas Day…” Missis Bruno persisted. The wooden part wasn't falling into place. Mau frowned and mentally cursed. Why had she even opened the stash in the middle of the day?

Oh, yes, Rocky. Rocky and his funny drawing.

…and his old worn-out scarf.

Mau looked outside the window, watching the snowflakes fall slowly. She rarely got a chance to go outside, but Rocky, given his very specific occupation, had to be out in the cold a lot. And sleeping in the car in this weather must have been uncomfortable, too… it wouldn't take long to get sick. The mere thought of that made Maura uneasy. She pictured him huddled under his coat and a thin, shabby blanket, huddled in the back seat of the car, and she clenched the side of the counter tighter. He had been taking time out of his day for so many months now to come to her and just cheer her up with something: a humorous story, a funny trinket, or a little candy. As if whenever by any means he could find a little bit of warmth somewhere, he had always rushed to share it with her. And now, more than ever, she felt the desire to return that warmth to him a hundredfold. Slipping the teaspoon to the floor, Mau ducked under the counter and pulled back the flap of the stash.

“You know, Missis Bruno… I think you're right. I really should learn to knit. Could I ask you to lend me needles until my father returns and show me how to do it?”

“Of course,” the woman said enthusiastically, obviously pleased that her story had piqued Maura's interest. “Maybe you want to make something specific?”

“A scarf,” Mau answered without hesitation.

“Oh, a scarf is quite simple,” the woman squinted her eyes, smiling broadly. “With my advices, you’ll do it in two evenings. It's the dresses that require all sorts of tricks, but this…”

After a moment, Mau sat down in the chair opposite Missis Bruno and handed her a few crumpled bills. All her tips from the last couple months.

“Good. Can you buy a couple skeins of good yarn for me, please?”

Two evenings was easy to say! A week had passed before Mau could manage to do anything right at all. And Christmas was the day after tomorrow! So little, so little time… Mau yawned. She could hardly keep her eyes open, and therefore even had stopped watching whether the rows of stitches were knitted straight or not. She finished her work only in the morning, and fell asleep, holding her knitting in hands, with the needles dangerously close to her eyes.

And overslept.

In the morning, after freshening herself up, she hastily stuffed the scarf into a bundle of paper and rushed to the eatery. She spent the whole day in anticipation, hoping Rocky would come, and every time the bell over the door jingled, her heart jumped in her chest. Until finally the young man appeared on the doorstep, shaking off the snow from himself.

“Today is on the house, in celebration of Christmas,” she told him, setting coffee and a plate of chocolate pancakes with raspberry jam, garnished with three raspberries and sprinkled with powdered sugar, in front of him. And while Rocky, as if being hypnotized, stared at this gorgeousness and tried to guess if the berries were purposefully arranged in a heart-shaped pattern or not, she shoved the bundle into the pocket of his coat, which hung on the clothes rack behind him.

When Rocky walked out of the Venza family's eatery that evening, he couldn't stop smiling dreamily. He passed by the lamppost, dancing around it, and laughed softly, putting hands into his pockets. To think that Mau had baked pancakes just for him, and damn, what pancakes they were! But… what in the world was that?

He stared in puzzlement at the slanted bundle, and immediately opened it.

Seeing… a scarf.

Or rather, it looked like a scarf, except… the blue stitches wiggled from side to side, the crookedly sewn buttons reminded two eyes, and what should have been white trim on both ends looked more like jagged teeth. If it was a scarf, it was the most ridiculous scarf he had ever seen.

“How did you knit to me, buddy?” Rocky murmured, twirling the knitted mess in his hands. But there was no clue neither on the scarf nor in the paper shreds of the wrapper. Frowning, Rocky looked over his shoulder at the eatery and bit his lip.

Could it be that it was made by Mau?

There was certainly a chance that someone had put the bundle in his coat by accident, but somehow Rocky felt like there was no mistake. It was definitely a present. A self-made Christmas present. From Mau. For him! Rocky straightened the scarf and lifted it as high above his head as his arms could reach, looking at it like at an absolute miracle. The scarf, swaying in the wind, stared up at him with its button eyes and its crooked, white-toothed grin. And Rocky, as he continued his way toward the Little Daisy, smiled broadly back at it.

“Zib, please have mercy,” he kept whimpering, clutching at the man's pant leg. Zib made another attempt to make a step, but after dragging Rocky across the stage floor a little more, he gave up again.

“Kid,” Zib sighed, “if you don't let me go, I'm just going to sit on you.”

“Oh, please! I'll even be your personal horse, taking you out to the audience every night, right under the spotlight…”

Zib gave him a confused look and snorted nervously.

“No, I think I'll pass, thank you.”

“It's a matter of life and death, Zib! What can I do to get you to say yes? I'd do anything. Give anything. Literally. Even my eye teeth.”

“Why on earth are you so damn eager?” The man flailed his arms up. Rocky pulled himself closer to Zibowski's legs, squeezing them like a vise.

“It's just Christmas. I can't resist the urge to do good deeds. What a stale dry man wouldn't be heartbroken at a picture like this? Just imagine: a poor, unfortunate soul burning with a passion for music, but locked in a prison of pots and pans… as the servants of Euterpe, it is our duty to rectify such injustices! Even if only once a year.”

Zib groaned doomedly. He looked down at Rocky tiredly, then up at the ceiling, then back at Rocky, whose blue eyes stared back at him, not even with a plead, but with an almost childlike hope.

“I'm going to regret this…” he muttered, sighing heavily.

The next bright, frosty morning, Mau went down to the eatery and began her routine. She wiped off the dust, pulled open the curtains, opened the window vent, turned on the stove and set a batch of muffins to bake, began to prepare the batter for tomorrow as usual, and then…

…heard the music.

From the street, very close by, came a jaunty jazz tune, accompanied by the singing of several male voices. Mystified, Mau rubbed her hand over the fogged glass of the window and looked outside… no, it couldn't be. She ran out onto the porch and, still not believing her eyes, stared at the whole orchestra on the sidewalk in front of the eatery. When Rocky noticed her, he stepped forward and twirled around himself, playing his violin with an unusually wide smile. Looking at him, Mau laughed warmly and outlined the musicians with her hands, as if silently asking: How? How is this possible? Rocky only fleetingly lowered his gaze, paying her attention to his new scarf, and then winked at her, continuing his improvised dance with the violin.

It was a real wonder.

Soon the music and singing subsided, and Maura, still grinning happily, loudly applauded.

“Bravi! Bravi! Oh, but please hurry inside, I don’t want you all to catch cold! Come on!”

Zib's band could barely fit into the cramped space of the eatery, but that only made the atmosphere more welcoming. When Rocky cheerfully introduced Mau to all the musicians, whose names immediately mixed in her head, she brought out cinnamon coffee for each of them and a vase of ginger cookies to bite until the cupcakes were ready.

“Mind if I smoke?” Zib asked, making himself comfortable in the old chair. Mau shook her head, locking the door. No, there will be no working until the last client today. Today will be only the celebration.

“How could I say no after such an amazing concert? How did you all even sign up for this?”

Zib chuckled, giving Rocky a sly look.

“Well, let's just say he's got a long way to work it off.”

“Oh, it was worth it,” the young man shrugged nonchalantly.

Following the cozy Christmas aromas, the tiny room was filled with stories from Zib's band's past, music and laughter. Mau couldn't remember when she had felt so alive, so it was like a dream. Such a sweet, sweet dream. In her mind, she went back to those distant noisy evenings in New York, when every holiday she and her father celebrated in the large company of the Riva family. When there was no fear or anxiety, when there was warmth and hope in everything. Mau's gaze lingered on Rocky. She didn't understand how he, with all his troubles and hardships, every time managed to do the impossible: even if only for a short period of time, but to bring her back that long-lost hope. But it was then, on that sunny Christmas Eve, when she finally heard in herself undeniably loudly: I love you.

After more than one hour and more than one cup of coffee, after a series of stories and a particularly noisy argument, Sy climbed up on the counter and began to dance and juggle apples to the lively rhythmic clapping…

When suddenly, dumbfounded, with a key in his hand, Augusto Venza appeared on the doorstep.

[viccharine]

is it still me that makes you sweat? (my fav outfits from the fever era)

(silly rambling + commentary + process under the cut! reblogs appreciated!!!)

happy 19th birthday, afycso!!!!!! can’t believe that it’s been 19 years since the best album of all time was released, time really does fly lmfaooo

as a bit of celebration, decided to draw some of my fav fits from the fever era!! from left to right is Katie Kay, Ryan Ross, and Roger Fojas!

here are the reference pics i used:

i had wanted to add in Dusty because her outfit is also AMAZING, but i did lose some motivation after sketching out the first three :( also, composition-wise, i probably would have had to readjust the sizing of everything if i added a fourth figure, so i decided to just leave it at three

Ryan Ross is a tad bit out of place since he’s part of the band and the other two are performers, but lowk? just wanted to try drawing the rose vest! I don’t think i quite did it justice, but it sure was fun!!! and that is all that matters tbh

about my process: I really love screen tones guys. like i REALLY love screen tones. this is just layers upon layers upon layers of screen tones, i truly think i am allergic to using anything other than screen tones

i can’t help it!!!! I LOATHE using color in my art actually and also im a sucker for texture!!!!! it was so fun messing around with textures and different screen tones, UGH!!!!! luv them fr <3

some extra process pics (sorry for shitty quality):

just some extra thoughts about the fever era: afycso is truly my favorite album in the world, HANDS DOWN. there really isn’t another album that I listen to completely on a regular basis (the only album that comes REMOTELY close is from under the cork tree)

to me the aesthetic of afycso is UNMATCHED, out of every band i’ve done fanart for I just keep constantly coming back to this album!!! it will never fail to inspire me genuinely, even 19 years later it still holds up remarkably well

(there is something to be said about the misogynistic undertones of a lot of early to late 2000s emo/pop-punk music which afycso was NOT exempt from, but I talk more about that in my commentary under the “dance dance” post I made about a year ago! to summarize, I cannot in good conscience make art about this album without acknowledging how it talks about women, ESPECIALLY as an afab person, but I also have to acknowledge that these songs played and continue to play a large role in my artistic journey. I am not saying that every band in the early to late 2000s was necessarily misogynistic just because of the lyrics, but rather that the standard, acceptable ways that we talk about and refer to women in media have changed in the last 20 years. we can enjoy the music, but we shouldn’t try to replicate it exactly. if you have any more thoughts about this subject, feel free to send me an ask! I love to chat!)

anyway that’s it, byeeeeeeeeee! <3

[hermitzine]

HERMITZINE FAQ

What is Hermitzine, anyway?

Hermitzine is a fanzine, a compilation of illustration, comics and writing based around the long running Minecraft SMP Hermitcraft, with works focusing on the creative projects, collaborations and interactions the creators on the server (aka Hermits) share with their audiences. For each edition, we (the Hermitzine mods) announce the theme we're running with this edition, open applications, and pick our roster of collaborators from the artists and writers who want to be involved. 

Once our line up of collaborators has been selected, we invite all the contributors for the zine to our discord server, and the process of making the zine pieces starts! Contributors brainstorm an idea for a piece they want to do, and run it past our mods for approval, then work on it over the course of about 2 months (to make sure people have time to put together something they're proud of without having to ignore things like sleep, school and work). Hermitzine #9 has a little bit more going on with collaboration and format, but we go through that in the application form.

What's the timeline of events for this edition?

The current schedule for Hermitzine #9 is as follows:

March 02 — Applications open at midnight GMT

March 16 — Applications close at midnight GMT

March 23 — Acceptance / Rejection emails go out

March 30 — Check in 1 (initial sketches / ideas)

April 13 — Check in 2

April 27 — Check in 3

May 11 — Check in 4

June 01 — Final pieces are due

Late June / early July — Zine is published

More questions and answers below the cut! (A lot more. Be glad we added the cut).

How do I apply?

Fill out the form (we'll be posting them very soon)! We have a writers application form and an artists application form, both will be open between the 2nd and the 16th of March.

In your application, you'll be answering a few questions and sharing 3-5 of your best pieces, to let us know what you're about as a writer and/or artist.

Then all you have to do is sit tight and wait for our email on March 23rd to find out if you're in!

Who can apply?

We have three requirements: 1) you’re 15 years or older, 2) you can speak enough English to communicate about deadlines and other important zine-related discussions, and 3) you have a Discord account, as that is how all communications with contributors will be made. A free account is fine — we don’t send files through Discord itself, so there’s no need to buy Nitro.

What do I need to do / have to apply?

For all of our applicants, we ask for a small portfolio of 3-5 pieces of your best finished work. We ask for a small portfolio to keep our views of your work focused on what you think is you at your best. These portfolio pieces don’t necessarily have to be Hermitcraft related, or even belong to a fandom. As long as it’s your personal work and you’re proud of it, we want to see it.

For writers: we ask that the 3-5 works you submit are around 3,000 words maximum, since that is the vague limit you will have to work within the zine. You can submit excerpts from longer works as long as you specify that somewhere within the application piece.

Do I need to be well-known or have a large social media following to be accepted?

Not at all. Social media following does not factor into whether or not you’re accepted. You could have one follower or one thousand — either way, we’re looking at your portfolio. You don’t even need any social media at all! We ask for social media handles in the application in case we want to check out more of your work beyond your portfolio.

What do you look for in the portfolio judging criteria?

We look for several things when judging portfolios. For artists, the list includes:

Your ability to finish zine-quality pieces (fully-rendered, backgrounds, not rushed-looking, etc)

Hard skills: composition, color theory, anatomy, perspective, shape language, etc

Comic paneling skills, if applicable

Solid illustration styles that interest us and we want to see more of

For writers, the list includes:

Your ability to finish zine-quality pieces (complete and concise work, with a full narrative if applicable)

Good grasp on writing basics (grammar, punctuation, spelling, sentence flow, etc)

Solid writing styles / voice / characterization

Ideas and we find intriguing, interesting, or otherwise would like to see written in full

If either of these lists are daunting to you, don’t worry! We are very interested in people who are eager to try new things and push themselves as artists and writers. We’ve accepted many people before based on their apparent eagerness to improve and collaborate with others.

We also like applicants with a unique or unusual approach to artmaking. Some examples include: traditional media, 3D modeling, photo manipulation, graphic design, typography, poetry, etc. While these skills are fun to include, don’t worry — not having them won’t detract from your chance of getting accepted.

Can I apply for both an artist and a writer position?

Yes you can, but if you’re accepted, we’ll choose you for only one of the two options. For example, if you apply to both and we accept you for writing, we expect you to create a written piece for the zine only, no illustration. This decision will be revealed to you in the acceptance email you get once the application period is over.

Can I participate if I’m a traditional artist?

Absolutely! All we require is that you have a scanner in order to submit high-quality images of your work. We work around the 300dpi range, and unfortunately photos taken with phones or webcams usually aren’t high-quality enough for us to include.

How many artists / writers do you accept?

The number of participants (artists and writers combined) we accept depends on several factors — the most important of which are how many mods we have working on the zine and how much we decide we can handle. Historically, our acceptance count ranges anywhere from 35 to 75 participants, with our most recent editions hitting numbers closer to the top of that range.

How do I know my application was submitted correctly? What happens if the link to my portfolio doesn’t work?

If you don’t receive any word from us from the time you submitted your application to when the acceptance and rejection emails go out, then congratulations, your application was submitted correctly! If something is wrong with your portfolio, like if one or more of your links don’t work, we typically request access — which will then appear as an email in the inbox of whatever email is linked to the drive you shared your portfolio from. If the issue persists, you might receive a private message requesting access from one of the mods on a social media handle you included in your application. If you don’t receive an email or message from us, then everything with your application works.

Do you guys send rejection emails?

We do. If you apply to Hermitzine, you’re going to receive an email from us regardless of whether you’re accepted or rejected. If you’re rejected, we give you the opportunity to ask for feedback with your portfolio.

I applied but never got an email. What’s going on?

If you haven’t received an email even though we’ve announced they’ve been sent out on our social media accounts, please check your spam folder to see if it accidentally went there. This has happened a lot in the past!

If I’ve been rejected from an edition of Hermitzine, does that mean I can never apply again?

Absolutely not! You can apply to any edition of Hermitzine you’d like, from now until forever, regardless of the results of previous applications. We love seeing friendly names show up in applications!

Do people who have participated in prior editions of Hermitzine have a higher chance of getting accepted to the newest edition?

No. Applicants who’ve participated in previous editions have the exact same chances at getting into the newest edition than any other participant.

What content is allowed in Hermitzine?

Requirements for a piece are only to feature Hermitcraft and/or the Hermits primarily, follow the theme, be SFW and not have any shipping content. That means that crossover content (ex: the Empires crossover) and hermit-adjacent people can be included, and that pieces can be about content from any season of Hermitcraft.

[leavingautumn13]

a tutorial-adjacent thing about how i make comics

this is just a general guide on how i personally do things, and i'm gonna keep it pretty simple. let's get into it!

for this tutorial i'm gonna be drawing some trainers trying to find a particular pokémon.

i'm gonna jump ahead a little here and show my finished sketch for the full page, so we can see the end goal.

the best advice i have is to treat panels as part of the composition. make them work for you. reading a bunch of comics will help inspire you--there are so many creative things you can do with panels.

next, placing dialogue bubbles! these are a bit more complex than they seem at first glance.

once you've got all that sorted, you can move onto the fun stuff, like lining and coloring. keep in mind that you can partially cover dialogue bubbles, break panel lines, etc. do whatever gets your message across. like so:

you can also apply these guidelines to much simpler comics, too. really, flow is the most important thing, in my opinion. it's like a line of action when you're drawing poses. here's a comic i did that's basically just talking heads, but the bubbles and art still flow together to draw the reader's eye along a path. here's a jokey little scribble comic that does something similar. making a good comic is not about polish at all. it's more about readability, composition, and making your dialogue and art work together.

scott mccloud's book making comics has a lot more useful information than what i can fit on one post. it's been a hot minute since i read it (and by that i mean like. twelve years) but it's a solid resource. you can also just read comics or webcomics that you like and see how those illustrators do it. one of my personal favorites is cucumber quest. it starts off very simple, but by chapter 3 (especially near the end) the artwork, panel choices, effects, etc all work together to make every page a stunning work of art.

anyway, as always please feel free to reach out if there's any part of this that you'd like elaborated on, clarified, if you just have questions, etc. i'm not a teacher by any stretch of the imagination but i love helping people with this sort of thing, so please don't hesitate!

[this post is for @tanlotts <3]

[noahl-art]

Hi! ^^ For the art asks: 1,15,19 and 25

Hey Nasty! 😊

1- Do you prefer traditional drawing, or digital?: OOhh that's a hard one!! Most of my best sketches are traditional and I do prefer the feel of it... but digital is way less time consuming and technique heavy so I tend to go for that more! I feel that I get more expression and fluidity in traditional drawing than digital if it makes sense? Like those doodles are way more dynamic and full of life than a lot of my digital ones!

15- How long does an average piece take you to complete?: Right now I spend from 10 minutes to maximum 1 hour on a piece, because I just cannot free much more time for them 😭 But it truly depends!

19- What is the most difficult thing for you to draw?: Ugggh I would say very detailed scenes with backgrounds... I just physically can't concentrate enough and analyse shapes, what's to be drawn and what's to be just left out, and dynamic composition... really have to get back to more narrative illustration!

25- Do you like to draw in silence, or with music?: Absolutely blasting music all the time and singing, watching TV shows, listening to video essays... silence is quite rare except when I'm so hyperfocused that I can't even register that there is silence

[theotherluxray]

May I ask you how you plan out you panels and compositions for your amazing comic pages?

Haha thank you for the compliments!

I'm not the best at this, I'm rather messy, so take my advice with a grain of salt. You'd probably get some better advice from more professional comic artists. Nevertheless, here's what I can say!

1st) I often study and reference how my favorite manga and comics do it. How to block out a page, what amount of detail to include, what needs to be the center of focus, what corners need to be cut... This comic is my first time making a comic, so studying those that did it successfully has been hugely important. My role models for this have been Hiromu Arakawa (Fullmetal Alchemist), Kentaro Muira (Berserk), and recently @do9bessa (artist who makes PMD Rescue Rangers, and recently made a really good Avatar comic). Hiromu Arakawa and FMA in particular have been good teachers for how I should lay out and pace pages.

2) Planning the flow of the panels. Personally I think I still need to work on this, but the most important thing for any page and story is pacing, and making sure each panel of a comic guides smoothly to the next panel and thus keep the readers eyes following along. Kentaro Muira does this pretty well (as does Arakawa too), but I think the best artist who did this in a "simple yet impressive" way was Akira Toriyama (Dragon Ball).

3) Thumb-nailing and Scripting! I do scripting kind of ad-hoc, but I always do thumb-nailing... even if I kinda hate it. Thumb-nailing, for those who don't know, is basically a pre-sketch of the art you wanna make but in a really tiny canvas space, typically 1x1 inch or 2.5x2.5 cm (adjust as needed to properly scale to a full page of course). Doing it this way forces me to focus more on how the page will be laid out and flow than anything else, and gives me a blue print to improve from when i actually start sketching. it's hard to draw in tiny spaces, so I need to get the most important details put down for the thumbnails to even make sense (and thus, for my pages to make sense). Scripting helps make the thumb-nailing process easier, though sometimes I combine the steps and do them at the same time.

4) Practice and f*cking up. The big one, the one that haunts all artists. You just gotta do it. You just gotta put the time in and make bad art sometimes to "git gud". Half of the first chapter of my story is kind of painful to read because of poor art and messy page layouts (not to mention how long that first chapter got). At the end of the day, this is a fancomic; who cares if the art is bad or the pages aren't well laid out at first, or even every now and then? Or if you decide you can't keep up with it due to life issues or new passions? It's very low stakes, and though I take it seriously because I want the comic to be good, it's freeing to know "I can just take a break, half ass a page sometimes, or even quit if I don't like this" because this sort of thing happens all the time with fancomics. If I was making an entirely new comic for a new IP, the stakes would be higher, because I would need to bring in trust and fight for the merit of the IP, but not so with a fancomic. It's the perfect project to practice, put out bad art sometimes, and have fun without high stakes.

tl;dr: Look at your favorite manga and how they do it, practice and use thumb-nails to plan pages, and be comfortable with fucking up or half-assing sometimes.

[tothepointofinsanity]

I have a similar-ish art style to you in the sense that a lot of my art just by the way I stylize certain features makes my it look creepy. This is a huge problem for me because I do genuinely love drawing cute stuff but I can’t because of my art style. I don’t want to completely change my art style because one that would take forever but two drawing things that are scary and creepy help me cope with my agoraphobia and paranoia. I know this is more of a do you have advice than a proper question but what would you suggest I do?

(side note: I ADORE YOUR ART!!!! I especially love your Sayaka work as a massive pmmm fangirl)

Hello, firstly, thank you for taking your time out to write out a long ask. (/ _ ; ) <- Grateful. I’m not a reliable person to ask things about in terms of art given I’m not a professional or good at it, but as usual I will try my best to answer your question here.

I suppose there is a perspective that what constitutes as “cute” differs from everyone, and often I’ve noticed that things that are cute can also be creepy simultaneously depending on context, not just by changing styles alone. Kyubey is an example of this, if you must. It has all the markers of “cute animal design” - round eyes, large bushy tail, cat-like ears, and in the show it behaves like a cat hopping around and perched on the shoulders of the magical girls. Yet it’s not restricted to the interpretation that it’s just cute, since later on there are different things which make it creepy. The context of what the alien creature represents, for one, or the way shots of it are accompanied by a gloomy, industrial background which contrast its bright, supposedly cheerful colour scheme, or how there’s nothing humanly sentimental in it whenever it focuses on Kyubey’s eyes. These transitional details are what balances something that can be deemed both creepy and cute, although not everyone might share this perception.

You don’t have to change your art style, just the way you want to stylise cuteness in your own way. This could mean cutting down “realistic” details for the subject but still keeping the way the background is coloured or textured, for one. Cute things can be achieved also by being simplified. I think Kyubey would look terrifying and not cute at all had they went with a realistic cat design and not an “anime” styled one. One reference I often think about is the way Gekidan Inu Curry captures the dichotomy of Sayaka.

In this example, the highlight is the “size” or composition of the subject. Sayaka on the left is closer to the audience, so we can see her details clearly (how tall she is, how her eyes look, the shadows coloured over her heart). It makes her seem menacing because she’s so close and doing strange things. Yet it has a retain “moe” charm to it because the way it’s coloured and being sketched that it seems…cute. In its own way. Sayaka on the right is sitting further away and enjoying a drink atop a mountain of fluffy Anthony balls. It’s worth noting as well how her eyes in the second picture are more simplified, being drawn on as dots, but the style does not outright lose its creepiness [the weird, dated shading on the umbrella, her hair being textured darker, the background being a fuzzy red].

What you could do is try thinking about how something that is cute would look like in your style. If that makes sense. It is a sort of attitude that affects the approach of your art. Thus it’s strongly encouraged to experiment with what you can draw in your current art style instead of needing to change it. If a rabbit is cute, can you find a way to make it look cute in your style? What is the core appeal of the thing you like? What elements are making current results unsatisfactory by your standards? What do you have to adjust? — Those are questions you’ll venture the answer yourself, and the more you draw, the more your style changes on its own, organically, so don’t worry about it. You may not be able to draw cute things today or tomorrow, and you will likely struggle to get the process of it, but eventually you’ll certainly be able to draw the diverse things you really enjoy without having to sacrifice the personal components of your art’s identity and what it ultimately means to you. With all that said, I’m not sure how realistically useful my suggestion or advice will be, but I will nevertheless be supportive of your endeavours. Good luck!

And thank you! I love drawing Sayaka, so I’m happy people like seeing her just as much. ٩(๑❛ᴗ❛๑)۶!

[cqtlatte]

could you post about your thought process for your art? i always love the colors you choose!! and the themes n composition always are AMAZING AAAA

a lot of the time it's p much head empty swirly painting HAHA but I'll ramble below!

Honestly sometimes I have an immediate idea/theme in mind and I just play around a lot when I'm sketching, and other times it kind of just evolves while painting. I remember with the Yoimiya Pyro flamenco piece came around when I asked my Twitter followers which Genshin girl they wanted to see next, and I got a LOT of Yoimiya requests. And literally it went like this LOL

I have a couple of other sketches I could pull out but I'd have to find them...

It actually wasn't supposed to be a flamenco dress in the beginning, more like a mermaid tail style dress?? But while I was sketching I thought to myself,, yo... this would actually make a sick flamenco dress! So I started to look up tons of flamenco photos for reference to make it look accurate. :)

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As for my coloring thought process, analogous colors are my best friend! (colors that sit side by side on the color wheel) I like to choose one color that all the other colors will revolve around. Kind of like how for my previous commission, the client asked for a cherry blossom theme. As you can see in the sketches I offered, almost all of the pieces have the same cherry blossom color, but different colors revolving around them.

If you take an eyedropper and drag it across, you'll see the colors change along the color wheel. That's what analogous colors are! They're pretty great for tricking the eye too ;) The grass from the sketch may look like a blue-ish teal with all the colors surrounding it, but it actually does fall under blue! (I made a little video to show this but it won't upload for some reason, so I put it on Drive!

https://drive.google.com/file/d/1zYFu2MTvwOY8KsLzWsa7oyCLz03x4H7d/view?usp=sharing )

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I guess if I were to describe my thought process from a technical standpoint, I like to capture moments (as if the piece were photography or a page in a picture book) and movement (the swirls and other patterned lines blending into the composition. )??

obligatory link to an earlier ask for a deeper look into the work process itself (although it may not be relevant)

Hopefully this is helpful anon!!