#used india inks for this one

[inkz123]

Painting with sum digital edits. OC's name is Altair, owned by @fraternityofart!💕💕💕

[theokusgallery]

I'll scan this better tomorrow if I remember to do so, but it looks good, so you get that version now

[naranj1ta]

The ink and colored pencil version of the Raturine panel of my comic is complete and I'm SO HYPED TO CLEAN IT UP AND MAKE IT LOOK PRETTY ON PROCREATE

Belatedly realized I don't want to stream tomorrow bc I want to watch the VAs pull for Aventurine lol so I'm actually gonna stream the actual comic process TODAY (April 16th) at 4PM CT as a pre-aventurine release good luck ritual at https://www.twitch.tv/naranjita_sumo

[i-really-like-phrogs]

I’ve been getting super into ink-drawing, and I’ve found that I utterly love it! The texture and the opaqueness of it, the ability to write and paint with one material, the excellent way it photographs… And the strength of this stuff is unbelievable! Every value you see on this page (Minus straight black) was made using only a little drop on the palette that I mixed with water. I utterly love it!

[jules-of-the-sea]

hiya everypony! i drew zagreus a few days ago and thought it was pretty good! have a nice day!

[in---earnest]

What For?

I study. I study for my future. I study for my parents. For myself.

I study. And I study decently well. I work hard. And I bear the fruits of it.

I study. And I read. And I sketch and write and work and apply and am rejected and apply again. And what is it for?

It’s not for my parents. It’s sort of for me. But it’s mostly for my future.

I have a fantasy. It is not realistic, as most fantasies are. But oh, I have a fantasy, and it is one that I will be punished for voicing.

I fantasise that one day I will meet a girl. A girl with honest eyes, a girl with a genuine smile. Whose hair I could run my hands through. Whose waist I could put my arm around. Whose weight I could sink into. Whose words I could wrap around me, a comforting weight.

My fantasy is simple. To be somewhere, somewhere, somewhere I can say I love a girl and know I can have a future with her. Somewhere, somehow, sometime, I can spend my life with her. Or a few months. Or a few years. The luxury of loving who I want to love. Is that such a terrible amount to ask?

Why do you demonise me? Why do you tell me I should be grateful? Should I be fucking grateful that I have told all of five people and only two have kept my dignity? Should I be fucking grateful that I’m not a criminal as of five years ago? Should I fall to my knees and pathetically plead for you to give me rights, give me respect, give me a promise?

Give me a promise; one that you won’t break, won’t go back on, won’t consider unreasonable?

I must fight to exist! I am told that my living body is enough of a blessing, when I can never breathe a word of my desires. I am told my alternatives are some sort of concession on your part.

What harm am I doing to your precious democracy, your caricature of diversity, your farce of a progressive agenda? What harm does it do to you, every minute I die inside because I know I may likely marry someone I will never want to touch.

What is it? Tell me.

What does it feel like?

Is it a knife in your back, poison in your veins, a slit through your throat? Because you know as well as I do, your sadism knows no bounds. My people. Your people. The people who have turned and will turn on you. They met their ends the very same way, correct? You let them meet their ends in the very same way.

You acknowledge our existence only to call us a problem. A box of knickknacks in your attic. They’ll look nice on display, don’t you think? Oh dear, they’re so dirty with dust, coated with cobwebs, disgusting, disgusting, disgusting. A problem for another day, don’t you think? A problem for another lifetime.

Oh yes, you think i’m a problem. Of course, you think i’m a problem.

[sofarsogoodsowhat]

sorry if i'm wrong but i've heard india ink isn't safe to use?

no you’re probably right it’s way safer to like be normal about it and either use actual tattoo ink or get shit done by someone that knows what they’re doing but i mean i haven’t had any issues with it

[thatnoulguyorsomething]

Hi! Lived in multiple european countries, most places that server soy sauce (especially fast-food ones) have those same ones.

So apparently the Americans are unaware that in Australia, all soy sauce is distributed via tiny 1-inch fish bottles

Imagine a whole country never having tasted the nectar of the microplastic marlon, no wonder America is like that

[eloquence682]

There’s something cosmically beautiful about bookbinding fanfiction. Not the bookbinding of fanfiction for monetary gain (which is undoubtedly morally wrong) but rather bookbinding as a gift for someone you love. Or simply bookbinding for the sake of having the story in a tangible form. After all, doesn’t it deserve a place on your bookshelf, too?

But that isn’t the beautiful part. It is this: the melding of something new with something as old as language itself. Fanfiction (at least compared with bookbinding) is a strikingly new phenomenon. Modern fanfiction has only been around for a few generations. Bookbinding, on the other hand? It can be traced back to 2nd century India. It’s a dying art — one that’s been reborn in order to immortalize freely written words.

Even better: the scribes in India who first invented the process of bookbinding used it to create religious texts. In a way, aren’t we doing the same? Fanfiction isn’t a religion, of course, but if you love a story enough to bind it, isn’t that a form of reverence in itself? Isn’t it holy?

Yes. You make it so. The needle and the thread, the newly creased paper, the hardly dried ink … your fingers consecrate it. And as you slip the book onto the shelf, you make it a temple.

And isn’t that just lovely?

[notwhelmedyet]

A Fire Shall Be Woken, by Ealcynn. A pair of bindings using the K118 structure, one as a gift for the author and one to keep.

Chapter page illustrations are by Alphonse Mucha, all other illustrations are hand-drawn.

I hope to make a long post later explaining the process in more depth & another to document all my mistakes, but here's the basics.

New techniques learned: Paper marbling, edge marbling, uncial calligraphy, making paste papers, drawing on bookcloth, making paste-filled cloth, fold-out maps

I began work on this project in early September and am completing the finishing touches this week.

Structures:

Binding: K118 tightback

Endpapers: Simple cloth-joined endpapers

Map fold: Turkish map fold

Materials:

Sewing supports: linen tapes

Thread: 30/3 linen thread

Spine lining: Medium weight kozo tissue bonded to linen fabric

Interior paper: Hammermill Ivory, 11x17, hand-cut to 8.5x11

Endpapers: Blick sulphite paper hand-marbled, with masked stenciled silhouettes created with freezer paper

Adhesives: Jade PVA, wheat starch paste, wheat flour paste

Covers: Davey board, laminated full thickness to half thickness

Cover fabric: Studio E shot cottons in Jungle and Emerald; filled with wheat starch paste

Cover decorations: Speedball india ink and Dr. Ph. Martin's calligraphy ink in Copperplate Gold

Inks for maps and illustrations: Speedball black india ink and a selection of watercolors thickened with gum arabic

Dip pens used for calligraphy: Combination of Brause calligraphy nibs and Leonardt tape nibs

Dip pens used for illustration: Nikko G pointed pen nib

Typesetting:

Typesetting program: Scribus 1.5.5

Body font: Coelacanth in 10 pt caption weight

Headings, titles, chapter titles, drop caps: Hand lettered uncial calligraphy, scanned

Illustrations and References:

Frames on colophon, copyright, author's notes and title page: Hand drawn, with inspiration taken from the vellucent bindings of Cedric Chivers

Frames that illustrate each chapter start: Alphonse Mucha from Cloches de Noël et de Pâques

Cover illustrations: Referenced from a photograph of an European beech tree found on iNaturalist.org

Maps of Imladris: Hand drafted with inspiration from the maps of Barbara Strachey, and Daniel Reeve

Map of Eriador: Traced from a map by Karen Wynn Fonstad, with edits made to coordinate with the geography of the fic

Frames on maps: Referenced from a drawing by Alphonse Mucha that @zhalfirin found for me

Special Thank Yous:

To the tightback council of problem-solvers in the Renegade server: Zhalfirin, Eka, @spockandawe who helped figure out many issues with the structure and technique

To the marbling experts in the Renegade server: Marissa, Aether, AGlance, Jenny, Catz, Badgertide, Rhi, and everyone else who helped me figure out beginnner marbling

To Spock for finding the K118 structure and introducing it to the server!

And to Bruce Levy, who discovered the method and shared his discoveries freely with the bookbinding and conservation world.

[blackboard-monitor]

how i've finished inktober every year for eight years and counting

Every time I mention around other artists that I finish inktober every year (meaning I draw and ink 31 drawings, one every day in October), I get questions like "how???", so I figured I'd make a post about it on the off chance it's helpful to someone. Please note that all my advice is based on my personal experience and you're a different person so what works for me may not work for you, and you can do whatever you want forever.

What it boils down to for me is two basic rules: 1) keep it simple and 2) manage your expectations.

Tools

Paper/sketchbook

I started my first inktober in my journal at the time, and because I'm neurotic like that, I've had to do every subsequent inktober in whatever journal I was using at that point.

The benefit of this is that each journal has had a page size of A5 or smaller, which can be tricky when trying to get in a lot of detail, but on the other hand forces you to limit the size of your drawings to a pretty managable size.

Paper type can also be important! Last year in 2023, my journal was a Moleskine sketchbook (image 1), which was actually designed to handle some degree of wet media, which was a game-changer for me as an ink wash enjoyer. Don't get me wrong, I've been using ink washes in most of my previous journals as well, but inking is a lot nicer when your paper isn't constantly buckling (image 2) or pilling and the ink isn't bleeding all over the place, inclunding through the page (image 3). Pages that stay flat instead of buckling are also a lot easier to scan or photograph, if like me you want to post your art online.

In short, my inktober paper recommendation is to use a sketchbook no larger than A5, and go for one with nice, thick paper if you intend to use wet media.

Sketching

I sketch everything with a single 6H pencil that I got from my brother in 2019. Because the lead is so hard, it allows me to scribble to my heart's content without the sketch getting too dark or hard to erase. Sometimes I'll refine the sketch with a HB mechanical pencil, which shows up really nicely on top of the 6H lines, but I may skip that step if I'm feeling lazy or the first sketch is clean enough.

Inking

I've used a variety of art supplies in my inktober drawings. For the most part I've always stuck to greyscale, with the exception of a couple of red or gold accents some years.

My main inktober tools are a set of Micron fineliners in various sizes, and liquid India ink, which I use with a dip pen and with brushes. I usually mix up a mid-tone ink wash in a small bottle, and use that throughout the month.

Fineliners pros: portable, require minimal setup, can use on the sofa or in bed or wherever Fineliners cons: creating texture and filling large areas is a lot more time-consuming. In 2021 I did inktober exclusively in fineliner because I was tired and couldn't be bothered to deal with liquid ink, but I ended up spending more time than maybe ever on the drawings because it took so long to add texture with pens.

Ink pros: you can achieve small details with a dip pen as well as quick texture and fill in large areas with a brush and ink washes Ink cons: can be messy (protip from 2022 Liekki, don't spill ink water all over your laptop), usually you have to sit at a table of some kind, you need to wash your brushes and dip pens, if your paper isn't designed for wet media, it'll buckle or bleed

Pick your inking tools and techniques based on how much time you have!

Prompts/ideas/subject matter

I've always stuck to the "official" prompt list, because it brings me joy to scroll through the tag of the day on instagram and see how others interpreted the same prompt. Or, rather, it used to bring me joy to do this, until instagram's enshittification stole our ability to look at tags. Maybe I'll have some luck with that on Cara going forward; here's hoping.

As for ideas, sometimes they come easy, sometimes it's like pulling teeth and I have to enlist all my friends to brainstorm with me (sorry, y'all). When in doubt, draw the first thing that comes to mind when you read the prompt; don't overthink it (like I often do). I like to try to come up with a less obvious interpretation of a prompt, but this is also where I often get stuck and have to harass my loved ones for ideas. Sometimes it helps to relate the prompt to a tv show/book/etc. you're into; I've done quite a bit of inktober fanart, as well as art of various DnD cahracters from games I've played/DM'd. If all else fails, just look at what everyone else is drawing that day.

Time management

Be realistic about how much time you have in a day to work on inktober, and then set your expectations accordingly. If you only have an hour, stick to a size and level of detail that you can realistically finish in an hour. I've done some very quick scribbles in my years of inktober when I've been busy that day.

My personal philosophy is that I try not to plan too much ahead; I don't do any sketching until day of, and ideally I don't try to come up with ideas for a prompt or at least decide on an idea until the day before at the earliest. Containing each drawing in one day helps me have realistic expectations of what's doable. This does mean drawing late into the night sometimes after procrastinating or struggling to find an idea all day, but it's what works for me.

If your goal is to complete inktober, it's better to do a small shitty drawing in ten minutes than to fall behing by starting something way too ambitious that you'll never be able to finish in a day.

Secret third rule!

Accept the fact that you aren't going to be happy with every drawing.

Inktober was created as an exercise to practice inking. Think of your drawings as sketches, not finished masterpieces. Some of them will be bad, at least in your own eyes. Sometimes you'll put a lot of effort into something that just doesn't work out. For example:

To quote Joe Hills, doing the same thing over and over again and expecting different results is the definition of practice. So you fucked up today's drawing. Tomorrow is a new day – that's the beauty of inktober. "Ever tried, ever failed. No matter. Try again. Fail again. Fail better." (Samuel Beckett) Progress isn't linear, either; some years are consistently mediocre, other years it's all over the place with a couple bangers and a couple really shitty ones.

Every inktober I've made drawings I love,

drawings I'm indifferent to,

and drawings that straight up suck.

And I'm at peace with that.

Thanks for reading what turned into a pretty long post, and I hope some of it was helpful. Happy inktobering!

[valkyyriia]

A Study in Green

Words: 2915

CW: Fingering, Artistic Liberties with History | NSFW

Pairing: Arthur Conan Doyle / Female-Bodied Reader

Prompt: Abandoned Mansion (caution!)

Notes: This is I think the third time I've ever written smut, so please bear with me. I also thought the title was rather cliche, but I liked it, so... I also think I got a little carried away. Whoops. And Mo, if you read this - I remembered that comment I left you on your fic about the Paris Green and MC freaking out and it immediately came to mind when I rolled this prompt with my dice.

Crossposted on Ao3 here.

Banners/dividers by @natimiles.

For @xxsycamore's event, Sexy Ikemen Summer!

“Are you sure this is a good idea?” You asked, eyeing the abandoned building with suspicion. It appeared to have been an older, late-eighteenth century mansion. Ivy crept up the crumbling mortar like grasping tendrils, giving it a foreboding look. 

“It’ll be fine, luv,” Arthur said, a cheeky grin on his face. “A little urban exploration never hurt anyone.” 

“I would like to see the evidence to back up that stateme-” You were cut off by Arthur tugging you close and kissing you sweetly.

“Come now. I swore to protect you, didn’t I?” He tapped your nose with a gloved finger. “That includes the dangers of uninhabited, derelict places and all the things that go bump in the dark. You have absolutely nothing to fear as long as I am here with you, okay?” 

You exhaled shakily and offered a weak smile. “Okay.” 

“Besides,” Arthur added. “You do make a rather adorable damsel in distress.” 

You stuck your tongue out at him, and he laughed, taking your hand and leading you inside. 

One thing you had never quite gotten used to in this era was the sticky heat and lack of air conditioning. Even though the climate wasn’t too different from what you were used to, the fashion of the day was much more stifling. The summer sun was currently high in the air, beating oppressive rays down on the building. Fortunately, the mansion was still in reasonably good repair; the roof was intact everywhere except the far left wing, where the walls had collapsed in on themselves. It offered some protection from the heat, paltry though it was.

Arthur had, true to his word, faithfully stuck by your side. The vampire hardly even let go of your hand, giving you something to anchor yourself to. You were grateful for his considerate nature. 

The sunlight shining through the cracked stained glass windows cast glittering constellations on the dusty wood of the parlor floor. Furniture draped in age-stained cream cloth was positioned in key places around the room. If it weren’t for the thick layer of dust and the obvious smell of decaying wood, you would almost think the owners were just out on vacation. 

Arthur had done some amount of research on the building before bringing you here, aided by le Comte and his connections. As it turns out, the owners of this mansion had fled to America twenty or so odd years ago due to some sort of legal trouble. The Crown had seized the mansion to repay the family’s debts and it had remained uninhabited since. According to Comte, the left wing collapse happened a few months after the Crown took over the property, and they hadn’t tried to renovate or rebuild the structure. Ultimately, other than the left side, the mansion should have been perfectly safe - within reason for an abandoned building - for a first-time urban explorer. 

He grinned. “Look at this,” Arthur said, using your joined hands to point at the desk in the corner of the room. It was neatly organized, a couple of books stacked on the side. A half-written letter lay on the workspace. A quill pen sat in a long-since-dried inkwell, the bottom of it stained black with India ink. “They really were in a hurry,” Arthur commented, pulling his tortoiseshell glasses from his pocket and setting them on his nose. “Let’s see…”

He blew gently on the surface, scattering the dust. Your eyes watered and you cough into your elbow. “Sorry,” Arthur murmured, rubbing your back lightly as he looked at the letter. 

“To my love,

“I hope the day comes when I can see you again. Father says we must leave in order to stay out of prison, and I dread leaving you behind. I had desperately dreamed of the day I would make you my wife, but I fear we must place those plans on hold for now. Wait for me, my love. I will return for you.

“Forever yours,”

And then nothing. There was no signature. You frowned. “The poor dears.. I hope he was able to stay in contact. Or at least let her know what happened.” 

Arthur studied the paper intensely for a moment, before looking at the books next to it. “I can’t imagine she wouldn’t know what happened. These kinds of things are rather big gossip in the upper echelons of society.” The hand on your back moved to your waist and pulled you closer to him. “Her family likely refused any further contact with him or his family after they left. Even if he continued to write to her, she probably never saw any of those letters.” 

“That’s so sad,” you said, leaning into him. “It sounds like he really loved her.” 

“If he loved her half as much as I love you, he must have loved her a lot,” Arthur replied, pressing a kiss to your forehead. “If you would like, luv, we can maybe try to deliver this letter to its intended recipient. There’s probably some other correspondence between the two stashed somewhere here, if we look for it.”

You looked up at him in surprise. He had a kind smile on his lips, but his eyes were serious. If it were something you wished to do, he would make it happen somehow. “I would, but,” you started to say. “What if it opens up old wounds? What if she’s moved on and this just brings it back up?” You sighed and laid your head against Arthur’s shoulder once more. He ran his thumb up and down your waist in soothing motions. “I don’t want to make things worse.” 

“Even if she has moved on, it could give her closure,” Arthur pointed out. “But you are right; it could cause more trouble for them. Maybe we should leave it here?”

You mulled it over for a moment. “If I were in her shoes.. And you had moved away for some reason against your will, I don’t think I could really move on. Even if I was forced to marry someone else. I love you too much to ever forget you.” 

Arthur was silent for a moment. “Then we should do everything we can to make sure it’s delivered. Even if it is twenty-something years late,” he said, voice quiet and somewhat choked. You went to move away and look up at him, but Arthur’s hand kept your head against his neck. His free arm wrapped around you and he held you firmly to his body. You gave up fighting him, and just locked your arms around his neck. “Thank you,” he whispered, pressing a kiss to the top of your head.

Arthur finally let go and stepped away from you, looking around the room once more. “Let’s see if we can find out who the lucky lady is, yeah? The game, my dear, is on!” 

The two of you went looking around the parlor for any other correspondence between the pair. Coming up empty handed there, you moved to other rooms. Normally Arthur would have been able to make an educated deduction on which room likely belonged to the author, but with the state of disrepair the house was in it was much more difficult. Or at least, that’s what Arthur said - but you suspected he just wanted an excuse to lead you around the house by the hand for a little longer. Not that you’d complain about that.

The two of you looked inside a bedroom suite on the second floor. The door creaked open, revealing a lavish room, covered in linens matching those in the parlor. A thick layer of dust coated the room as it did everywhere else in the house. You carefully stepped over to another desk, this one facing the window that overlooked the long-overgrown lawn. Spread across it were several letters in varying states of completion. Some were well-worn, clearly having been read over multiple times. Those ones appeared to have a different author than the one found downstairs. 

“Alyssa Bloodwell,” Arthur murmured. “That name doesn’t ring any bells for me, but Daddy Dearest knows just about everyone worth knowing among Europe’s elite. We can ask him when we get back. For now, though…” Arthur turned to you, a devilish smile on his lips.

“Arthur,” you warned him to no avail. He quickly stepped forward and grabbed you by the hips. Your arms snaked around his neck automatically. 

He grinned. “What is it, oh darling love of mine?” He gave you an innocent peck on the lips. 

“Oh, don’t even start, Arthur,” you protested, but made no motion to step out of his embrace. His lips moved to the side of your face and you reflexively tilted your head to give him access. “We can’t - not here.” 

“Says who?” Arthur murmured seductively, nibbling at the shell of your ear. “It’s not like there’s anyone here to stop us.” He walked you backwards to a sturdy chest of draws against the far wall, and easily lifted you up onto it. “You’ve been looking positively delectable all day. I can’t help myself from wanting a taste.” He leaned in and kissed you more insistently, his fingers dancing around the ribbon at the collar of your blouse. 

“You are incorrigible,” You responded weakly, already returning his kiss. 

“But you like it, don’t you?” Arthur replied, grazing your earlobe with his fangs. “You dirty little thing.” He ghosted his lips down the side of your neck, pressing a kiss right over your pulse point, before mouthing the spot and sucking hard. You cried out at the sharp pain of it. 

Arthur ran his thumb over the red blooming there. “Beautiful,” he said. “I would bite you, but then I’d have to carry you back to grab a carriage.” He ran his tongue down the column of your throat, his fingers gently setting the ribbon to the side and dragging the top of your blouse down. His other hand slid up your skirt, the thumb running back and forth over the flesh of your inner thigh. “And I really don’t want to have to explain that one to the constable,” Arthur whispered, his breath coming out in puffs against your collarbone.

The drag of his sharp fangs against the skin of your chest combined with Arthur’s fingers moving higher underneath your skirt caused your breath to hitch. His gloved hand pressed gently against your clothed sex, applying a small bit of pressure through your underwear. You let out a soft whine at the contact. He rubbed his fingers back and forth between your thighs while leaving love bites all over your exposed chest. 

His lips kissed back up your throat, and he pulled away to look at you. Smirking, he pulled his hand from between your thighs and took the glove in between his teeth. Arthur slowly, teasingly, pulled it off of his hand, the now bare appendage returning to its former place between your legs.

“Arthur,” you whimpered as he slid the material of your panties aside. He dragged his fingers back and forth through the wetness gathering there, circling the sensitive nub at the apex of your thighs. 

You threw your head back, a low keening sound escaping your lips as he continued to swirl his fingers between your legs. Arthur shot out his other hand to catch the back of your head.

“Look at me,” he murmured. You bit your lip but did as he asked, and he smiled. “Good girl.” 

Arthur’s thumb brushed against your lips and then he leaned in for a deep kiss. “You’re so cute when you come undone under my fingers like this,” he purred. “You’re normally so put together.” You probably were a sight to behold right now - skirt hiked up to your hips, blouse untied and loosely draped under your cleavage, chest heaving  - you were the very image of debauchery. 

Arthur leaned back in for another kiss, his tongue moving against yours in time with his fingers as they pushed inside of you. 

Your gaze drifted up, suddenly settling on the walls of the room. Your eyes widened and you broke the kiss. “Arthur,” you breathed, voice scratchy. “Is it just me or is that wallpaper green?” 

Arthur groaned and he pulled away with a discontent sigh, his lips forming a frown. “It is, and quite a lovely shade of it. But I don’t see how the color of the wallpaper is more important than my hand.” His fingers deftly continued their work, and you bit back a groan. “Unless you are unsatisfied, and want something more?”

“Because,” you breathed, trying to ignore Arthur’s actions and failing miserably. “Green pigments from around this time period are made of arsenic. It’s poison.” Your thighs trembled as he pleasured you. You were so close-

-and then Arthur suddenly stopped and looked at you, bewildered. You whined at the loss of stimulation. “Really?” He looked away from you, his gaze flitting all around the room that was blanketed in peeling green wallpaper. Arthur’s cobalt gaze met yours again, a light panic to his eyes. “And they didn’t know this?” 

“No! The paint was invented sometime in the early nineteenth century and fell out of use during the mid nineteenth century because people were getting sick,” you sighed, the ache in your belly slowly subsiding, leaving you feeling uncomfortable and wanting for more. “It was later used as a pesticide, until they realized that was dangerous, too.” You were somewhat regretting your choice to stop Arthur at this moment. Curse your brain for being safety-conscious even with an incredibly attractive man between your legs, who wanted nothing more than to bring you pleasure.

Arthur sighed, pressing a kiss to your lips. “We should probably continue this elsewhere, then,” he conceded, removing his hands from your thighs. You shuddered at the loss of contact and watched as he lifted his slick-covered hand to his mouth, sucking on the fingers. The lewd sight sent another flare of smoldering heat right to your belly. “When we get back home, you’re going to have to make up for leaving me hanging like this. I hope you’re ready for the consequences of your actions.”

Bonus:

After speaking with Comte about what you discovered while exploring (trespassing), you and Arthur found yourselves standing outside of a beautiful, well-kept mansion in the Parisian countryside. As you approached the gate, a butler, who was trimming roses nearby, placed his garden shears down and stepped over.

“Bonjour, Mademoiselle, Monsieur,” he greeted. “How can I help you?” 

“Is there an Alyssa Bloodwell at this residence?” You asked.

The butler frowned. “Madame Bloodwell does live here, yes, but we were not advised of any visitors today. Was she expecting you?”

“Not exactly,” you replied. Arthur then pulled a time-worn letter out of his pocket and showed it to the butler, explaining, “I shan’t go into the specifics on how, but we came across this letter and believe its intended recipient is your mistress. We simply wish it to go where it belongs.” 

The butler looked at the letter for a moment before nodding. “If you will, follow me,” he said and led you both into the mansion’s entryway, and from there to the parlor. “Please wait here, mademoiselle, monsieur. I will inform Madame Bloodwell of your visit and we shall proceed from there.” 

After a few minutes of waiting, you looked up to see a woman in her late thirties descending the stairwell. “I am Madame Alyssa Bloodwell. I was informed you had correspondence intended for me?” she asked. 

You curtsied and Arthur handed over the letter. She took it, eyeing it, and her hand dropped to her chest. “Where did you get this?” she said, breathless. 

“We recently came into possession of it,” Arthur said, smoothly avoiding giving the details. “We did some detective work, and determined you were the recipient.” 

Lady Bloodwell walked over to an armchair on uncertain legs and sunk down into it. “Louis,” she murmured. “I haven’t heard from him in twenty four years.” Her fingers caressed the fraying edges of the paper. “His family had been found to be embezzling money from one of the royal artisans and was disgraced. They fled Paris in the middle of the night and caught a ship to America. My parents forbade mention of him and the betrothal was called off. I ended up marrying a local lord, but.. I never did stop wondering what happened to him.” 

You smiled sadly at her. “I’m sorry that we didn’t come bearing current news, but I’m glad we could at least bring you the letter. It’s obvious how much he loved you.” 

“Thank you, cherie,” she said. “Please, is there anything I can do to repay you for doing me this kindness?” 

You began to decline, but Arthur cut in. “If you don’t mind, could you answer a question for us as payment?“

She inclined her head. 

“Did you ever move on?” Arthur asked, a serious look on his face. 

Madame Bloodwell shook her head. “I love my husband,” she began. “But no. Louis was - is - special to me. I never stopped loving him, and I doubt I will stop until the last breath leaves my lungs.” She looked between you and Arthur, a content smile on her face. “I see such a resemblance between you two and myself and Louis. Monsieur, whatever you do, don’t ever lose her.”

Arthur looked straight at you and squeezed your hand. “I won’t.” 

Taglist: @natimiles

[helenmask]

I had someone ask on Bluesky how I work, so I thought I’d share this here too. I sketching (and shade) in graphite, ink with microns, (for large areas of black I use India ink) all of this is done on smooth Bristol (because I am rough with paper) then I scan everything and color digitally. Coloring digitally allows me to do different color versions. I sometimes make the entire image on one piece of paper but if I plan to mirror, or adjust anything (or animate) I work in sections.

[focsle]

have you written anything about tattoos? is that relevant? don't know how your niche lines up with generic "sailor" tradition, but wikipedia simply says on knuckle tats that deckhands may get "HOLD / FAST" as a charm to support their grip on rigging, and i thought that was kind of cute.

I haven't written anything myself, mostly cos if you throw a stick out in the internet you'll find any number of articles about the symbolism of sailor tattoos, like hold fast and pigs and roosters and swallows and all that!

In my narrow window (the middle decades of the 19th century), I don't see tattoos mentioned all too often, compared to late 19th and throughout the 20th century where they became more common. For instance, this register of seaman's protection certificates (which are admittedly limited in the scope of things, since they're only from a few specific ports) from 1796-1871 rarely list tattoos as distinguishing marks, beyond the odd mention of being marked with an inked anchor, eagle, or letters here or there. Here's a neat jstor article (if you have any more of your 100 free monthly articles to read with a google account) that goes into late 18th-early 19th c tattoos that has some tables and visuals. The research was also done using seaman's protection certificates, with the following stat:

"The SPC-A records start in 1796 and include tattooed men born as early as 1746. There were 979 tattooed men out of a total of 9,772 men whose records survive from 1796 through 1818.26 These men were marked with a total of about 2,354 separate designs."

So, not a large number, but also 10% isn't insignificant. The protection certificates while a reliable source, also only describe the man in one specific moment. I'm sure a few of those men who just have their moles and scars and crooked fingers listed eventually picked up a tattoo or two in their time. Most journal keepers perhaps didn't think it important to mention who had tattoos or what of, though the typical motifs of anchors, nautical stars, girls, religious & patriotic imagery, etc. were certainly a part of the visual language at this point. Whaler William Abbe who sailed in the 1850s, devoted considerable attention to describing the physical appearance of some of his shipmates. In one instance, he wrote about the tattoos of one 'Johnny Come Lately' or 'Jack Marlinspike' (Real name, John Hewes of Buffalo NY)

'from beneath this cap his face looms out - while beneath supporting his comical head is a bare neck and breast — hairy + brown —the upper timbers to a stout hull of a boat that boast a pair of arms all covered with India ink tattooings — the figure of American Liberty — Christ on the cross — an American Tar holding a star spangled banner in one hand + a coil of rope in the other — a fancy girl — + anchors, rings, crosses, knots, stars all over his wrists + hands — the memorials of different ports he has visited — for Jack has been in all kinds of vessels from a man of war to a blubber hunter — + has consequently been to many ports.'

From the logbook of another whaler who sailed in the early 1840s, James Moore Ritchie, he had a page of his drawings with prices included. This potentially may have been a tattoo flash sheet for his shipmates:

American whalers also noted the tattoos of indigenous people who had signed on to whaling vessels, particularly in the South Pacific. William B. Whitecar, whaling in the 1850s wrote: "Several New Zealanders in the respective crews of these vessels attracted my attention from the tattooing on their bodies" making mention of "figures on their face and breast".

I'm too sleepy to have a conclusion lol. Tattoos! They existed! Though perhaps not as ubiquitously as the pop culture sailor designs would imply, at least prior to the late 19th c.

[bailsebub]

Diamonds in the trees / Pentagrams in the night sky

Switched up the style a little bit for this one, but the Sleep Token lyrics drawings continue! This was fun but I think I’m gonna go back to the more minimal/linocut inspired style I’ve been using for the others.

Materials - dip pen with black india ink + red and gold acrylic ink, white gel pen, micron pen, marker, digital editing to invert text and background

[Other drawings in this series - TMBTE • Jaws • Gods]

[fox-teeth]

Continuing my final days of ShortBox Comics Fair posts (first post here) about the process of bringing "The Maker of Grave-Goods" from idea to completion here, where I'll discuss how I take a page of comics from outline to final art.

So after writing an outline I create lots of these messy stream-of-consciousness "sketch pages" where I write/revise the script, sketch out potential panels, and start fitting them into thumbnails simultaneously. I've never written a script before drawing--the two are too thoroughly linked for me.

I then draw big thumbnails (layouts?). I usually do these at print size on templates I print out as a way to make sure all the text and details will fit/look OK at the final size. This comic was digital and this stage was mostly done in a library so I just roughed things, 2 pages to an 8.5x11 sheet.

After I completed the thumbs and did some revisions on the script, had it copy edited, etc. I moved on to pencils. I printed templates with different divisions (fourths, thirds, etc.) for reference on legal size paper, hand lettered it using an Ames guide, and drew the art using 2B and col-erase pencils. (Unfortunately the paper I used for this was awful, too thin, just the worst)

I inked the pages on nicer paper (Strathmore 400 vellum bristol) using a lightbox. I mostly used Winsor & Newton Series 7 brushes sized 000-0 and Winsor & Newton india ink; but for the lettering and small details I used Japanese nibs (Nihonji for lettering, g nibs & maru for drawing) and speedball ink. And Delter 2 ink for white fixes.

Next is what I think is the most boring part: scanning, dropping images into templates, cleaning up, re-kerning a lot the hand lettered text, to get the traditional inks ready for digital coloring. (Thanks to my partner Sam for assisting with clean-up!)

For the coloring, I wanted to bridge what I'm known for (risograph comics) with digital so decided to treat this comic like a faux two-color riso. I made up two ink colors, "grape" and "phthalo green" and created a digital riso color chart to colorpick from (left) Compare to a real printed one at right.

The coloring uses only colors on that chart and lots of color holds, gradients, big flat spot colors, and even some simulated overprinting like the 2nd panel on the left page. And a noise filter for texture on top. Overall I'm really happy with the coloring--it looks exactly how I wanted it to.

This is pretty typical of how I make comics--I hope it was informative especially if you're interested in traditional media comics making.

Buy "The Maker of Grave-Goods" on ShortBox Comics Fair