#while i keep working on the next comic page i'm going to also be coloring some doodles so expect more of this kind of thing while ya wait

[freakartack]

a boy and his hen

#wario #wario land #while i keep working on the next comic page i'm going to also be coloring some doodles so expect more of this kind of thing while ya wait #art #wario hen

[comicaurora]

Out of curiosity, how far ahead are you on the comic? I mean, you must have it all planned and written out, but I imagine that you are drawing the future of Aurora even while we're reading it.

So is Arc 2 already illustrated and ready for upload while you're on like Arc 5 or something? I'm by no means undermining your need for a break; I'm shocked that you've been uploading continuously for over 4 years at this point. I'm just interested to know how long it takes a person to make something this great. And also if you change any details in the final edit?

Basically: what's the workflow like?

Also I think you low-key inspired me to pick up painting as a hobby. I'm ready to pour so much money into creating things that I know I'll hate. :)

God, arc 5? That's a very generous assessment of how fast I can draw!

Typically, when the comic is updating regularly, I keep a buffer of 10 to 20 completed pages. Right now, in the interest of taking a break, the buffer is 0 completed pages.

Chapter 1 of Arc 2 is completely storyboarded, meaning it's sketched out, the dialog is all mostly finalized barring last-minute rephrasements, etc. It can be read in its current form, it just looks unpretty. In fact, just for fun, here's a sneak peek!

In the next month I'll go through and finalize as many pages from this chapter as possible - which means locking down the panel borders, fleshing out the backgrounds, lining, shading, coloring, polish, etc. - which will be the process of building up a new buffer for when the comic starts back up again in January. During that time, I'll also be storyboarding Chapter 2 and as much of the following parts as I can manage.

I have the next several chapters and sub-arcs planned out in loose timelines - event A happens at location B leading to consequences C and D, stuff like that. Chapter 2, being the closest, is a little more fleshed-out, with a more detailed bullet-pointed timeline and various character ideas I've had that might or might not make it into the final version.

What exactly the chapter breakdown is going to look like is a little more complicated. Initially I'd planned for Chapter 1 to be low-stakes downtime and Chapter 2 to quickly kick off the high-octane adventure again, but when I started bullet-pointing out the stuff I wanted to do in Chapter 2, I ended up with a big pile of slower-paced character moments I thought were well worth exploring, so the runtimes might stretch a little.

Translating those brainstormed notes into storyboards and dialog is what I would classify as the "writing" part of this process. It happens at an erratic pace largely determined by the whims of whatever muse decides to get me in a headlock that day; sometimes I go weeks with no storyboarding progress, sometimes I hammer out fifteen pages in one day.

It's kinda like weaving, to me. The soon-to-be-arriving parts of the story are the most finalized, the most densely woven. A little ways beyond that, things get looser - some patterns may be locked down, but the actual work that'll hold it together hasn't been done yet. And in the far-flung future arcs, it's just the basic bones of the story and a pile of the threads I've planned to use. I know the shape of it, but in order for it to be fun and engaging for me to make it, I need to give myself room to be creative when I'm putting the whole thing together.

I actually have a file called the "Toolbox" that contains every random character or subplot idea I've had, and sometimes when I'm debating where to go with a chunk of story, I'll crack it open and scan through to see if anything jumps out begging to be used. Lotta fun stuff in there that may or may not ever see the light of day. Dropping stuff in the Toolbox is one of the most fun and freeing parts of the process for me!

#asks #behind the curtain #writing stuff

[careydraws]

Here's a writeup about the process of making this 12x18" poster that's in the booksamillion special edition of TAZ: the Eleventh Hour GN! It looks like there are still some available for preorder!

Long post about how I got from the initial options I sent to my editor to the final below the cut (or unlocked on my patreon here).

We found out pretty late in the life cycle of making the actual book artwork that we were going to get to do a special edition that included a poster, which was nice because it meant I had a good sense of what cool moments in the book we might want to highlight... and what existing art I might be able to use as scaffolding, because these books are on extremely tight deadlines and there was not a separate timeline for painting a whole poster. So when we can avoid doing that, it saves me a lot of time and heart/wristache... but it's not always possible! spoilers: it was not possible this time around.

I started out by sending my editor two options for poster designs: one that would save some work by letting me reuse cover & interior elements that happened to be drawn at a large size, and one that was loosely based on a page with a fun splash panel, but would require total redraw and repaint. As I said in an email,

...Unfortunately, we both agreed that the one that was going to be more work (A) was the cooler choice & would make for a better poster. Also, by this point I was thinking about doing a version of the cover for a lenticular, and I didn't want to double-dip with fun promo materials. So it goes!

The composition was off, since this was based on a comics page with, y'know, dialog and other panels on it. We talked about whether adding some kind of a text treatment might help balance it out, but ultimately,

[narrator: she would later regret this.]

ANYWAY, once I was all-in, it was time to get goin! First, I made a small color thumbnail, then scaled it WAY up for print and took it back to pencils to space out the trio & give everyone a little more room.

Next I inked and flatted it! Flatting is the only time I can really zone out & watch something while I work, it was a nice break.

Then I blocked in big hue shifts for the ground and sky; painted big shadow shapes, and drew in the text; and finally added some details like bounce light and atmospheric perspective blue shifts.

One final touch-up pass with some additional cool tones-- If I were to do this again, I might tone it down a LITTLE bit on the reflections on Magnus's gear… but then again, it looks cool, so I might not.

And there it is! 

Next time I do this, I want to try to keep the initial color thumbnail much looser- I got frustrated at the rendering stage because I'd done most of the fun work of thinking about color already, and ended up feeling like I was treading the same ground twice. It's tough to find a balance between enough planning to be ready and not so much that I lose something in the work!

I'm always happy to get process questions over on patreon, it's fun to talk more about this sort of thing!

#thezonecast #taz balance #tazgn #process #taz #long post

[brother-emperors]

how long do you typically spend drawing a comic page? I'm a perfectionist and I have a hard time keeping a reasonable working pace for comics

so I’m actually going to not answer this one (the answer is both less and more time than people think, and it depends) but instead I’m going to give you some advice on how to deal with perfectionism when it comes to making comics

the first thing is to see if you can kill your inner perfectionist, which basically means, can you get comfortable with imperfections? this is something that can be difficult to do, but it can also really take some weight off your shoulders if you can look at a line that’s a little squiggly instead of perfectly smooth and move on from it. there’s a whole page, a single wonky line, is like. fine, especially if you’re doing more than one page.

if not, that’s okay! we’re moving on to the 75%-80% rule, which is: figure out what giving 100% in art looks like for you, then find out what giving 70%-80% looks like. As a person, you can probably consistently give 80% to any given illustration, but doing 100% all the time is going to fuck you up in the long run. If you can get comfortable consistently giving a 80%, you can then decide when you want to crank it up for dramatic effect, or you can save going all in on something fun or a big project. if perfectionism is a hard habit to break, instead try it reframe it as giving a ‘perfect’ 80% instead of 100. it’s all about that overall visual consistency, baby!

comics can feel like doing seven or eight individual illustrations on a page (panels) and some people definitely tackle them this way, and that makes learning what you can consistently give without wanting to shove your hands into cement very important. If every panel is a solid 80%, the entire page looks Good (which means the entire page is working at 100% because you have visual consistency/coherency and that’s what matters)

ideally, you reach a point where you can gauge what a good 80% of what you can give looks like across an entire sequence. for me, Trikaranos is operating at 80% while Ex Voto is 70% (part of it is that Trikaranos is more demanding, while Ex Voto is more casual and vibes based, but for both I put a lot more work into formatting and lettering)

part of what can help with all of this is figuring out a good work pipeline that encourages finishing up a sequence to keep you from getting stuck agonizing on small details

a decent one is this

thumbnails > rough pencils > do tight pencils where you think you’ll need it (I do tight pencils on facial expressions, furniture if there are bodies on it, and perspective shots) > inks > colors > lettering

adjust it based on whatever your own needs are, etc.

what’s imperative to this is that you don’t do the pencils > inks > coloring stages in sequential order, but instead jump around so that you don’t burn your energy through it (in that there’s a drop in quality as you either get tired or start to rush). Jumping around lets you spread out your high energy points and it picks up the slack for when you want to just get it done, but also it forcibly keeps you from spending too much time on one specific thing. (which is why breaking it up into stages is important, instead something like finishing one whole page from pencils to colors and then doing the next one)

when I do single page comics, I usually alternate every other panel, when I do multi page comics, I’ll either alternate entire pages or I’ll do the first and last pages at the start, and then jump around the middle in whatever order I feel like.

whenever I find myself spending too much time on something, I will set a playlist that has either a 15 minute or half hour run time, and when I reach the last song, if I’m still fucking around focusing on one thing, I’ll make myself move in and return to it later. I do this the most with the inking stage so that I don’t over ink something (I find crosshatching relaxing, but it doesn’t often look good because I do too much in one place and it looks bad because it doesn’t work with the rest of the panels and then I have to start over), and then I can go back to a panel with fresh eyes later and decide whether or not more detail is necessary for the whole page to look good, or if it’s fine as is.

and ofc, the most important guideline of all: the Fuck It, We’re Done rule, which is at some point, you may look at a page and go ‘I don’t want to work on this any more, I’m tired, it’s not fun, I’ll be stuck here forever, etc’ and that’s when you put your pencil down, physically move back from the page, and figure out what the bare minimum amount of work you need to do in order for the whole page to be coherent is, do JUST THAT, and post it.

at the end of the day, it’s the whole page that’s important, not all the individual details, so try not to focus on too many small details early on, but instead go back and add them in closer to the end. You can clean up any line art mistakes that are bothering you here at this stage too.

finally, don’t zoom in too close on a digital canvas, especially if you’re doing pencils. there’s no reason for a reader to zoom in close like that unless you specifically want them too, spare your hands the agony of tiny details that won’t be seen when you upload it at viewer resolutions. I know artists who won’t go past 150% because those details won’t show up at print resolutions.

HEUGHGHHH this is so so long, but hopefully there is some helpful advice in there for you, anon

#ask tag #long post #art supply tag #like technically #it’s more like art advice but the same kind of deal #ymmv this is a very professional ‘I have deadlines to meet’ type of thing. because I had deadlines to meet lmao #this is also close to how the American industry pros go about doing it. so. spare yourself the student loan debt #and modify it away to suit your needs

[ask-tay-relic]

"She was young, but patient with my outburst. Hindsight is perfect as they say, and I wish I could thank her for the lessons she later taught me."

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[First] // [Prior] // [Next]

The full Archive is posted here; The Leyline Athenaeum

(Updates Fri/Sat, [hopefully] Bi-Weekly)

Commissions / Sale / Comic Coms available Here!

[Sent Asks may be held for use in Comic/Cameo! Please keep in mind when sending questions! :D]

---

As you can probably tell! This update isn't quite like the others;; I've given it quite a bit of thought (A few months really) and have opted to change my work to how I actually draw in my comfort. I'll go into this a bit more under the cut!

TLDR: Updates here forward will probably not be colored and the style may be 'rougher' and not as cute or pretty as it has been prior! I hope this is alright! Thank you for your time!

--

I've spoken on this lightly in the past, but I actually have a great difficulty with the style that I've used for past pages. It takes much more mental effort and is a far longer process for getting things done.

I am a horror artist first and formost, I draw monsters and skeletons, bones and organs, paint backgrounds and objects with ease. Doing a more 'simple' style with less detailed in the lines, that isn't something I can do easily and I find it fascinating! I adore others work like that! I just find it :( difficult.

This is why updates have been so very sparse, I have been trying to work in a 'kinder' or 'more appealing' style overall for the last handful of years due to many comments of my work while I ran other blogs through 2013ish-2017 - So, I tried to change my work to be more ''clean and anime'' or however it may be called, and as you can tell! I am not very good at it! Despite practicing for so long it just isn't in my wheelhouse! (It is not -bad- of course, but It is not my forte)

Same with color. I'm colorblind so trying to color each page was always difficult to figure out 'are these the same color?? do these conflict?? does this look nice??' -- I am used to doing lineart basically as it's own thing. I'll be doing less color pages unless it's something important, Or you may see me adjusting the next few updates trying to find a balance on how I will be using colors (Or Tones).

For now, these pages are still kind of similar to the other style, and I can tell that the more I let my anxiousness (Of my Actual Style being called 'ugly' or 'disgusting' like it was before) go, it will probably change.

My forte being 'horror' also brings to note that this comic as a whole will involve darker themes [violence / gore / NOT Sexual Content] So if that is something you are uncomfortable with please keep yourself safe first and foremost!

Thank you for your patience! And I hope to be able to work more and faster so that I can share this story with you!

I'll also be answering asks [ones that are not used in the comic] within this style as well.

#[febella] #mlp comic #mlp ask blog #Act 1: Four #Page Eighteen #[[I am very anxious of posting this due to the mentioned 'using my OG Horror Work style made people say It was Ugly' fears again]] #I hope that everything is okay and I will do my best!] #[After all - the advice friends gave was to draw for myself not for others] #[and I would say the same to anyone else so I should do the same] #Plot Point Page

[purity-town]

Ask responses are typed up & under the cut!

I'm happy I was able to work in some more of the NPCs even if it was just into the background, so I'm glad you're liking seeing them. And yes! I don't have specific measurements on anyone's heights beyond a vague “X is taller than Y,” but she's the tallest member of the cast, all divinity and ancient magics and humanoid-but-not-human. And thanks for reading; I'm glad you're excited for the next chapter!

Andrew much prefers to deflect over lying outright, but if pressed claims to be 26 with a summer birthday (putting him as “29” in the comic now as he's lived in town for 3 years). Mid-twenties roughly aligns with his physical age, as he slowed and eventually stopped aging around that point, so people don't have any obvious reason not to believe it.

In the past, Andrew usually just moved around every long while, assuming things were otherwise peaceful. The jump from “this guy is weird and aging gracefully” to “this is an immortal being inextricably tied to this world and its fate” is quite large, especially since Andrew mostly kept to himself.

Living in Purity Town is a first in many ways for him, particularly in that he's serving an actual purpose to the town and has to both interact with people and stick around for the foreseeable future. Under normal circumstances he would absolutely gracefully arrange his leave, but then once you throw the hero being present into the mix things just get messy.

Honestly, with enough time he probably would come clean to the townsfolk. If he explained it to Chris delicately enough initially, Chris (and Alalia!) would eventually back him up and that'd likely do a lot to sway folks. Between their input and him having just…been around town long enough to show that he’s not a bad person and actually form some relationships, I think it would go okay.

Thank you!!! I'm glad you're liking the comic so much!

Honestly, I have no idea! It's probably a combination of factors in my art style (like my tendency to use solid/clean lines and keep painted portions to the background) playing nice with however Tumblr crunches images. I know that Webtoons struggles a good bit more with my pages due to color/resolution limitations, but Tumblr’s always been pretty good with it. That's all just a rough guess though; I couldn't find your art on your blog to examine so I'm just throwing out ideas!

Possibly relevant, each page is 2320x3587 pixels (350 dpi) after I trim the edges and export it as a .png. Downloading pages from Tumblr saves them as a 1987x3072 (72 dpi) jpeg, but preserves the fine details pretty well. So that’s what we’re working with here!

(Interestingly, after some testing I found that Reddit preserves the higher resolution of pages, but crunches their colors around areas of shading, while Tumblr smoothly fuzzes them when it downscales.)

I'm happy to see more folks caught what I was going for there! I didn't draw much of her shimmered design since she's mostly covered and under some heavy effects, but it was cool to work with. Here's a snippet of her shimmered design in that panel without the effects, since I had it on hand already from a comment a while back.

Thank you!! It feels crazy to me that it's been going on so long, but I'm really happy to have continued with the comic for so long. I'm also happy to be done with college, haha -- I’m liking my new job a lot more than the school grind!

Thank you so much for this!! It’s super touching that you’ve stuck around so long -- I definitely recognize the folks I’ve seen popping up in my notifications over the years, and I’m really glad that people are liking being along for the ride. I’ve learned so much through working on this comic and I’m really really happy that other people are enjoying it too, because I love these characters and this world and this game so so much.

I’m not articulating this well but- thank you for this! I hope that whoever you are, you’re doing well, too :)

Go right ahead! Though this serves as a reminder to myself to make sure that all of the pages on the various sites are all updated, since I usually go back through after a chapter is done to correct little errors, haha.

I totally understand if you want to remain anonymous, but if you need files or anything give a shout here or on Discord (@ariibees)! Purity Town is somewhat formatted for print by virtue of having pages instead of vertical-scrolling but I know that the chapters are kinda short and pages would probably need to be re-formatted around the edges to fit book binding.

All that said -- if you end up going through with it it'd be insanely cool to see how it turns out, if you're comfortable with sharing!

Chapter titles are done in Albertus Medium (with the exception of the "Purity Town" text and character intro bubbles, which is in the Terraria font Andy Bold). Speech bubbles use Segoe Print. There's not really any concrete reasoning behind the fonts I picked (beyond the obvious choice to use the Terraria font), I just chose ones that looked good enough, haha.

#pt asks #purity town #not an update

[jadethest0ne]

Just wanted to day that I really love your work!!! And Aldo was wondering if you'd be able to talk through the process of how you make your comics? You get them done so quick!! And their always so good from backgrounds to expression their amazing!!! Loving your aftermath comic BTW, I look for it constantly even tho I know you post mostly on Tuesday lolol.

Also- Ace solidarity unite!!! ✌️

Hey there! It is possible that you have me confused with @happyfoxx-art who is the one who does the Aftermath comic, so maybe she can say a thing or two about her comic process.

The comics I'm more known for are "The Brains and The Brawn", "Puppet on a String", and "Mikey Bakes a Cake."

In case you are asking about me specifically, I'll talk about my comic process. I usually start with lots of brainstorming in the form of daydreaming and occasionally scribbling out ideas. I often switch between creating a script and sketching out rough scenes depending on how visual the moment is. If there's more dialogue or I want to note down the events panel-by-panel, I'll script more, if the scene is more action-y and I have a specific idea for the layout that I want to visualize, I'll sketch it. I already talked about how I figure out posing in my sketchwork on a previous ask.

Often I create the scenes out of order and write/draw whichever comes to mind first. For example, these are an assortment of drawings I did on my first concept sketch page for "The Brains and The Brawn".

These are from pages 3, 4, 8, and 10, and while they have nothing to do with each other, they represented the main ideas I had for the comic overall.

After that I'll essentially finalize my written script to make sure everything flows well story-wise, and then go about adding or subtracting panels to lay them out in a proper page-like format. It's kind of like slotting puzzle pieces together to see what fits. This is how I get more dynamic action paneling in my comics. Below you can see some of my more disjointed initial sketches (left) become a bit more finalized (right):

From there I block in all the panels with lines, then trace over the sketches with lineart, and fill in the lines with color. Those stages involve a little less thinking on my part, since a lot of it is just filling in what I already have planned out.

I would personally like to get a bit better with color since I tend to color-pick from other source material a lot. I'm hoping in my next comic project to get a bit more trippy and abstract with the coloring. I make sure to keep each color on a separate layer, and group the layers by character to keep things organized. I usually fully color a character at a time.

After that, I add in lights, shadows, and any special effects. I think the shading and lighting is where it really comes together because it adds a nice sense of depth to everything.

Eye shines are very important to me.

I do dialogue and sound effects last. Yes, there is a basic dialogue I put in the script, but honestly, I struggle most with dialogue (I am shocked folks think that the lines are so in-character), so I put the most time and effort into finalizing that. I will make sure to keep space for where the dialogue bubble should go, but it's often filled with placeholder dialogue until I finalize it on the last step.

I'm aware that this is rather rare for comic artists - often the dialogue comes/is blocked in first for most from what I hear, But for me, the final drawing helps me figure out the right mood/tone for the dialogue in the end anyway. That's just what works for me.

Anyway, that's at least how my comic process goes. Thanks so much for asking! And if you were looking for @happyfoxx-art, then maybe she'll add onto this post. I, for one, would be interested in her process as well :3

(also, heck yeah! Ace solidarity baby!!! [shakes your hand])

#comic #comic process #art process #ask #jadethest0ne

[tamberlanecomic]

July Newsletter

Hey everyone! Here are some general updates for everything that’s been going on and what you can expect for this month and throughout the summer.

Health Update

As some of you may remember, right after the Kickstarter closed I was knocked out by a one-two punch of a fibro flare and Covid. While I’ve been put through the wringer, I’m FINALLY feeling like I’m crawling back out from under this extended period of sickness.

I’m still dealing with some pain and fatigue due to my fibro flare-up, but it’s more or less back to the “normal” levels of what I’m used to, so overall I’m doing pretty good. I took some extra time to recuperate from Covid in the hopes of avoiding any long Covid effects, and while I am still taking it easy, I take a lot of joy in drawing and being forced to not indulge in any of my creative pursuits have made me all the more eager to get back into the swing of things. So, I’m still being careful, but I’m also easing back into work. 

I got so many amazing comments from patrons, readers, and Kickstarter backers all encouraging me to take as long as I needed to get better, and I can’t thank you enough for the kind words and well wishes! It was measurably easier to take some time off to rest knowing I had so many people cheering me on and encouraging me to do so, so thank you so much for taking the time to say something and for sending me words of support. <3 You da best!

Comic Updates

We’re moving right along, with 12 pages currently in the pipeline at various production stages. In fact, I’ve just put three new finished pages into the buffer for $10+ patrons today! Our priority right now is to get a healthy buffer so that I can have ample time and space to catch up on other work without impending deadline pressures.

Patreon Rewards

Next, I plan to knock out a good chunk of Patreon commissions for my $50+ folks. I’ve already been doing that here and there, but I want to make sure that the oldest ones are finished first. 

Likewise, due to the chaos of a sudden move and a lot of life changes, Ari didn’t send the May postcards out until today, so I apologize for the delays there – we’re getting back on track! June’s postcards have already been sent.

Speaking of, I’ve included some of the patron reward art I just finished last week!

Kickstarter News

We still need to finish the internal book edits, draw up the Q&As, format the information in the book, and finish formatting annotations. These are all things I had intended to get done both during and after the campaign but I was simply unable to keep up with it due to health reasons. Curse you, chronic illness! 

I am also going to explore another option for getting the softcovers printed locally, which is something I will only go with if the quality is up to my standards. But we're less than $5k away from being able to reprint Chapters 1-3 so if we're able to get a cheaper local deal with a good printer, I'm willing to explore the option! 

By the way, we are now officially sold out of Chapters 1 and 2 books, but you can help us reprint them by preordering them and other stuff through our Backerkit shop!

Preorder Here

We’ll be streaming edits in the Foxglove discord server, so be sure to keep an eye out on there!

New Pride Merch

For Pride month I launched two new apparel designs as part of our Pride collection! Choose from Agender or Non-Binary Ainsley or Biromantic or Transgender Marie on comfy shirts available in a wide range of colors and sizes. 

This collection also features downloadable Tales from Treehollow comics dealing with LGBTQIA+ themes. Come check it out!

Shop Now

Artfight

I’ve never done Artfight before, but I’m gonna try this year! It’ll be fun to have little warmup drawings I can squeeze in here and there between larger projects. 

If you’ve never heard of Artfight, it’s an annual art trading game where you “attack” by drawing other people’s characters. It seems really fun! If you’re participating and want to add me, here’s my profile:

https://artfight.net/~Cvilbrandt

Thanks all for reading! May this month be ever better!

#newsletter #art #comics #webcomic #cute #animals #adorable #furry art #furry community #digital art #indie comic #TamberlaneComic

[woafofbread]

Hey so I noticed it has been a while since you updated the klance hanahaki comic. Are you planning on continuing it? Because I really like it and I wanna know what happens.

I'm so sorry it's been literal years and I'm going to use this ask to dump all the sketches I did cuz I really did have a lot of the parts planned out but I didn't have the motivation to line and color everything.

And sorry to anon if you don’t like klance anymore I know some people had conflicted feelings about them they would rather not be brought up again. Feel free to ignore this if that’s the case. 

So here were all the pages I got done.

The scene below takes place before page 7 so it is Keith's first time coughing up flowers and the time where Hunk finds the flowers in the trash comes later. 

 Here is my translation because my handwriting is terrible

I made the lines of dialogue split up so if a person talks and keeps talking into the next panel I wrote their name again for the next line of dialogue if that makes sense. 

Page 1:

Keith(internally): What am I doing here? (as he sits at Lance's family dinner table)

Lance: Pass the peas por favor

Veronica: So Keith, I'm not sure if I've told you but you are somewhat of a legend in the McClain household.

Keith: Really? Why?

Page 2:

Veronica: Lance talks about you all the time ever since you both went to the Garrison. It's crazy we haven't had you over cause it's kind of a family tradition.

Veronica: To bring significant others over. 

Lance: What? No! *slams table*

*Lance’s family members in the background nodding their heads*

Veronica: C’mon Lance just admit it. 

Lance: How many times do I have to tell you Keith is just a friend?

Page 3:

Keith: Sorry Veronica. Lance is right. 

Keith: Lance wouldn’t date me if I was the last person in space. 

Keith: Now if you’ll excuse me-

Keith: Where’s the bathroom? 

Veronica: It’s over there to your right. 

Page 4:

(Keith in the bathroom)

Keith: After all these years why do I feel like this? 

Keith: *cough*

Keith: What the? *sees flowers in the sink* 

And you can ignore the last frame because I didn’t want to use it. But it’s basically Keith’s monologue about the situation. Here’s my best translation. 

Keith: I accepted a long time ago that Lance wouldn’t love me but I still have feelings for him. You know how lance is. If he found out he would try to love me back for my sake and I don’t want him to do that. If I forget him then he won't have me to be there for him. He was there for me and I have to return the favor. That’s why I can’t do- (and that’s all I wrote) 

This next scene comes after page 9 and Shiro confronts Keith about the flowers

The group scenes here were something I was pretty intimidated to draw so a lot of them are just circles. 

Page 1: 

Shiro: Are you feeling okay Keith?

Keith: Uh yeah I’m fine 

Shiro: I know when you’re not fine Keith. I think it would be a good idea for you to stay away from Lance while we figure this out.  

Keith: Shiro! He’s my friend you can’t just tell me to avoid him!

Shiro: I’m telling you for your safety. I’m sure Lance would want you to be safe too. 

Page 2:

Keith: Fine

Shiro: Don’t worry, it’s just until we sort this out. 

Keith: Yeah okay. 

(Shiro tells him to stay away from Lance because he knows that if Lance finds out and doesn’t feel the same Keith will die. Also any time Keith feels rejected by Lance the flowers will get worse. And if Shiro tells Lance to stay away he’ll ask questions and he would most likely do something impulsive.) 

Next scene: (It’s a group scene ironically with Lance in it so Keith tries to stay away but it doesn’t work so well)

Lance: Hey Keith!

Keith(shortly): Hey Lance. *avoiding eye contact*

Lance: Uh okay then... Do you know what today’s meeting is about?

Shiro: It’s about Keith’s condition. 

(Inserted from other page) Lance: So Keithy’s in love with somebody after all. 

Keith: Shut it. 

Shiro: We need to find a way to remove the plants and we need help from all of you to do it. 

Page 3: 

Shiro: Pidge you’re in charge of finding a way to safely remove the flowers. 

Pidge: Got it. 

Shiro: Hunk you’re in charge of making sure Keith gets plenty of rest. 

Hunk: Got it!

Keith: I don’t need a babysitter Shiro. 

Lance: What about me Shiro?

Shiro: Oh uh Lance you’re-

Keith: In charge of staying as far away from me as possible. 

Lance: *wtf Keith* 

Shiro: No you’ll be in charge of getting the supplies Pidge needs. You’ll be with me. 

End Scene

(Keith might seem a little mean in this scene but it’s mostly cause he’s salty he was just told to avoid lance and then Shiro calls a team meeting to tell everyone his condition with Lance there. He doesn’t want Lance to find out so he acts cold towards him kind of like how they were in season ones but Lance is confused because he though their relationship was better. And Kieth’s coldness affects Lance’s perspective later in the story.) 

So moving forward things might seem a little disjointed because I hadn’t figured out how to get each scene to flow into each other. I just had a bunch of scenes and wasn’t sure how they would fit. It was a big part of why I hadn’t posted the story. I’ll try my best to piece them together in a way that fits.

This next scene is brief but Lance basically runs into Keith in the hallway. 

Page 1: 

Lance: Keith?

Lance: You alright? 

Keith: Yeah I’m- *almost faints and falls into Lance’s arms*

Keith: I’m fine I’m fine

Lance: Yeah clearly you’re not. I’m taking you to the med bay. 

Keith: *starts aggressively coughing up flowers*

Page 2:

Lance: Keith! Are you okay? (I cut it out because its repetitive and I think they were meant to be two different scenes but I combined them) 

Keith: *Shoves Lance away* 

Lance: Keith what-

Keith: Lance I need you to leave me alone for a while. 

Keith: *Leaves* and leaves a very worried Lance behind. 

End Scene

After Lance see Keith in so much pain Lance wants to find the one who is causing it. Also Lance wants to know who Keith fell for in general. Hence this next scene. 

Page 1: 

Lance: I’ve decided! I’m gonna find out who Keith likes.

Pidge: And you’re telling me this why, Lance?

Lance: Because you’re the only one around Pidge. You should know this by now. 

Pidge: Now I see why I didn’t miss living with you. (I should probably mention this is post season 8 and they are back traveling together in space for the most part other than the visit to earth. They come and go as they please and still go on missions together :D )

Pidge: Why do you care so much anyways??

Lance: It’s just really surprising that Keith’s in love with anyone. He’s not a really lovey-dovey guy so I want to find out who won his heart you know?

Lance: *starts to leave the room*

Pidge (under her breath): Lance we both know why you really want to know so much. 

End scene 

And I really don’t remember how Lance’s “yeah I know” fits into the conversation. It could have in response to Pidge’s comment about why he wants to know but I’m not sure so interpret it how you like. 

Page 2: 

Lance(Alone in his bedroom holding one of Keith's  hanahaki petals in his hand): Is it selfish to wish that it was me? 

(Little does Lance know...)

This scene is Pidge the next day doing her part in the mission to save Keith- observing the petals that Keith coughed out

I put in stars because I changed the dialogue around after I decided to add a scene with Shiro telling Keith to stay away and I wanted it to be before this scene. So I will just write what I meant to change the dialogue to.

Pidge: This petal is definitely from the spores you breathed in.

Keith: What have you got Pidge?

Pidge: It looks like the petals flowers have taken root in your lungs and are growing. (she would have taken some sort of x-ray to be able to see that)

Keith: How do I make them stop?

Pidge: The best way would be to avoid whoever is causing one sided love for you so Lance.

(I wanted to add Keith being slightly surprised that she knew here)

Keith: Shiro already told me to do that. It’s still gotten worse and Lance has started to notice.

Pidge: You could just confess to him.

Keith: *no response*

Pidge: Yeah figured as much. Well then you’re gonna have to wait until I find a safe way to remove them then. 

Keith: I’m counting on you Pidge. 

Pidge: Don’t worry, I’m the one who put you in this mess and I’ll be the one to get you out. 

(Pidge feels guilty for know knowing that the flower was this dangerous and is doing her best to help fix her mistake.)

Meanwhile the next scene is Shiro and Lance on their mission on a plant filled planet to find some plants that might work as a cure to Keith's hanahaki. 

Lance: Shiro, can I ask you something? 

Shiro: Of course Lance what is it?

Lance: It’s just that Keith has been really distant towards me lately. 

Shiro(internally): Shoot he noticed. 

Lance: I don’t know if I did something wrong or if he’s just stressed or-

Shiro: Lance if there’s one thing I’ve learned from knowing Keith all these years it’s that you can’t read Keith’s mind when somethings bothering him. 

Shiro: If you think you did something wrong then just apologize first. He’s probably not even mad at you to begin with. Things will work out. 

Lance: Thanks Shiro. 

Shiro: No problem Lance. 

End Scene

Meanwhile Back on the ship Hunk and Keith chat. 

Hunk: It’s Lance isn’t it? 

Keith: Hunk I swear to god if you tell him-

Hunk: I won’t dude don’t worry.

Keith: How did you know?

Hunk: Process of elimination mostly. And you don’t seem like the type to fall in love with a random alien. You’d have to be close to them. 

Hunk: And I know you really care about him so...

Keith: I do.

End Scene

 Lance is back from the mission and Keith really tries his best to avoid Lance but he is persistent. And he takes Shiro’s advice to heart. 

Page 1: 

Lance runs into Keith in the hallway and they stare at each other for a moment and then Keith tries to run away. 

Lance: Keith, wait!

Lance: You can’t hide from me this time mullet. 

Page 2: 

Lance: I figured out why you’re avoiding me. 

Keith: And why’s that Lance?

Lance: It’s because I’m the one who made the pollen spring up into your face. 

Keith: Why would you think that?

Lance: You're not denying it. 

Lance: Seriously, listen Keith, I’m really sorry. It was stupid of me and I didn’t do it intentionally. 

Keith: You’re not stupid Lance. 

Keith: And I promise this isn’t your fault. It’s just something I need to work out on my own. 

Keith(gets up): Thanks for worrying though. 

Keith: Bye Lance.

Lance: Yeah... See ya. 

Lance: I really hope everything's okay. 

Keith(in the other room): *coughing up flowers*

End Scene

After this conversation the Hanahaki will start to get worse. 

Now we get to Hunk carrying out his mission- making sure Keith is okay.

Keith: What do you want Hunk?

Hunk: To talk. 

Keith: I care about Lance so much I can barely share the same room with him. Not really a topic I want to talk about. 

Hunk: Fine then. 

Hunk: I’ll be here to listen.

Keith: Thanks Hunk.

Hunk: No problem buddy. 

End scene

I really liked Keith and Hunks friendship in season 7 and I feel it is very underrated and not talked about. 

This scene comes a bit later as the hanahaki continues to progress. And Keith takes up Hunk’s offer to talk. 

The first two drawings are not included in this scene (this page was one of the first things I had drawn for this story idea) but they say:

Keith: There’s nothing you can do to help me Lance. 

Keith(internally): It’s not like you could every feel the same way about me. 

Scene with Hunk start

Hunk: Why don’t you just confess to him? 

Keith: For the same reason I try to comfort him about Allura. I want him to be happy. Either way I know he’ll never feel the same way about me. 

End scene

This scene is after Pidge checks up on how the flowers are and sees they have gotten much worse. Pidge confronts Keith but he is stubborn. 

Page 1:

Pidge: If you don’t get those flowers out at the rate they’re growing you're going to suffocate on them within the week. 

Keith: well then it’s a good thing I have you as my doctor right?

Pidge: Keith this isn't some joke! Your life is at stake! 

Page 2:

Pidge: You have to confess to him. 

Keith: I can’t do that. 

Pidge: Why not?

Keith: ...

Pidge: Are you seriously saying you’d rather die than tell him you’ve been crushing on him since we first got out into space?!

Keith: Guess I am. *Leaves* 

End Scene

(I tried to have Keith showing his self sacrificing tendencies here. :/ )

This next scene leads up to the ending and it its probably the longest. Pidge’s research did not amount to anything and the flowers are worsening at a rate that she can not come up with a cure in time. Keith is in very bad condition and starts coughing up blood along with his flowers. 

Page 1: 

Keith(under his breath): God I feel awful. 

Lance: Hey Keith I see you’ve finally come out of your cave. 

Lance: Keith you alright buddy?

Keith: *starts falling unconscious*

Lance: Keith!

Page 2: 

(cut to Keith in Hospital bed) 

Lance: I can’t believe this. 

(Lance and Hunk talk to each other in the hallway outside his room) 

Lance: He’s probably been suffering all this time and didn’t even bother to tell us. 

Lance: He should know that he doesn’t have to do everything by himself! Whoever is doing this to Keith is going to have hell to pay. 

Hunk: Good luck in hell then buddy. 

Hunk(internally): Sh*t I should not have said that. 

Page 3: 

Lance: Hunk.... what do you mean by that?

Hunk: Keith made me swear not to tell you but given that he’s on his deathbed, and you're the only person that can save him I guess there’s no point in keeping it from you. 

Hunk: Keith is in love with you. 

Lance: *runs off* 

Hunk: Lance!

Page 4: 

Lance(next to asleep Keith in his hospital bed): Keith. Don’t you dare leave me. 

Keith: *starts stirring*

Lance: Keith!

Keith: Lance? What’s wrong?

Lance: Why didn’t you tell me?

Keith: What are you talking about? 

Lance: About how you have feelings for me.

Keith: How did- 

Keith: *turns and glares at Hunk*

Hunk: Sorry bro

Page 5: 

Lance: Well?!

Keith: ...I know assumed you’re straight so you didn’t need to know.

Keith: I knew you’d try and force it to save me. 

Lance: Keith. 

Lance: *kisses him* (with bad kissing drawing imo)

Lance: What made you think I wouldn’t like you back?

Page 6: 

Keith: I love you. 

Page 7: 

Keith: Looks like I’m healed. 

Lance: Oh thank god. 

Lance: Love you mullet. 

Keith: Love you too. 

End Scene

Here’s a doddle of them being happy after all that angst. 

Lance: I can’t believe it took me this long to braid your hair. 

Keith: You never asked. 

And that’s the whole story! I have some other klance comics in my sketches that I've never posted but they are not as in depth as fleshed out as this one was. I always wanted to finish it but this will have to do. I wanted to include more scenes with Lance to make it clear that he felt the same way about Keith but I feel like the scene with the petal makes that clear enough for now. 

I’ve always looked up to klance artists like ikimaru and binart and erithel for having such amazing klance comics and they are still making Klance comics to to this day! I highly recommend all their works. I always wanted to have a perfect finished product of this comic but I have many other comics I want to work on now. I still love Klance though that’s for sure. I still doodle them every once and a while. 

And here’s a current sketch I did at 2 am after writing most of this post. 

Lance: Remember when you almost died because you were too scared to confess to me? 

Keith: *sigh* You’re never gonna let me live that down are you? 

Lance: Never ❤

#klance #vld #long post #extremely long post #I'm surprised I didn't get an image or word limit reached #keith #lance #keith x lance #v*ltron #The obliagatory- Klance in 2022?? #my art

[pine-niidles]

Looking Back on 2023

Heyyy folks! Long time no news from me huh. 

I'm struggling to think of what to even say about my silence. I've not been doing so bad I'd call myself depressed, but I'm doing a tad worse than just a slump. It's been a rough 6 months, not because of one big thing. Instead, a bunch of medium-sized reasons all piled up on top of each other to leave me extremely drained. I've mostly been working on the two commissions I still had in my queue (thank you to my commissioners for being so patient with me, I'm so sorry to make you wait so long <3). I've done a little personal art other than that but didn't have the leftover focus to keep up with sharing it on social media or writing up any updates about my situation. I've pretty much only been active sharing things in my art discord. I'd like to say I've been doing better in the last month or so, but I hesitate to make any promises at this point! We'll just have to see how things go :)

Artfight

So you were promised a more in depth artfight review but I think I missed the right timeframe for that... instead have this look at 3 years of unfinished artfight thumbnails from my new year's wip clean-out!

Year of Art Summary

All things considered I made a lot of art this year, and I'm really happy with how most of it turned out ☺ I did a bunch of experimenting with more playful techniques and color schemes and I think they suit my style a lot. I want to try and much those limits even more next year to see what kind of fun art I can create! Something with colors specifically really clicked in my brain after that witch drawing I did in April, before then I would spend a long time figuring out the perfect color scheme and doing a bunch of adjustments but ever since that drawing things have really been coming together super quick? I'm not sure what changed but no complaints from me. 

Life Drawing Summary 

I rarely post my life drawing but I've been keeping at it! Actually, I put together a few pdfs showcasing all my life drawing going back to 2022, you can download them for free in my itch or ko-fi shops! :>

I also put together a yearly art improvement comparison going back to 2015 that I was planning to put here. However, seeing how long this is already getting... I'll make a separate post for it.

Commissions

I've been gearing up to open commissions again after that unintended hiatus. I don't want to open slots until I'm sure I'm back to being able to finish them in a reasonable timeframe, so I've been using that leftover energy I do have to think about revamping some things and new styles to offer. Back in November I ran a survey on what people want to see from me (it's still open if you'd like to fill it out and help me get more stats!) 

here's a preview of what's to come based on that & my whims:

- stamp commissions were super well received so they'll be added to my main repertoire

- A combo of me reading too much dun meshi and wanting to offer some kind of comicky commissions led to this idea of comic pages of characters eating together, I have a couple examples in progress, when they're done I'll add this style to my main offerings!

- I'm still not 100% set on sketchpages but I like the idea of them so if this test goes well I'll add them as an option

Onward to 2024! 

I already completed my new year's resolution on day 1 of 2024, it was to pet a cat. I've made a second one which is to get a library card whenever my visa is approved and I move back home. It's been something I've been wanting to do for a while but never got around to, hoping this will be the excuse I need to do it.

Art-wise it's not a new goal, but I've been trying to focus on improving my rendering! Though I've also been playing around a lot with screentone... the two don't have to be at odds 🤔 

I'm dedicating this year's personal art time to making new references for as many ocs as possible with nude bases so I can easily design new outfits for them whenever I want to without fully making a new ref from scratch.

Otherwise I'm just trying to take it slow, work on things one at a time and see what happens from there.

#year in review #2023 #project updates

[ruporas]

back again for more bound to want rambles. whoops <3

i'm talking about color this time

there's not much to say about part 1 since you were really consistent with the dull, hazy yellow, but i LOVE it all the same. it's like an old, worn out photograph. it fits with the messy dream vibe So Well and makes everything feel even More out of focus, adding perfectly to the effects of roses and thorns and other dream-like effects you added in place of boxy panels (ADORE IT)

i also just hfkjdhgssg i love how that color persists even AFTER vash wakes up in part 1. the messy dream lines have faded and we're snapped back into stiff, reality-ground boxes, but that hazy color is still there. still pervading everything. vash is awake now, but the dream still has him.

but then moving on to part 2, we're back to your usual color-scheme with the dark green/light pink combo... or so i THOUGHT, BUT LIKE THE ENTIRE FREAKING PART 2 IS STEEPED IN SAD GREEN HGJFKDHLGSFDSKJGHFDLKSJGHFDSLKJHGFLKDJSHG

except for 2 exceptions.

when ww sits vash down for a drink they have a pink bg, but it doesn't have that airy, happy feel that that color usually holds. there's this subtle ring of green around it, and a static effect around the outside of this little bubble of warmth. almost like they are happy to be together and share this moment despite the issues they're having, but the weight of what's going on keeps seeping in

(and ik i'm talking about color but i'm OBSESSED with the poses in this panel. ww and vash are essentially sitting the same exact way- right arm up on the table and body turned left- but they're mirrored in opposite directions. they won't face each other, even though they're exactly the same. and ww, honest in this moment, faces the camera while vash turns away. ghakfjghdsfkgjhdg)

also i lied there's more than 2 exceptions. when ww apologizes, there's this really deeeeep dark pink in the bg of the small panel vash reacts in. happiness tainted by all his pain and confliction, i assume

and this isn't pink, but i lost my MIND over that static-y spotlight effect on wolfwood in the next page. it reminds me of a few symbolism things, but i don't feel them that strongly so i'd love to know if u had anything specific in mind drawing it that way!!

but anyway a page later when vash is thinking about how "unfair" it is that he doesn't deserve ww, but ww won't leave, there's this gorgeous static, pink/green effect going on again. all these conflicted emotions and pain and want jfdhgsfdkghjdskg

but my favorite FREAKING part is after the ID, the FACE that vash makes as he finally breaks, and there's just this RING of true, soft pink around him as the green finally dissipates

and then panel 2 rolls around with wolfwood and it's almost entirely gone. barely present in the occasional "ribbon" effects that flow around the pages afterwards- still there in the background and still hanging over them- but it's okay now. that sad, painful green doesn't encompass them anymore. it's just spaced naturally throughout their lives, which is how it is for normal, healthy relationships.

i just.

AAAAAAAAAAAAAAAAAAAAAAGGGGGGGGGGGHHHHHH.

SYMBOLISM METAPHORS AND MASTERFUL DETAILWORK I COULD TALK ALL DAY ABOUT COLOR ALONE

:D!!

the color choices are also… my steps of becoming a better artist… grips fists DMGKSDMGKS BUT YES, THANK YOU FOR YOUR ANALYSIS ON BOTH PARTS!!! i'm very glad the diluted yellow could give that kind of feeling, and things are definitely more deliberate in the second part, given there's more colors now to work with!!!

vashwood consists constantly of heavy thoughts, looming agony and pending tragedy, but in these rare moments where they get to just have each other, it gets to clear and they can feel like the only two people in the world, for just a teensy tiny second! i like to build that white/pink space as a tangible place for them kind of, not always, but i realized it's a common string in my vw comics.

i'm curious to know what you were thinking of symbolically for that wolfwood spotlight panel!!! frankly, there wasn't a lot of thought behind it! it's just the narrow focus of vash now that wolfwood's in front of him and their conversation has come to a quiet, the heaviness of wolfwood's vulnerable leaving the space for a bit, leaving just wolfwood's prescence.

also thank you for sending this in particular, bc this is what made me realize i forgot page 4. AND THANK YOU ONCE AGAIN FOR YOUR LOVELY ANALYSIS!!!!! i don't have disputes, it's pretty much on the nose of what i hoped and intended for those moments to come across. i'm glad it was effective! thank you!!

#asks #THANK YOU SO MUCH AGAIN i owe u my life

[mjdrawings]

After the Final Battle - Chapter 1 Page 1

Soo... here it is! This comic has had a bumpy ride and I'm glad to finally have the first page in posteable conditions after two-ish years of work and two other editions I wasn't satisfied with.

The comic will feature Ethan (Nicknamed Gold), Kris and Silver the day after the "cannonical" final battle of the johto games, hence the name.

It is based on an old Pokemon theory that caught my attention at the time, which I won't mention because spoilers I know the backgrounds are sloppy, I didn't draw them while working on paper and I regret it, making something like that from scrath isn't fun So... one down, 49 plus a pending epilogue to go, this is going to be FUN

(sorry for the tiny font, I'm still working on something that's both legible and doesn't take half a frame)

Some facts and headcannons that will matter later but I'll put out now -Kris lives in blackthorn, next to the move deleter -Kris is the kid of two Search and Rescue officers, and as such, knows her stuff about the wilderness and first aid -Also she climbs mountains as a hobby, the bag slung on her back is mostly climbing equipment -Lyra DOES exist, she just has the same role as if the player chose Ethan in the remakes (and won't make an appearance until the latter part of the epilogue, if I upload that at all) -Ethan's nickname is Gold, he'll be called that throughout the whole comic for convenience -Ethan is both the leader of the group and an impulsive idiot, Kris mostly hangs with him to keep him alive -By this point, Silver isn't official friends with the other two, but is on friendly enough terms to go along with them most of the time -Silver's homeless, he sleeps wherever he won't be bothered -Red being on Mount Silver is a legend of sorts, almost every experienced trainer knows about it -The whole Johto-to-Kanto journey took about a year and a half, Ethan's been training for this battle for four months, so it's been almost two years since Ethan and Kris got their starters and Silver stole his, and about FIVE years since the Kanto games -The ledge Red stands on is a VERY steep cliff that leads to a valley -Ethan, in a way, "plays" (Heart)Gold edition, he climbed the Tin tower and caught Ho-oh -Kris "plays" Crystal edition, she went with Ethan to the Tin tower, but only got to the ground floor before battling (and catching) Suicune -Kris' Vulpix is kind of the "baby" of the group, kind of like Togepi in the anime, but actually good in battle, his name is Moxy and he's a very good boy

Yeah, as this list may imply, I've put a LOT of thought into this

Now that I've infodumped enough and if you'll excuse me, I have 49 pages to trace, color and shade waiting in my cave, hopefully I'll come out with more next week

#pokemon #Comic #Fancomic #kris pokemon #ethan pokemon #silver pokemon #After the final Battle #pokemon comic

[lazyboxart]

HOW I MAKE TRADITIONAL COMICS AND COLOR THEM DIGITALLY - PART 1 - HOW TO MAKE AN EMPTY COMIC PAGE

Things you'll need for this part

Ruler

Thin pen

Thick pen

Pencil

Eraser

Heavy book

Something small you can draw on, preferably small paper or a handheld whiteboard

Step one - write your comic page

I usually write comics like this, I work by myself so the comic script can be messy. I stay on six panels most of the time so I can reuse pages, but you should also change it up sometimes, especially on scenes where it needs it.

Step two - plan out panels

Use a small piece of paper or a whiteboard to plan out panels after you've written them. Do the most important panels biggest, and more chaotic panels for more chaotic scenes. You could also use a tablet or ipad and use ibis paint to plan out the panels.

Step three - sketch the different panels

Use a ruler to decide how wide you want the space in-between your panels to be. I usually go to 0 inches because there's some space between the start of the ruler and 0, but you can also do whatever fits the style of the comic.

Draw the lines with the ruler and a pencil, use a heavy book to weigh the paper down straight so it doesn't move. Make a box on your page, then start adding the gutter (space in-between panels) to separate the panels. Make sure you go outside the lines while you're sketching so you don't cover up the entire line with your ruler when you ink.

Step four - inking panels

Use a thin pen to ink the panels with the ruler. Be sure to not go to far off the line, or go too low down below the other lines. Erase all the pencil marks by holding the paper down and carefully erasing (so the paper doesn't bend)

It should look something like this

Step five - copying

Swipe away all eraser marks before you copy the page on your printer. You may still have some marks on your new copy, but you can edit those away in your art software. I always make a copy of the page to keep incase i need to use it for later. Use plain paper and 8'5 by 11 (if that's the type of paper you're using).

Extra step six - thick copy

This is an extra quick step incase you need a more hand drawn and thicker look to your page for now or later. Copy the page like before, but afterwards go over the lines with your thick pen (i use a brush pen) and make it as shaky as you'd think fits the style. It's a quick way to make another type of page and i try to do it with every page i make just incase i need it one day.

Step seven - put away original copies

I keep the original copies of my comic pages in a folder for later use. After a while you'll have a bunch of blank comic templates to use.

I'll post the next part once i finish and scan the finished traditional page.

Also I'm not a professional, this is just how i make traditional comics

#art tutorial #comic tutorial #lazybox tutorial

[bryan360]

Here’s my note before I’ll get started….

(DON’T YOU EVER COPY FROM MINE OR MY FRIEND’S WORK, CHARACTERS, AND STUFF IF ONE OF YOU ARE IMPOSTERS WHO HAD HABITS OF PLAGIARISM! I WILL BLOCK YOU FROM MY BLOG IF I SEE YOUR POST WITH MINE OR MY FRIEND’S ORIGINAL WORK BEING EDITED ALL OVER! I’LL EVEN SHARE IT ONTO MY BLOG SO IF EVERYONE WILL SEE THAT YOU TRYING TO COPY MINE OR MY FRIEND’S THINGS FOR NO GOOD REASON WHATSOEVER! That will be all….I mean it.)

Epilogue: Cude’s very owned Brown’s normal clothes

🇵🇷Me: What’s up guys? I was hoping for today’s art trade to be different when taking a break from doing digital coloring/editing. That and also took me about 3 or 4 days when using this paper to go through. What that being said, here’s a good look for this month’s art trade to share with my P-Pal featuring his HTF OC: 🐰🤖Cude.

🥜Brown: That’s right. This time he’s now officially be keeping his owned clothes from mine after taking place back in April when Sallie and the others got me. I'm pretty silly wearing a blue dress though. 😊😅

Link Here

🥜Brown: Though I nearly forgot my clothes as we left in the streets; according to the narrator said it at least.

*As Brown, Sallie Chips, and three prankster gals are leaving the premises, Brown's oversize clothes are completely unattended on the walking streets. No one will pick up his clothes from someone and take then home. Until....*

🥜Brown: This is where Cude steps in however as he sees my clothes while walking in the streets. It's something he would hoping for since his Speedster friends Spot and Riya already owned my clothes to keep from last year's Christmas as gifts.

Link Here #2

🇵🇷Me: Mhm. It was very grateful seeing them keeping their owned clothes by permisson for your mom you've asked; especially you having a good time with Jason Watterson during a sleepover party last year.

Link Here #3

🥜Brown: Yeah, I won't forget our moments to snuggle in together. 😊👍🏼 Anyways for Cude's case though, it was pretty hopeful to having him getting his owned from mine as well. Good thing its all bagged thanks to having a girl filled an acorn shaped balloon with fabric softener, which I getting splash from when picking up. 😅 Nevertheless, I'm happy to let me keeping it. Don't worry though as I got plenty of lookalike clothes from my closest.

🇵🇷Me: Mhm, but cute to see Cude wearing his own as he putting some shoes, pants, shirt, and a padded vest step by step. Thought I might included this in style as I took inspiration from the page of my P-Pal's "Jason's Shrink Problem" comic short he'd share with me.

Link Here #4

🥜Brown: Say it was pretty good when you've work hard on during your art progress; even if you took about 3 or 4 days like no surprise of getting there.

🇵🇷Me: I know, but this time is bringing a full sheet of paper from my "SimpleA+" sketchbook to go through. Though I had few papers left due to using on other drafts to share with my P-Pal’s suggestions. So yeah….kinda a bummer a bit that I would’ve save some if I would bring more drawings to think of. Luckily though that my mom already got me some more sketchbooks from Walmart to have. I would like to share with you guys, but that’s gonna be for another post I���ll get to that later or tomorrow morning.

🥜Brown: Cool, but for now hope you guys like this secret art trade post he’s gotten. I give a thumbs up to see Cude finally got his owned clothes from mine and can’t wait to see what to come for next month’s art trade will be. 😉

🇵🇷Me: Mhm. It was a good thing I got more sketchbooks I’ll be using this year. 👍

Tagged: @carmenramcat @alexander1301

Cude (now finally in his owned Brown’s normal clothes) created by my P-Pal; @murumokirby360

#art post #traditional art post #traditional artwork #secret art trade #secret art trade of 2022 #cude #happy tree friends #happy tree friends oc #brown the squirrel #brown's clothes #normal clothes #bagged clothes #wearing #etc. #june 2022 #june 10th 2022

[chuya-chuya-blog]

I finished coloring a splash page yesterday. The feeling of accomplishment swings by once again. Onward to the next! I do want to draw more dynamic pictures, though. And I'd like to draw more characters, although I'm not far in the series, yet.

Also, I have a confession. I didn't script my chapters beforehand. I just keep saying, "it'll take too long! I'll just figure it out when I do the layouts! They go hand in hand, anyway!" Well it STILL takes long, AND it slows down the process of my chapters by piling on the extra stress of not having the scenes planned beforehand and figuring out what goes where and who says what. It's like combing your hair when it's gotten nappy. You wouldn't start at the top because 1. That hurts and 2. You didn't work out all the kinks beforehand so the comb is gonna get stuck, and you'll be frustrated(and you'll have a ton of breakage!). You have to work from the bottom so you can have a clear path when you finally start combing the roots.

My story went off the spine I made for it because I wasn't watching where it was going. Settings, characters, all of it has to be planned and I did NONE of it because it's already taken me YEARS to finally start my comic. I just had the story spine and that's it. "I'll figure it out as I go," was my motto. And to a degree, that makes sense. But I didn't even design their outfits. I had some vague ideas, but for the most part, "I dunno, some European looking coat?" was the idea. I didn't wanna be one of those people who did a hundred turn around sheets and splash pages and never posts a panel of manga. I used to see this a lot and I hated it.

And because of this, I'll be taking time to at least plan and script out some chapters. I AM figuring some things out as I go, now it's time to organize my thoughts and write them down. I feel like just focusing on the script for a bit will be exciting. Between that and my contest entries, my main series will be on the back burner for a while. And speaking of my contest endeavors,

PLEASE PLEASE PLEEEEEEEESE LET ME SOMEHOW MANAGE TO GET BOTH MY CONTEST ENTRIES DONE THIS MONTH! AND ON TIME!

And please let me win.🙂

That is all.

[darkmarkets]

The Horrors of Proper Manuscript Format

In my wildest dreams, I'm the shadowy robed figure at the head of a writer cult plotting to take over the publishing world. But instead of chanting "Ia! Ia! Cthulhu fhtagn...!" we'd all intone "Twelve point! Times New Roman! Twelve Point! One inch margins...!"

Okay, so I have awhile to go before I'm good cult leader material, but that doesn't mean we can't all keep the chant. Proper manuscript formatting is the single most important thing a new writer can do for their career. It promotes professionalism and displays your writing in the most clear, most readable way possible. A crap story formatted correctly will be much more agreeable to an editor than a genius story that's formatted like crap. It is sheer eyeball-exploding terror to be faced with nine point Papyrus font crammed on the page in single space with half inch margins. Chances are, an eyeless editor isn't going to be sending out any acceptances.

So, how can we, as writers, put our most professional foot forward? In most circles, the agreed-upon manuscript format contains these elements:

twelve point font

Times New Roman or Courier New

one inch margins

double-spaced

It's also good to include the writer's name and contact information in the upper left hand corner of the first page, as well as page numbers and the writer's name in the header. Easy, yes? One would think. It's shocking how often writers do not follow these rules.

What proper manuscript formatting does not contain is:

any bizarre artsy font that looks like a first-year design student's creative seizure

any font color other than black (that means you, purple and turquoise!)

eyeball-exploding single spacing

creative writing class designations (IE, no Miss Jenkin's Intro to Fiction 291!)

margins thinner than piano wire

hostage demands scribbled across the headers

Also, no sixteen point font. I'm sure there are kindly elderly editors out there that prefer large print documents while they wait on their cataract surgeries, but I doubt many of those editors work for a Tubby's House of Gorefest Magazine. (Sidenote: someone named Tubby needs to start this magazine, because it sounds aaawesooome!) Anyway, my point is: keep it reasonable size.

If anyone feels like a visual aid would be helpful, I highly recommend Nebula award winner William Shunn's article on proper manuscript format. He even goes so far as to detail dialogue formatting and the eternal burning question of scene break markers (Pound signs? Asterisks? Lesser folk have been driven to the brink of screaming madness contemplating such things.) Courier New is best for snail mail submissions, because the monospaced font makes it easy to manually tally up word count (make sure to kill your widows and orphans, though. Man, sometimes the jokes just write themselves.) And, surely these days the more modern incarnations of Times and Courier won't be looked down upon; Cambria and Consolas are fine-looking Word 2010 alternatives. When in doubt, clarity and ease-of-reading is key.

Of course, there's always going to be slight variations. No one will burn you alive if you put the page numbers on the right instead of on the left. Writers don't always format exactly the same way, and most editors understand that. What they don't understand is why a manuscript written in pink Comic Sans thinks it's going to be published.

At the end of the day, follow the guidelines. Follow the guidelines religiously. If a market says they want their manuscripts single spaced with no indents, do it. If they say not to include your name on the front page, don't do it. But, if there are no specifications for formatting in the guidelines, its easy to assume editors will want to read a story in the most professional-looking format possible. That means repeating after me: "Twelve point! Times New Roman! Twelve Point! One inch margins...And don't fooorget dooouble spaaaced."

Got it? Fantastic. Your shadowy robe is right over there on the table. We'll be taking over the publishing world next weekend.

Lorna D Keach

#The Horrors of Horror Writing