ashacadence

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Artfight for 2025

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Pride 2025

Glad I got this done before the end of the month.

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RESOURCES FOR POSES

Line of Action

JustSketch.Me

PoseManiacs

Human-Anatomy-For-Artist.com

MagicPoser

MIXAMO

Pose Archives

Bodies in Motion

Posemy.art

ReferenceAngle

CroquisCafe

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Old but still and always will be lit.

you have to stay alive. you're going to be such a beautiful middle aged freak. young freaks will see you in the street and know that things can be okay.

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Mean Gurl

A Humbaba headshot! Those fucking horns fought me so hard. XDD

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"If my book is not perfect then-"

Then what? People will actually discuss it? fill your plotholes with fanfiction and headcanons?

People dont care about perfection. perfection is boring. if your story is perfect people will forget about it. its how we are wired. we remember the strange, the weird and all things left open.

Perfection isnt the goal, interesting is

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We are heartbroken to share the tragic news of the death of Jonathan Joss—beloved actor, artist, and gay icon—who was fatally shot on June 1, 2025, in San Antonio, Texas. He was 59 years old. Authorities are investigating the possibility of a hate crime.

Jonathan, of Comanche and White Mountain Apache heritage, rose to fame as the voice of John Redcorn on King of the Hill and appeared in acclaimed films such as The Magnificent Seven and True Grit. Beyond his screen work, he was a tireless advocate for Native sovereignty, queer visibility, and authentic representation.

In recent years, Jonathan came out publicly as a gay man and remained fiercely proud of both his Indigenous and queer identities. He is survived by his husband, Tristan Kern de Gonzales, with whom he shared a life rooted in love, art, and community.

Jonathan’s legacy is one of courage, truth, and unapologetic presence. His impact on two-spirit and LGBTQ+ Indigenous youth—and on all of us who saw ourselves in his work—cannot be overstated.

We mourn his loss. We honor his voice. We demand justice. Rest in power, Jonathan Joss. You are remembered. You are loved.

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i love listening to my fiancée drawing

“no stop” “oh no i didn’t mean to do that” “wRONG LAYER” “wait go back” “what line is that?!” “cAN YOU– [irritated noises]” “oh you…bastard” “what..layer is that on??”

she’s so cute djksfh

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An illustration vaguely based on Old Thom (not to be confused with the other Old Tom (RIP)) from a sketch that I repurposed from a much larger illustration draft that included more oceanic dolphin species. Atlantic white-sided dolphins are so cute & fun to draw!! I love their wide tailstocks!

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SUPERIOR Destroyers

November is FAR from the only giant robot SUPERIOR built! SUPERIOR constructed a whole line of giant robots all with different abilities and specializations. They're part of the paramilitary's "Destroyer series", individually known as "Destroyers". Much like ships, they're all referred to by she/her, and so loosely they're sometimes called November's "sisters". However there's no familial bond between them, Nov fuckin hates all of them. XD But for pretty good reason, as SUPERIOR still has control over her sisters and sends them after the gals with the task of retrieving November and killing Frankie. The episodic formula for Icebox consists of Frank and Nov needing to defeat these other destroyers, confronted by a new robot, with new abilities in a new locale every "episode".

So far, this lineup is who I have solidified thus far, though I have many more "sisters" brewing in the bg so stay tuned for more of these bitches. XD I'll also babble about each one of these gals individually here later.

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Intro : Eugene Appleby

Been a while since I checked in here, so I figured now's a good as time as any to introduce Eugene! Don't let Gene's mild manner fool you, he's a DOGGED investigative reporter and amateur spy who's got razor wits a dozen tricks up his sleeves at any given moment. After a bit of a rocky first meeting with the gals, they become regular allies and good friends. Whenever the gals need delicate intel or some strings pulled, (or even just a good novel recommendation) Gene is their go-to source.

(Forgive the ancient art XDD poor guy needs a fresh new ref sheet at some point)

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Chonky Nov Poses

Been struggling with settling on proportions I like for November for a LONGASS time. But I think I'm liking a more chonky bodyplan for her lately.

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a softer sequel to this

(please dont repost without credit)

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Outfit iterations for the goobie. The new body type has stuck and I love it 👁

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Was a pleasure to work with. Look forward to reading it when it’s done!!

❤️❤️

I commissioned the fabulous @ashacadence for a portrait of my alien-dragon MC, Nox! This sweet scholar is the love interest in my upcoming adult scify-fantasy romance. Hopefully folks will enjoy a different take on the dragon and princess story. 😜😈

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The Schweizer Guide to Spotting Tangents

I do compositional lectures a lot in my classes, as well as at the occasional convention.  I’ve been asked to post them, so here’s part one: The Schweizer Guide to Spotting Tangents!

Comic art is, as a general rule, a line-based medium.  I know, I know, there are plenty of artists whose work is painted, or who depict their subject in ink using solely light and shadow.   But these folks are unquestioningly in the minority, as the history of printing technology originally dictated the use of line to depict form in the early days of comics.  This became a stylistic expectation, and it’s an expectation that I enthusiastically embrace, as have many others.  But using line to draw the world invites chances for that cardinal sin of composition: the tangent. A tangent is when two or more lines interact in a way that insinuates a relationship between them that the artist did not intend. It can create confusion on the part of the audience as to what it is that they’re looking at.  It can cause the spatial depth that one attempts to cultivate through the use of planes to become flattened.  Most of all, it creates a decidedly unwelcome aesthetic response: tangents are just plain ugly. There are a lot of different types of tangents, as least according to the way I define them.  In order to make it easier on my students when giving critiques, I’ve categorized them and named them.  This may have been done before, but I’ve not encountered it.  My hope is that, by making this “spot-the-enemy” guide, fewer artists will fall into the tangent trap by knowing what to look for.   1. The Long Line The long line is when a line from one object runs directly into the line of another This is the tangent that everybody knows.  The one that’s easiest to spot, easiest to avoid.  For a lot of folks, this is the only thing meant when one refers to a “tangent.”   Even in the work of the very best comic artists, a vigilant eye can find the occasional tangent.  Even when a cartoonist is constantly on the lookout, a tangent can slip through.  But, as each of strive to better ourselves and the quality of our work and our medium, 2. The Parallel The parallel tangent is when the containing lines of two objects run alongside each other.  This causes one of two negative outcomes.  Either one object becomes “lost,” as the other overpowers it (figure 1), or one object feels strangely contained by another (figure 2). This can be avoided by ensuring that any object that COULD run alongside another is angled at least 45 degrees from the first. The next two are REALLY tough to spot, and most artists have fallen victim to them before.   3. The Corner The corner tangent is when two lines in an object meet in a way intended by the artist, but another (accidental) line runs directly into the place where they meet.   4. The Bump-Up A bump-up tangent is when the containing line of one object “bumps up” against the containing line of another object.   When these two lines touch, it creates a bump-up tangent (and even when they don’t technically touch, if it’s close enough to raise eyebrows, they might as well). The bump-up gives the impression of containment.  In figure 1, it seems as though her ponytail is physically unable to enter the space occupied by the pole.  In figure 2, it feels as though her elbow is unable to LEAVE that space.

Also, be careful not to let elements of the drawing bump up against your panel borders!  Either give them room to breathe or decisively crop them.  Same goes for letting figures “stand” on the bottom panel border.   5. The Directional A directional tangent is basically just a long-line tangent that’s been broken by empty space.  Now, this one isn’t always bad – it can, on occasion, be used to draw the reader’s eye through the image on a specifically determined path. 6. The Panel-to-Panel This one is exactly the same thing as the directional (in fact, I shouldn’t even classify it as its own thing), save that instead of empty space dividing a long-line it’s a panel gutter. My gutters are crazy wide, but with normal-sized gutters this can be a real problem.   One more thing… This ain’t a tangent, but it is a compositional no-no. Fake Panels Comics generally have panel borders, so readers are used to having images contained by straight lines.  Some artists don’t allow gutters between their borders.  Though I believe that, as a rule, this can make it harder for new comics readers to follow the story (and new readers are always important), it’s done with enough regularity that we must expect the audience to feel comfortable with gutterless pages. What does this mean?  It means that we can’t draw a straight line in any panel, either vertical or horizontal, without having some object overlap it.  If we do, readers may think that it is a panel border, incorrectly breaking one moment into two. See how the overlap of the elbow causes there to be no question? That’s it for Lesson #1.  Lesson #2 will come around in the next few days. Feel free to use any terminology that I’ve laid down in this one, or feel free to abandon it in favor of better, more accurate terminology.

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matt just fired half the remaining tumblr support staff lmao