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Wowie wow size difference make brain go brrrrr (went digging for my blue sky account just to see and it did not disappoint)

brrrrrrrrrrrrrrrrrrrrrr

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i animated this cos i wanted to test what animated formats bsky would let me post these days. enjoy the tittis

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So what I’m hearing is, no irl band comic re-enactment 😔

well, in the og band comic, our happless protagonist left without any follow thru, so in that sense, it was in some ways a parallel. band shirt comic was, in fact, inspired by the sorts of oblivious blunders i have looked back upon and realised i've made, so it's perhaps unsurprising

honestly, i think i'm fairly cute and likable, but i'm also apparently unable to do anything productive w those traits aside from being a Pretty Nice Bee

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today at the jazz night, I think a girl was grinding her ass into me, but it might’ve just been the press of the crowd, so I didn’t do much of anything back in case she was just trapped, no steamy jazz finale for bee

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in terms of what reminded me of K6BD, Some of your character designs resemble Cio

hahaha which ones, anon? I wonder how much influence I've taken from it without realising... although, I think moooost of my ocs predate me finally reading K6BD

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Have you read Kill Six Billion Demons? Some of your art reminds me of a character in that.

I love K6BD, although I'm a few pages behind current. I really love the artstyle especially, it strikes me as high attention to detail exactly where it counts, w things left rougher where it doesn't. I aspire to be as discerning with my own art effort.

But I'm super curious what reminds you of K6BD in my work!

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*kissing your wrists gently after all that inking this week*

wow that's actually very sweet. thank you, stranger

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in other news, I inked five pages this week, on top of work and some social stuff. That's a great pace to establish I can achieve, and since I did four last week, I can see if I can get 4-5 done next week, which would be a good indicator it's a sustainable pace.

This is good news for my ongoing webcomic future plans. I still need to work out estimates for thumbnailing and sketching (which are both generally faster then inking), and when I move on to colouring this comic, I can keep track of my pages/week rate for that too, and then I can probably work out a pretty good guess at what sort of schedule I could sustain!

Also, I've just recently posted up to page 12 of the inks for this comic on my patreon. It's a third installment with Wells, Brooke, Rö, and a new, extremely cute character (below), and it's turning out really nice, if you want to maybe sneak a peak and support me just sayin

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catgirl ear problems. in fig A what does she have her front hair tucked behind? In fig B we see two speculative ways the hair might fall around the ears. On the left its an awful patch of shorter hair, on the right it routes around the ear (also kinda bad).

have you noticed how almost all depictions of catgirls have something to cover the notable absence of human ears? Usually hair bits cover the area so you don't notice.

I think its cool that when you're making a comic or an animation, you can just make choices to avoid things like this. You can choose to never draw a catgirl in a position where her lack of human ears looks weird. And in the case with this comic I'm working on, I can choose to work in a style where the exact lay of the hair between the part and the ears isn't rendered in enough detail to have to depict precicely how it works.

the longer I think about this, the more I spiral into philosophical gushing about how cool it is to be an artist and make choices like this. so so many choices. loads of them instinctual, but also so many of them are concious, more and more as I get more experienced. It's cool! keep drawing!

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washing machine goes brrr

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I've been keeping the drawing muscles warm with a lot of rough sketches, and for some reason I've returned to some of my super old characters. I think I started drawing this yellow demon lady and her giant, monstrous, gentle bf around when I first started posting smut online. So long ago that her first few pictures were drawn in PS. Here's a height chart/lineup I did of Yellow, her bf, and sweater demon, who I've been drawing fucking a bunch on platforms that are cooler about porn (don't worry, he's flacid in these pics so it's non-sexual nudity).

I was thinking about them, and the vague setting I had in mind for them, and I realised that basically all my demon characters fit in it.

In the setting, demon world is full of all sorts of different shapes and sizes of demon, with the biggest ruling through might and power, subjugating lesser demons in a chaotic power-struggle. Smaller, weaker, and generally more sapient demons grew tired of this and invented Society. Defending the society from big demon onslaught is a common dayjob.

It was partly inspired by this sorta attitude I've seen sometimes; people that fancy themselves powerful holding the philosophy that the strong should rule. You know the type, like the prepper who mostly preps guns rather than like, learning fibrecraft. It struck me that their desire is essentially true; the 'strong' do rule, except that the strength of a community or institution outclasses the kind of individual power ppl idolise. This is by no means a ringing endorsement of all kinds of social and institutional power, but it for sure is dunking on individual power.

Anyway, Yellow's bf is the kind of middling-sized beast that would normally be outside the walls of the Society trying to carve out his own territory/harem, or serving a more powerful demon, or attacking the society, but due to a quirk in his background he's actually a gentle soul who joined the society and now works shifts in the defence crew, where his great strength is a rare asset. In his spare time he tends to his greenhouse. Yellow is a succubus who quit her job as a state-subsidised sexworker after she fell for him, and now she's somewhat of a domestic partner/sugar bb.

As for some other demon chars, Sweater Demon works as a reseracher into tentacle domestication. PDA demon is in govt. buruearcracy. I feel like ipod demon does radio, I imagine her with one of those soothing late-night radio voices. I dunno about Tama, maybe she does something related to tech, or maybe she does some more mundane job like delivery or retail or something. I've probably drawn other demon chars I've forgotten about

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oh whoops

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I hadn't drawn her in a while, so I did although I forgot her nip piercings were vertical

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On the topic of art growth, I'm also finally learning the lesson that like a huge number of the struggles I've had w digital art can be solved by using a bigger canvas. Weird little unfilled pixels? Bigger canvas and they're gone when you downscale for export. CSP brush engine glitch that only affects small-diameter eliptical brush tips? bigger canvas -> bigger brush. Textured brushes feel too noisy but solid brushes are too sterile? bigger canvas means more pixels for texture detail, and texture noise is a smaller factor. In fact, my textured inking bush I made and then didn't like at 17px looks great at 30px on a canvas twice as big.

I just wish CSP had better like, GPU optimisation to handle these big old canvases

I used to not really bother with rotating the canvas to draw curves at different angles, but I've been doing it a lot more lately, and I've just I think realised why. Previously, I wouldn't really benefit much from rotating for a better angle, because I would lose track of the object the curve was defining, looking at it right way up made it more concrete? But now I've reached this point where I'm starting to like, 'recognise' different curves in the abstract, they're familiar patterns, and then I'm just drawing the kind of curve I've chosen with minor tweaks in how it's biased for this purpose. The object no longer matters, I can rotate to the angle where it's mechanically easiest to execute the line.

It's hard to quite explain, but I've become a lot more concious of how many points of inflection the curve I'm drawing has, what the tangent is at each end (actual maths tangent, not the more general way the term's used in art), how much an arc biases towards each end, is this section more circular, or more quadratic? I never stop appreciating the maths I learned.

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I used to not really bother with rotating the canvas to draw curves at different angles, but I've been doing it a lot more lately, and I've just I think realised why. Previously, I wouldn't really benefit much from rotating for a better angle, because I would lose track of the object the curve was defining, looking at it right way up made it more concrete? But now I've reached this point where I'm starting to like, 'recognise' different curves in the abstract, they're familiar patterns, and then I'm just drawing the kind of curve I've chosen with minor tweaks in how it's biased for this purpose. The object no longer matters, I can rotate to the angle where it's mechanically easiest to execute the line.

It's hard to quite explain, but I've become a lot more concious of how many points of inflection the curve I'm drawing has, what the tangent is at each end (actual maths tangent, not the more general way the term's used in art), how much an arc biases towards each end, is this section more circular, or more quadratic? I never stop appreciating the maths I learned.

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new magical girl design comm! I really enjoyed playing around with armour rendering on this one!