#Learning Development Process

[keferon]

Just want to say, love your mimick au. I only found it like, an hour ago and I've devoured everything in the tag and I'm planning to do the same to the spellbound and monster hunter aus.

That said, in one of the mimick fanfics, Orion tells Prowl to leave him alone and to find a hobby, but a comic that (presumably) happens after this conversation when Orion meets Jazz, Orion seems to be back to working with Prowl. I thought the whole "leave me alone" order would go on infinitely because Orion didn't seem to have his goal locked down and he also never specified when to come back. So how did they return to working together? Did Orion find Prowl post-meltdown, or was it Prowl who just set an arbitrary amount of time before going back to Orion and going "so, how do you feel about defying god?" I just find Orion and Prowl's relationship so interesting in this au, simply because of how Orion doesn't seem to apply his morals about freedom and coexistence to Prowl despite the fact he's the one who points out that Prowl didn't include himself in his calculations, but at the same time, if he doesn't recognize Prowl's autonomy and only sees him as a tool (chatGPT style), he would have to accept that he's the one responsible for Prowl's actions because he's the one using him. But also also, Prowl encourages him to not take responsibility for all the immoral actions (like killing monsters to keep the Council's favor), which I think Orion does take up, but that would indirectly be accepting Prowl as a individual capable of making his own decisions, you know? It also the fact that Orion and Prowl both have different (and somewhat incompatible) ways of communicating. I was thinking when Orion asked Prowl to what he'd do to make the most amount of mechs happy, Prowl understood it literally: the majority of the population are non-monsters, so statistically, he'd focus on making non-monsters happy. But Orion doesn't want to make most mechs happy; he wants a diverse and equitable society, and that doesn't necessarily lead to happiness, especially in transition phases. Even in the academy, monsters are learning to compromise to live in a non-monster society; compromises are about restriction, which often aren't a source of happiness. But Orion equates that vision to happiness, and probably gets a bad impression of Prowl given "free reign" from his answer. It's great, it's so juicy.

And contrasts so well with how Prowl and Jazz interact and communicate with each other. Like how Prowl makes an attempt to learn hand language for Jazz in the same way he attempts to comfort Orion post-Shockwave demonification. But unlike Orion who has "Prowl is not alive" at the core of their dynamic, Jazz doesn't know and sees Prowl's attempt to learn as a genuine attempt to understand/communicate. You can argue that Prowl is just "programmed" to try and get more information and it's just efficient to ensure Jazz doesn't get carpal tunnel while working together, but you can also argue that we're all programmed to do that as well; small talk or bids for attention are behaviors/actions to build connection through information exchange that we are trained to do from formative years and general society. Which is to say, even if Prowl learns and tries to accommodate Jazz for mission purposes, it doesn't negate the fact that he is investing effort into communicating and building the foundation for a meaningful connection in the same way other people do. It's great, I'm having a blast with the whole AU.

Orion despite being afraid to continue his mission still has responsibilities in his Order so him and Prowl. Yeah hahah they just keep working together but purely on their usual legal tasks. I didn’t talk about the whole situation enough yet but basically Prowl never informed Orion about his new quest of suing God. Primarily because he knows that Orion definitely will try to stop him.

It’s kind of like. “What isn’t forbidden can automatically be considered allowed” mentality.

Also MY GOD YES. My favourite part of this au is reading asks like yours:0 Prowl exists in that thin line between being and not being a person capable of his own choices. Orion exists on the thin line between considering him being one of those options. He can’t see Prowl as a “real mech” because he knows for a fact it’s not true. But then seeing him as a tool means accepting that all questionable things he does are Orion’s responsibility.

At the end of the day Prowl is a metaphorical piece of fabric Orion uses to clean his consciousness. In his eyes Prowl isn’t alive enough to be fully blamed for all the bad things he does but he is also alive just enough for Orion to say “it was your fault. Not mine.”

Jazz doesn’t have that dilemma. Uh. Yet haha he will discover the truth eventually of course~. He thinks Prowl is obviously a real mech because in his world magic isn’t alive. It can create an illusion of a mech, sure, this is what all usual golems are, but it’s not smart or believable enough. It’s like one of those tests where all people think they can tell if they’re talking to an AI chat bot because “duh I would obviously know” and then fail to distinguish AI from a real person. Jazz is perceptive but he doesn’t know what to look for. All he knows is that Prowl is somehow doesn’t love anyone but seems to care about of things that aren’t people.

Also it’s a bit unrelated but I find it soooo interesting playing with the usual concepts of magic and technology. Because usually magic is perceived as something more “coming from your heart” and “connected with emotions” while technology tends to be more “soulless” and “emotionless”. And then we have the entire world of robots who think they are alive and magic isn’t :)

[archandshri]

28th June ‘24 - [arch] One Page Limitation??? - My process for Traffic Zine #5

Hello All!

A couple months ago, I got accepted to @trafficzine, a digital anthology of pieces by a large group of artists and writers based on the most recent season of the Life Series. I made this piece back in April, but thankfully I kept some notes of my process. 

Heads up - this contains spoilers for Secret Life :D

We were able to choose our own prompt from a list! For this project, I wanted to push my comic making - especially how to communicate a lot of information in a small space. I went through and watched a few clips from the series to see which prompt would fit a comic and settled on Scott’s death.

As usual, I began by getting some reference images and going ham on some big paper. This gets me excited about the project and helps generate ideas. I go for whatever interests me in terms of medium and subject matter, but I try to use a process that doesn’t let me control too much (in this case brush and ink)

initial sketches for fun and vibes :D

During this, I also took the time to transcribe the scene - I wanted to use the dialogue directly, and see how much I could fit into the single page that I was allowed for the zine.

In these early planning stages I make sure to do warm-up sketches to remind myself of the energy I want to communicate. This also keeps things fun and fresh so I'm not ONLY thinking about page composition and making things 'good'. (the expectation for it to be 'good' kills a project prove me wrong)

Dialogue from the clip + warm up sketches

Next up, I started to plan what panels I have on the page. At this stage, some panels might just be a box with some words, and some may have a sketch if I have a clear composition in mind. This stage is mostly for pacing and plot, so instead of focusing on what the panel and page will look like, I will think about:

what will happen in the panel

it's purpose and

what it will communicate

Sometimes I'll illustrate a string of panels that tell the story and fit them on a page after - but this depends on the project and my confidence with the size of it.

After messing around with these and coming up with a pretty clear direction, I draw a bunch of boxes to see how the panels could sit nicely together. At this stage I might realise I have too many panels, and need to cut a few or come up with a creative solution. Nothing is set in stone at this point.

sketching panel layouts

Now begins the fun! I decide on the layout I prefer and I can start putting planned compositions into the boxes. I often do this digitally, or a digital editing process will be involved.

Once planned, I print these out to do a more refined sketch over. I find that my traditional drawings have a lot more life and character to them than digital ones, so I try to keep the majority of the process traditional, with passes of scanning and digital editing.

I tried a version with her looking out at the distance - ready to face the oncoming battle. But it still felt off. So I turned to my slides to ask myself some questions!!

I tried to think of more things that were working - but I really felt like it was lacking a lot. I was going for this slower emotional feeling because that came more naturally to me, but it just wasn't working for this image. The original clip is quite rushed and chaotic - which would be harder to communicate in a comic format but the challenge interested me. Either way, I knew I wasn't happy with this direction so... i decided to start from scratch! Back to the drawing board!!!

In the previous version, I had cut out a lot of the dialogue, but I decided to go back to the original clip and use AS MUCH as possible. Since passing the bow was my favourite part of that first composition, I really wanted to lean into it as the emotional height and final goodbye before Scott's death. It's a moment to slow down and absorb the vibes :D

I made a list of panels along with their descriptions to refer to when trying to figure out the order of panels. there were SO MANY and it was VERY CONFUSING when they were too small to read.

These thumbnails were super small and would not have made sense without my list, I swear.

I printed this tiny thumbnail out at A4, so I could sketch over it and get a clearer sense of flow. Then began a loooong process of printing out tiny photocopies and rearranging the panels to be legible. It was a difficult balance of communicating busyness while making sure the hierarchy/reading order made sense.

After some tweaking, i printed out an A3 copy to draw my panel borders and text.

Doing this on a separate piece of paper means I don't have to worry so much about messing up the text or borders when drawing the characters. This allows me to be more free and expressive with my illustration.

Woah! Quick trip back in time!! During the thumbnailing process I drew these warm up sketches! I looooved the way the linework came out. I drew this on an A3 piece of paper - and the shocked Gem would, in theory, be one of the smallest panels. So I decided to do a crazy thing.

I touched up the sketch digitally, compiling some of my favourite warm up sketches, some traditional sketches made for the panels, and filling the rest in digitally. Then I printed this image out in QUATERS at A3!! This meant the final sketch layer, printed out was A1!! (aka very large, considering the final file would be at A4, about 8x smaller)

I did this so I could get fairly small detailed lines with my pencil while being quite expressive and firm with my mark-making. Slowly, I dlined all of the panels traditionally and scanned them in. Then I assembled the finished linework on Photoshop, along with the text and panel borders and got to colouring :D

final linework :D

For colouring, I played a little bit with halftone but I found the texture made it feel a bit too busy - the panels are already doing enough. Because of this, I also decided to use a limited colour palette. Here are some images of the colouring process, which I won't go into today.

I'm really happy with how this came out - I think it captures the chaos of the moment, while taking time to linger on the emotion of it. Keeping that bow moment really made it, I think.

I think the last panel is still quite weak. Earlier in the process there was a low-angle shot of Gem about to kill Scott which may have been more powerful, but I think I was struggling with my actual drawing skill when it comes to perspective. A lot of learning how to draw, and in particular with comics, is about knowing where your skills are at, how to utilise them best and how to test and push them.

I'm glad that I started again, instead of finishing that composition I wasn't happy with. It was a tough project but I learnt sooooo much from it, and it's been essential skill-building for.... the current comic I'm working on (stay tuned!!! :0) Thanks for reading this incredibly long post! Go check out @trafficzine and look at all the other cool art Cool vibes and silly men,

Archie :D

[damnflirtyape]

Caesar is the only character in the POTA (the film and TV universes at least) where we see so much of one character's life. We meet him as a literal newborn and follow him into childhood and adolescence, then as an established adult leader with a wife and an adolescent son of his own, and almost into middle age and to his premature death. We're deeply involved in his life as an audience, Andy Serkis doesn't just play a chimp, he plays out that chimp's entire life, and the unique changes and growth that character experiences. And it's impressive and incredibly moving.

[son-of-avraham]

Can you talk more about how you decided to convert through conservative judaism over reform and what the process was like for you? I've been going to a reform shul for a while, to the point where I know everyone who regularly comes and I also love our rabbi. It almost feels like a second home, but I realized recently that I think I agree more with Conservative views on halacha and would prefer converting through that stream, but I also don't wanna leave all the nice people I've met so far, and also the nearest conservative shul is over an hour drive away :( I thought I'd just convert through reform anyways but maybe talk about keeping a conservative level of observance for my conversion, but I feel like it would be dishonest to convert reform if I don't agree with their fundamental views on halacha and such. It's hard thinking about leaving the community I love, but I also feel that I'd get more of what I personally want out of Judaism from a conservative conversion. Would really love some advice on navigating this if you're willing!!

I'll preface this by saying that this is included in my FAQ, so if you want to check that out, you might get more information that I might have forgotten to include here.

What I fundamentally believe people should do in the conversion process is to do what is accessible to them. If reform is accessible to you, I don't see why you would have to upend yourself and leave behind your pre-established community.

To me, movement means very little. If you've converted halachically (which reform absolutely can do and does), you've converted. You can be a reform jew who follows or believes in a myriad of things - I doubt a rabbi is going to say, "now, I want to convert you, but you don't believe only in the Reform Positions, so it looks like you can't be converted." If anything, a rabbi would be thrilled to hear what your positions are and why. It reminds me of my ITJ class where the presenting rabbi asked if we believed in g-d or not. She literally balked about how none of us voted "no." She was amazed.

I only decided to convert through the conservative movement because it was the most accessible to me. Nothing about the conversion process changed because I chose conservative - I'm still working with a rabbi, I'm still engaged with my community, and I will stand before a beit din and immerse in the mikvah. If I could let you in on a secret... If movement didn't matter to others, I wouldn't even put which movement I'm affiliated with on this blog.One of the most important things in jewish conversion and jewish life in general is having a community. It sounds like you've found that - it isn't dishonest to be in community and to just be yourself (yes, even if you disagree with some aspects of different practices - two jews, three opinions, anyone?). Plenty of people in my conservative shul are more frum than others, and some are less frum. Even within your own movement, your practices will look wildly different than other jews of the same movement. In actuality, we're all starting from more or less the same starting point which is judaism. You have a lifetime to explore the mitzvot and see how you will practice. Nothing about that is inherently dishonest or disingenuous.

[chialattea]

(Like an aged wine connoisseur) I admit I’ve been quite partial towards Mylo recently….

(She’s @immortal-raine ‘s daughter) also some shenanigans doodles but idk if I should tag Rhea as well she’s so tiny,,,

[kaurwreck]

y'all stop saying fyodor has never looked so sincerely angry before. he has.

I know this because, and this is not an exaggeration, the vast majority of my manga revisits are to enjoy his expressions of anger, disdain, and malcontent. i shit you not, several of my bsd meta posts wholly unrelated to fyodor were written because I happened to notice something else while flipping through to imbibe fedya's hissy fits. I don't reread the manga when I do this, just those scenes, unless something else catches my attention.

anyway, stop disrespecting my beloved pastime.

[deoidesign]

Can you make a tutorial on how you world build and make ocs? I can't seem to make any people in my brain, but then when I try to come up with environments jobs, beliefs and little details to slowly come up with someone, I think: well I don't really know how people have influenced the world- it's a weird loop

To be honest, I don't think I can! Writing is an extremely personal process. The way I write is directly related to how I process things, what I find important in stories, years of my own analysis of my and other's writing, etc... The way you write will be unique to you, as well. But I can explain how I personally think of it.

The short answer:

Write. Write anything and everything, it's a tool to explore your ideas. Analyze your own writing, and write more. Then, as you discover which ideas you want to develop, write more to explore them more. You won't know what you want otherwise!

The long answer:

I think this kind of loop is common. It's easy to feel like everything needs to be done "at once," because our job as writers is to make elements logically fit with each other for our readers. But as you've discovered, developing multiple elements simultaneously isn't really possible, or at least is extremely difficult.

Personally, when I think of writing, I break it into three major elements; characters, world, and plot. As much as possible every scene explores one or more of these, and as much as possible these three things tie back into what I personally consider most important: theme.

Everything I do is in service of the themes I want to present. Without them my events feel aimless. It can take a while to discover them, but they're the core of my work. You will have to discover what you feel is the core of yours. Analyzing other media helps with this too.

Concepts in your brain exist in a state of infinite potential. But when you start writing you have to start making choices, which removes potential as you move forward... But you have to move forward anyways. If there's ideas you want to explore later, you can always explore them later.

What this ends up meaning, to answer your question, is that I don't think of my characters as "people in my brain" or my worlds as something people have influenced... Not at their core, at least. They are tools that I use to represent specific ideas. Obviously they're also my blorbos, but mostly they're serving a specific narrative purpose.

So above all else... Write. Write, and discover what you're writing about, and then start over and write with that in mind. Keep doing this. But you have to write!

[scionshtola]

btw i do try to be thoughtful and respectful of the cultures that inspire cori and my other ocs and their depictions but i def will not be upset if anyone points out something harmful or disrespectful i may be doing

[wesslan]

diving headfirst into pixelart for a game me and my boyfriend are making!!! first tries at tiles, and a funky little self portrait just for funsies :D

[prettyboysdontlookatexplosions]

another thing i constantly expect to be more helpful than at this point i have reason to believe it will ever be is telling kids to think about quarters when they multiply by 25. again to me this is a very intuitive leap and if you ask most kids older than like first grade (and even some first graders who've done a money unit) how much is like 7 quarters they can tell you. but they simply will not connect that to 7 x 25. they just won't.

[journey-to-balance]

My life's inner work, or shadow work, has continually consisted of doing the work of cleansing the window of my mind, that it may become a mirror reflecting inspiration from the most High.

I do this, not with strenuous effort, but through quiet contemplation, through gently reaching and affirming an inward recognition.

Today I walk in the pathway of inspiration. Said inspiration intuitively guides my creative processing of ideas. I honor my boundaries, personal space and privacy so as to not ever step out of the creative flow of energy I've devoted myself to. There is an inspiration within me which governs every act, every thought, with certainty, with conviction and in peace...

Reflections, Our Journey to Balance

[thepersonalwords]

Each of us wages a private battle to thrive. Whenever a person fully immerses oneself in life’s aromatic flower garden of pleasures and encounters life’s warship of armor-plated rigors, they blend and bend to make reasonable accommodations for surviving. Scripted and unscripted encounters with superior militant forces bruise us mightily and eventually cut us to the core. Every person’s life contains a minefield of obstacles that function as potential barriers to achieving our ultimate manifestation. The expended labor of continuously hefting oneself over one contentious hurdle after another is what leads a conscientious person onto the path of needing to write in order to create emotional poultices to ameliorate painful wounds.

Kilroy J. Oldster, Dead Toad Scrolls

[cyanityinsanity101]

Listen- hear me out. I was just thinking about this, If these two had been given more development with eachother in lemon overboard they could have been gay /hj

[acrawlingdove]

eastward update/writer’s ramble: ever since it went on hiatus, i have been working HARD on it, creating a checklist for things i needed to edit, letting it marinates for days at a time before coming back to check it with fresh eyes, i even connected one dissonant theme to the main one, and when i did that, i felt like i could BREATHE fr. now all that’s left is to write the last chapter

(stumbles drunkenly into room, ramming into door frame, before collapsing face first) ANOTHER LONGFIC IS NEARLY COMPLETE!!!

[archandshri]

23rd Feb '24 - [arch] OH RISO my beloved!!!!!! ft. cyberpunk hermitcraft soup group

A cliffhanger!!!! And now I have to wait a month for you to upload the second half?? How will I cope :’’0

For real, it’s so awesome to see your process and the sheer amount of inspiration you take! In particular, I thought ‘Sit on Two Chairs’ and ‘This Was Our Pact’ were particularly yummy. 

I think book covers are really hard. You have to sum up a book’s energy in one image, make it stand out and show just enough so people want more. Exploring the narrative through those full pages is really interesting - though this is something you did for fun, it could be a really useful technique for getting to know a narrative. When I’m designing my comic covers, I always do it last - that way I’ve had practice with the visual style and I’m thoroughly familiar with the themes, so I guess spending a bit of time with the characters and narrative in this way helps for standalone book covers too. Of course, it helps if you have the time for that XD

Okay!! Onto what I've been up to!!! [warning this is a beefy post I'm sorry for your poor reading brain]

The past two weeks have been really enjoyable! I’ve been playing a lot with slow world-building, in sketchbooks, google documents, and voice notes to friends. Letting myself really sit with concepts, think about the characters, let them play in my head with no expectations. With this relaxation and lack of pressure, some beautiful narratives and interactions have been developing. I’m starting to need a name for a world/ the story. I’m not quite ready to give them a full introduction to the internet - I know it doesn’t but it feels like there’s some accountability to *produce something* and this slow development is really important for the quality and my skill building. It’s really hard to take on, but we actually don’t have to make the perfect thing now! In fact, it’s impossible. Pressure on ourselves makes it so hard to make something good if we’re always grasping at the final result.  In the meantime, while those characters develop, I have been working hard on my basic skills. I wrote about characterization last post, but this week I focused on setting and colour. I was inspired (once again) by Hermitcraft. I’ve seen some really incredible illustrations of Minecraft builds in the fandom, and it seems like a great exercise.

Bdouble0's Season 10 Base illustrated by @applestruda [source] and The Red Zone, built and illustrated by Bdouble0 [source]

One of the creators on Hermitcraft, ImpulseSV, created this build in a recent episode. It takes inspiration from the last season of Hermitcraft, where he was part of the ‘soup group’ with two other players, and his current base concept - a cyberpunk city.  I also LOVE his new character design, so I wanted to place him in the scene.

Screenshot from Impulse's video and new impulse design by @maxx-doodles

Here are some initial thumbnails I did, trying to figure out the composition. I wasn’t sure of the vibe yet, so I tried some rough thumbnailing, and drawing on an isometric grid and other perspective techniques. I’m going a bit mad for characters at the mo, so I wanted to place some in the scene. I found the angle of the isometric grid steep to place characters comfortably, so decided against that.

Looking back at it, I love the second! But I believe I was struggling with the perspective. I decided on the last one eventually.

Now, I absolutely adore all of the players in the Soup Group, and I am BIG fan of redesigning their notable characteristics to suit different settings. So yes, I decided to put all of the soup group in the image.

PearlescentMoon (left) from my comic and GeminiTay's Hermitcraft Season 10 design [from this thumbnail] (right)

Here's the sketch of the final image. I really enjoyed coming up with cyberpunk versions of them all. I used the impulse design almost exactly, with a few extra interesting details since he's mostly viewed from the back. For PearlescentMoon (middle) I kept her fringe, dark hair and gave her a glowing moon symbol on her top. For GeminiTay, I kept her long ginger hair, antlers (but glowing!) and took inspiration from her new season 10 design - a dark blue jumpsuit to match her dark blue clothes in her new design, and the braids she is often drawn with. I also gave them edgy new hairstyles. And a robot arm. I don't have lore for that.

As usual, I filled each flat colour-to-be with black and lowered the opacity to play with the values. Then I added colours one at a time, aware might be riso printing it. Originally I stuck to trying to make it printable (making the colours out of ones I could make my layering 2-3 colours at different opacities), but as I went on, I decided to drop that and focus on the quality of the image in a digital format alone. I did keep the grayscale version above with all the separate layers in case I needed that if/when I came to riso printing it. Below are the main two digital colour schemes I tried out.

I settled on the one on the left, with the blue tones - the foreground characters really pop. I put a few details in Gem's hair, colour variations etc, and cropped it for Instagram. I actually much prefer the cropped version - it sits better in a rule of thirds.

Now the moment we've all been waiting for :'')

RISO!!!!!!!!!!!

I returned to Cardiff after a couple of months away and was delighted to spend my first day back at The Printhaus, an awesome shared print studio where I have basically made my home. A few of my awesome friends happened to be there, so I spent the day playing around with this image with their help! (please check them out they're very cool - Gavin helped me a lot (we hung out at Thought Bubble, remember? and Rhi gave good crits too!!)

For those who don't know, risograph is basically a shitty photocopier that can only print one colour at a time. However, you can play with gradients and opacities, and layer colours really nicely to combine. I've done a lot of single-colour tonal work with riso but this is my first go really layering.

First, Gavin showed me how to separate the channels in Photoshop, using the flat image uploaded to the 'gram. We copied and pasted these layers in grayscale and added blending modes to each layer to replicate what they might look like when printed.

With blending modes, the digital mockup looked like this!!

This bit goes into technical details for replicating what the print might look like for those who might want it - feel free to skip :)))

I copied and pasted the Cyan, Black and Magenta layers as greyscale (as you can see above)

I made all of the greyscale layers multiply layers since risograph ink is transparent and we wanted to see how it layers. The ink usually comes out a bit lighter than you think, so it's good to bear that in mind. I used a clipping mask over each greyscale layer and a blending mode. WHEN YOU PRINT, PRINT IN GREYSCALE, NOT COLOUR.

Here's how I split the colours from CMYK to the riso colours, their hex codes and the blending mode I used to replicate the colours:

Cyan - Mint [HEX#82D8D5] Screen Magenta - Fluorescent Pink [HEX#FF48B0] Screen Black - Blue [HEX#0078BF] Overlay Yellow - scrapped for colour scheme purposes

Blue, Mint and Florencent Pink layers in greyscale in Procreate.

Riso printed Mint and Florescent Pink layers on separate paper, followed by the two layered together.

We always start with the lighter colour inks first, because sometimes the rollers can pick up the ink and cause extra marks where you don't want them. The first two colours came out great!

The first time we printed the blue, it came out very dark (left, first image). I have had this issue before - my last book, Winter Wellbeing, came out much darker than I wanted. Now I realise that the blue ink is super sensitive. All the 'white space' that is covered by a low-opacity blue on the left is only 2%, and yet it has come out pretty strong. We tried printing it on one of the misaligned images just to see, but it took all of the brightness out of the neon soup sign at the top of the image (second image). So I changed the values and pushed them way lighter, so it just pushed the values of the darker bits slightly, and brightened some of the lineart (right, first image)

And this is the final riso printed version!! I'm so so happy with how this came out. It's so different from the original digital version, and I actually love that.

I didn't create new colours in the way that I intended to - I wanted to play with overlaying purposefully to create specific colours eg. orange for the hair etc. But!!! I'm really happy with how it came out. That will have to be a project for next time.

Also, many copies are slightly misaligned, so in future I think I'd do flat layers for the colours a more blobby style with the linework on one layer only so there's less of a chance for obvious misalignment. design for the riso, rather than riso the design.

Overall though, this feels like a super cool step up and a milestone for me. Super happy with how it came out!! And I'm excited to play with colour some more. Can't wait to see the rest of the Lionheart brothers! Enjoy your weekend :)))

Archie 🕺🕺🕺🕺🕺🕺🕺🕺🕺🕺🕺🕺 <3

[blackjackkent]

Slowly discovering the freeing power of the words "I know this is bad but I'll fix it in editing."