#i want to draw my blorbos here

[almond-tofu-chan]

hey. find YOUR amazing gay man.

[wardingshout]

drawing some leaves is soooo good for the soul

[sketchy-tour]

Redrew some of my old daycare attendant doodles as stress relief today

[rorydrawsandwrites]

Hee hee hee... it has been finally done

Not the first to be inspired by this fic (and definitely not the last, especially once it continues) by @wakebymoonsleepbysun, but I just had to sketch some of the moments in it

Don't mind the fact that he looks different on every one of these... I was still uh... figuring him out ^^"

I could just envision every scene so clearly, no doubt thanks to the vivid writing!! I was very charmed!! And I love AUs where we get to save him in some way, he (they) deserved so much better. Doey being so small is of course adorable, 10/10 would store him in my shirt pocket and feed him whatever he'd like

Though I saw he'll return to big boy size eventually... ah well

And oh yeah here are the paragraphs these are referencing, in order:

[justheblueberry]

loyalty and guilt

from where the apple falls by @jupiters-junipers

[wanderingibon]

hunter vanguard 🌌

[gwinver-art]

Oh hey I don't talk about things I like often enough, so, here are some of the characters I like very much :D

Also putting the individual portraits here if you want to click on them, I spent time on these

[randomfandomss]

Ohh well I came across some Japanese menswear references on twitter and the next thing I knew....

Professors AU!

[moeblob]

Nines: ... you make a solid case, Sixty.

[littlepikmins]

I'm thinking about a somewhat similar setup to The Summer Hikaru Died, but as Tim and Bernard.

Essentially, the TimBer version would be like, "When your boyfriend gets sacrificed by a cult and turns into something else entirely."

Everything is the same up until Bernard is about to be sacrificed by the cult. Tim is moments too late to save Bernard, and the cult leader stabs him, but Bernard doesn't die. Instead, the ritual causes Bernard to inherit the powers of Dionysus, but not Dionysus's consciousness.

Bernard freaks out when he sees the knife has stabbed through him, but he's not bleeding or in pain. His panic causes his new powers to activate and vine like purple tendrils appear from him and lash out at the Chaos monsters.

Tim struggles to get close enough to Bernard to calm him down while dodging the attacking vines. In the chaos, most of the cult members that surround Bernard either die or are badly injured. Tim hears police sirens approaching and chooses to take Bernard with him somewhere safe and away from others for the time being.

Tim ends up taking Bernard to a secret safe house he set up for himself a long time ago so they can talk through what happened. Bernard is understandably upset and tells Tim to stay away from him because he's scared he might accidentally hurt him.

He also tells Tim he doesn't feel right, like he doesn't feel human anymore, and it scares him.

Cue angst and Tim hiding what happened from the other Bats to keep Bernard's new powers and what happened to him a secret. Also, there is gay shenanigans of course 😁

[chiropteracupola]

Make me a boat of elm and I’ll row myself to sea / Soon I’d miss the anchor that never let me leave / Thinking on my darling, lonesome at the helm / Oh, make me a boat of elm, a boat of elm...

my half of an art trade with the amazing @emilybeemartin — here's Colm, from her trilogy Creatures of Light! ...from longstanding tradition, we know full well that I will always be found drawing the most melancholic boatsguy you have on hand.

[lucabyte]

Psst. What's your process for Comics? I would like to Know (Because your ISAT comics make me a little bit feral and I would like to learn)

Okay so the cop out answer is: i basically wing it every time since im very very new to making comics and my method is still evolving. but that's not helpful and i like to yap so ill talk through My Method anyway

So first of all: Ideas.

All my ISAT shit is like. extremely dialogue heavy & mostly focused on the same like. 3 topics and philosophical concepts over and over lbr. So mostly when it comes to drafting that I'll just let my brain bash the dolls together until i notice either 1. a fucking banger line (this usually becomes a punchline i then work backwards from when writing it out) or 2. that i keep coming back to the same like 'scene' in my mind.

(I'd love to know. how to make this work for like. OCs??? But I haven't quite cracked that one yet sorry)

For the former though what usually happens there is I write things out on my phone (this happened with the bonnie-centric ones a lot?) or i'll leave a voice note for myself. Or, if i'm at my computer it goes straight into notepad, which is where everything goes before i draw it.

so these are just like. Disgustingly strewn about on my desktop. But this is how i type up the comic scripts, which I do before i put the dialogue in csp because csp's text tool sucks ass, but you can see how these end up having Some Semblance of the final formatting? Some more than others. But they don't have much consistency in how i'm tagging the dialogue LOL. (bonus: one of these i never ended up making. because i come back to the same wells SO FREQUENTLY that it gets embarrasing to retread sometimes) Then I just... screenshot the notepad file and paste it into a csp window LOL.

So I've pulled up three comics just because theyre like, recent ones? (Links to all 3 -> x, x, x) And oh yeah immediately they're rather inconsistent. But this is the level of detail i do in my thumbnails. (Hello Golf Ball Loop) MOST of my long ass comics look like the first one though, and all of them follow the same thought process.

I will take the dialogue, and then just draw a panel that i think works with it. Then move onto the next line, and the next. Basically thinking mostly in speech bubble placement rather than anything? But I'll just keep... going downwards until it is done. You can see the speech bubbles tend to include either nothing or the vaguest indicator of what's inside them.

(The third one here is an outlier because iirc I actually had this very visual idea while drawing something else and went to go quickly draw it out so the text actually went right into CSP bc there was so little of it. But it was still panelled really sequentially for what action I know I wanted in each panel.)

Overall this is probably because of my habits from learning animation? I thumbnail as if im storyboarding, if that makes any sense. Or is any different to how people usually do it, anyway.

My friends who actually read comic books have told me off already for my vile leaning-tower-of-pisa bullshit formatting. I understand their criticisms because genuinely what the fuck am I doing half of the time? I like it though lol. It's a reflection of how stream-of-conciousness my workflow tends to be, but fuck if it means the aspect ratios aren't the wooooorst LOLL

Then i resize the thumbnails to be roughly 1920px wide, aspect ratio be damned. And at this point I usually also have to draw a big grid so that i can align the comic and make it not on a weird tilt. The most thought that goes in here is that I try to avoid making panels too samey in layout from line to line, and try to keep vaguely to making panels the same-ish height but a width of the page either in halves or thirds. Making it so they aren't completely inconsistent sizes does a lot for making things not look too sloppy.

My first sketch over the thumbnail usually is neat enough to be The Final Lines because I'm impatient. EXCEPT when i realise its going to get Fucking Complicated at which point i pull out the CSP models and my beloved cubes. Then i take a billion years to pose a consistent scene (and often realise where I need to cheat angles. Like for loop reaching down to sif's face. That doesn't make sense in 3d space so I had to cheat). This is basically par for the course whenever I want to do a scene where there's Any consistency in character positioning and they aren't just Talking Heads.

THEN. After the sketch (which was done with speech bubble placements in mind back at the thumbnail stage) I will finally put in the speech bubbles. This usually means re-sketching them, then putting the text down and doing all the typesetting (VCR mono looks very ugly in CSP a lot of the time so I fuck with the spacing of individual letters a lot) and THEN redrawing the speech bubbles around them properly.

Sometimes I'll fuck myself over here and have to move stuff but ideally, if I weren't working like some kind of fucking barbarian, I'd do the speech bubbles before finalising the lineart. But I don't on account of going straight from thumbnail to final lines. You'd do this during the sketch stage if you were normal.

then it's finally panel border time. And then when I get to this stage I just make like. another few new layers above everything but the text where i just clean up. Everything that I had neglected while drawing. So any extra white lines or places where i just think things look bad and i want to redraw them entirely. I will also sometimes literally make a flattened copy of an entire panel to just move it around slightly. It's a deeply evil part of the workflow and i apologise for it. But also it's the major benefit to drawing in straight black-and-white with no tones. It means i can just overdraw anything that is unclear in the end.

(and reposting again Links to all 3 -> x, x, x for easy comparison if u want it)

ANYWAY for further reading. I know I've already stated these before somewhere on my blog but for ease of access... The major inspirations for how my comics Look are as follows:

1. tumblr user Floralmarsupial's homestuck comics found [HERE]. She did a LOT of straight up black and white comics that are ingrained deep in my brain at this point. These are always in the back of my head.

2. Leo Fox [LINK] regularly gets really strange and esoteric with overlapping panels and unorthodox layout. I stared at these a lot when i was starting to make the first couple ISAT comics even if i'm not going nearly as abstract as him

3. tumblr user the-hydroxian-artblog's comic Hangin' Out [LINK] has GORGEOUS typesetting and their art in general uses a lot of speech bubbles that convey some really funny shit by just resizing the text in funny ways. Gold standard for emotive typesetting and also their lin weight and b/w illustrations are gorgeous.

4. sonic the hedgehog idw keeps me humble and reminds me to make the speech bubbles fucking SMALLER. if im left to my own devices i make speech bubbles and fonts WAY too big so reading a cleanly formatted professional comic book for children reminds me what i should be aiming for in legibility.

anyway hope this helps? the answer really is "fuck it we ball" tho

[cobaltfluff]

happy crossover christmas to me !!! left: crossover / right: AU :3c

[eating-figs-here]

Shoutout to the uh. Three other people who enjoy platonic Traveler/Wanderer. Anyways. This is an excuse to post low quality paper drawings that I did while procrastinating school work.

The power of not wanting to do work.. where was this motivation during the summer...

[grif-hawaiian-rolls]

rvb furries almost won the wip poll but it tied w reds feds n wash so you get

Reds, Feds and Wash- furry edition

[moonlit-dreamers]

first time ive actually properly drawn v2

hangin out with imo creature <3 (creature made by @imnotherelmao)

just two narcissists in a room together. wonder what theyll do. (give each other supply <3)