#me after my art style changes with every post

[splatixboi]

I’m brought here due to the intense feeling of dread and doubt I experienced some time after posting my newest Hua Cheng artwork.

This is a gentle cry to the TGCF fandom, I would greatly appreciate your opinions on how I draw Hua Cheng before I stew further in my self doubt. 🥹🙏

•••

The way I draw Hua Cheng is… unconventional. He was my first experiment at surpassing same-face syndrome. But… I already struggled making him look… “normal” when my art-style was semi-realism or highly stylized. Now that I’ve picked up realism… it’s… much harder.

This is a collage of all Hua Cheng works that I felt were presentable enough to use as examples, including some unfinished pieces.

The terrible amount of inconsistency aside, one of my biggest questions remains: Is the way I draw Hua Cheng, ugly? Unappealing? I even worry that he doesn’t look Chinese the more I draw him, despite the fact that I reference real people every time I try and tweak his design.

It’s something that gnaws within me quite often. I feel that it’s cemented by the fact that any time I post a piece featuring Hua Cheng’s face in the spotlight… it hardly gets recognition. It’s left in the shadows.

I could just change how I draw him. I could just make him “normal” like everyone else. But despite all my frustrations, the inconsistency, the doubt and self loathing… all of the flaws I can’t figure out how to fix…

I am deeply attached to how I draw him. It would feel… wrong, to suddenly take all the character I’ve built for his appearance and strip it down to TGCF Donghua levels of basic.

•••

So, here we arrive to the point of this post. Feedback.

I want to hear your opinions. I want to know how you feel about my vision for Hua Cheng. If you can pinpoint something that’s off, if you can suggest anything you think would make him better. Please, please do. My own eyes and brain aren’t helping me better myself, I’m creating this art not just for me to enjoy, but for the fandom as well.

So your opinions matter greatly if it means I can draw a Hua Cheng with a design that I’m able to love, but that you all are able to love as well.

I’m sorry that this post was so long. I hope that doesn’t inhibit it from being seen. If you read this far, and wish to leave feedback, thank you. It’s just been so frustrating getting my design for Hua Cheng to a place I like, but failing so miserably.

[here-a-lee-there-a-lee]

sorry sorry sorry! here’s my apology @writandwit! haha….😜

[andhumanslovedstories]

There's so many horrible things happening in America right now that it has been interesting to see what individual horrors hurt me personally the most. I grew up going to the Kennedy Center for the Performing Arts. Musicals, plays, concerts, that weird bust of JFK, playing around on terrace during intermissions, putting on a velvet dress that you're going to ruin dropping a milk dud in your lap and not noticing until it's fully melted, wearing the pinchy shiny shoes that are the training bras of women's formal footwear, operas I didn't like but did love, jazz I didn't understand but still fascinated me, red carpet, big stairs, the absolute nightmare amount of experiences I had as a new driver as I repeatedly got trapped in the Kennedy Center's fucking private DC island or whatever the hell is going on traffic-wise, free performances on small side stages, getting to see an enormous production on the Center's most enormous stage, all of which was accessed by walking through that a long, tall hallway lined with flags of the world that made you feel like a dignitary attending the most important even in the world.

And now Trump's taken it over. He fired its board. He appointed one of his loyalists to run it. I want to throw up.

Sometimes I miss DC so much. I love the Pacific Northwest and expect I'll live here for the rest of my life, but this isn't my hometown. I grew up the edge of the District. I've lost cumulative years of my life stuck in traffic on the inner loop and outer loop. Because of the Smithsonian, it used to be so baffling to me that anyone ever had to pay to get into a museum. I've used the Washington DC zoo as a shortcut to a different part of the city because it's free to enter. You couldn't count the amount of knockoff Spider-man popsicles that I've eaten sitting on the steps of the Lincoln Memorial. My reading tastes were molded by Kramer Books in Dupont Circle. I spent afternoons walking around the National Mall, normally just a big empty field until there's an event--book fair, country music program, international cuisine, whatever--at which point for a day or a weekend or a week it becomes a sea of tents and stages. I went to protests outside the Capital and the White House about the war in Iraq. I froze my toes off watching Obama's 2008 presidential inauguration.

It seemed like everyone's family touched the federal government in some way. Everyone's family had moved here because they were military or state department or a political consultant or worked with an NGO or some other reason that meant you had to be here, in the nation's capital. Plenty of people had connections to the federal government that we more hush-hush. Like kids in class straight up going, "I have no idea what my parents do for a living. They're not allowed to tell me." High schoolers regularly, accidentally drove into the CIA parking lot and got escorted out because the premises were that accessible. My family moved here because my dad is a reporter who ended up covering international trade. (Imagine how much his job sucks right now.) He switched beats one summer to cover the White House instead. He got to fly on Air Force One. He got official Air Force One M&Ms. I was SO disappointment my dad didn't work there for Bush to call on him by nickname.

Every day my family got The Washington Post. I read the comics and the kid's page, then the rest of the Style section, then Metro, then news. I learned to read from it. We wrapped our delicate Christmas ornaments with its pages. We used yesterday's papers to clean our windows because they didn't leave streaks. I took journalism in high school. You can't IMAGINE how much and how frequently we talked about Watergate. When Post changed its motto to "Democracy Dies in Darkness" after Trump's election in 2016 that meant something to me. I knew Bezos owned the paper now, but that was still my paper, and the motto spoke to something I fervently believed: if people just knew what was happening, they wouldn't allow it to happen. If you expose a problem, people will naturally agree that it is a problem and that we should do something to fix it. Flash forward to Trump's third fucking campaign, and the newspaper wouldn't endorse a presidential candidate. Chickenshit cowardice. Then they change the motto. "Riveting Storytelling for All of America." Eat shit. You're nothing now.

Politics in America is just telling everyone how much you hate Washington, DC so that they'll elect you so you can move to DC. Well, guys, the city fucking hates you too. Republicans will never give the District actually meaningful political representation because no one in that city would vote for them. It's not just the policies; it's the contempt. No one in the new administration loves the city they schemed and lied and stooped to take over. It's just iconography to them, and all they care about is taking that iconography for themselves. Trump doesn't give a shit about the summer program for the Kennedy Center. He has never seen a show at the Kennedy Center. When he was president, he never attended the annual awards. He's trying to destroy one of the most significant places of my life and I'm genuinely unsure if he has ever stepped for inside of it.

[art]

Creator Spotlight: @camberdraws

Hello! My name is Camber (any pronouns), and I’m a mixed media illustrator located in the southwestern United States. I love drawing everything, but I have a special interest in depicting strange creatures and environments, often accompanied by abstract imagery and mark-making. Professionally, I’ve worked creating concept art and 2D assets for museum exhibits, but currently, I am engaged full-time as a software developer and make standalone illustrations in my free time. I’ve been posting art on Tumblr since I was a teenager, and the site has been very welcoming towards my work to this very day!

Check out Camber’s interview below!

Did you originally have a background in art? If not, how did you start?

I’ve had an interest in drawing since I was barely sentient, but at thirteen years old I decided to become “serious” about art. I was all about reading tutorials and doing a ton of studies. I would tote my heavy instructional art books to school every single day (my poor back!) Despite all this, I decided to forgo art school in favor of a bachelor’s degree in Computer Science at my local college. Alongside my major, I received a minor in Art Studio with a specialization in fine art, which totally changed my views on creating artwork and drastically changed my style.

How has your style developed over the years?

As mentioned previously, my style did a 180 after I studied under some very skilled fine art professors! As a kid, my drawings were very realism-heavy and inspired by video game concept art. I mostly worked digitally, too. During college, I was thrown for a loop when we were instructed to do strange things like, for example, make a bunch of marks on paper using pastel, WITHOUT looking, and then turn said marks into a finished piece of art! I quickly and deeply fell in love with abstract work, and especially appreciated images that are not easily parsed by the viewer. Since then, I’ve made it my goal to combine abstract mark-making with more representational subject matter.

What is one habit you find yourself doing a lot as an artist?

Hmmm, one habit I really enjoy as an artist is strictly tracking the amount of time I spend drawing! I currently work a full-time job wholly unrelated to art, so I have to be careful with my time if I want to spend enough hours drawing each week. I created a spreadsheet that allows you to enter the amount of minutes you’ve drawn each day and calculate how much drawing time you still need to reach your weekly goal (I aim for 20 hours a week.) Having such a clear, numbers-based objective keeps me motivated to work like nothing else!

Over the years as an artist, what were your biggest inspirations behind your creativity?

I know this is a common inspiration, but Hayao Miyazaki’s work has been rewiring my neurons since I was a child. Seemingly all of my artistic interests can be summed up by the movie Princess Mononoke: it has strange/abstract creature designs, a strong focus on nature and environmental storytelling, and a mix of dark and hopeful themes. Additionally, I’ve been deeply inspired by video game series such as Zelda, Okami, Pikmin, and Dark Souls. But arguably, none of these have influenced me more than Pokemon! I’ve been drawing Pokemon since I could barely hold a pencil, and I haven’t stopped since! I believe my love of designing creatures originated with my endless deluge of Pokemon fanart during my childhood.

What is a medium that you have always been intrigued by but would never use yourself?

I’ve always been fascinated by 3D mediums and am so tempted to try them out! Whether that’s 3D models created digitally or sculptures made from clay, I profoundly admire artists who have this skill. Oftentimes, it feels like I don’t have time to delve into a totally different artistic paradigm. However, I feel very strongly that learning new skills can enrich your current work. I should take that advice and someday give 3D mediums a shot!

What is a recent creative project that you are proud of?

I am in the process of creating an art book (a dream of mine!) and have been executing smaller drawings of concepts I find interesting from both a visual and storytelling standpoint. A recent drawing for said book is that of a snail made of ink with an ink bottle as a shell, and it went absolutely viral! I’ve never had an experience like this as an artist before and it has been spectacular! I was able to open a shop using my newly acquired art printer and sell many prints of my snail. Creating something original, directly stemming from my interests, and having that resonate with so many people has been unreal. I couldn’t ask for more as an artist!

What advice would you give to younger you about making art that’s personal or truthful to your own experiences?

I would tell my younger self to chill out and experiment more! I was so caught up in the idea that I needed to have a realistic style to be considered “good.” I also believed that technical skill was the only measure of how worthy my art was. That’s not to say technical skill doesn’t matter, but I now firmly believe the creativity and voice of your ideas far outweigh the skill of execution in terms of importance. Technical skills should elevate ideas, not the other way around. Once I began to revel in strange ideas and stories for my work, depicted oftentimes in odd styles or mediums, I truly found my voice as an artist.

Who on Tumblr inspires you and why?

My peers here on Tumblr inspire me more than anything! Sharing my work with contemporaries and giving each other support brings me joy like no other, and keeps me motivated to continue creating. I wouldn’t be where I am today without them! @beetlestench, @theogm-art, @trustyalt, @ratwednesday, @phantom-nisnow, @svltart, @mintsdraws, @mothhh-hh, @jupiterweathers, @thesewispsofsmoke, @picoffee, @fetchiko, @kaisei-ink, and @pine-niidles just to name only a few!

Thanks for stopping by, Camber! If you haven’t seen their Meet the Artist piece, check it out here. For more of Camber’s work, follow their Tumblr, @camberdraws!

[coraltinyrose]

FANFIC DATA [15 Minutes to Save Him]

Most of the images I made for the story. Keep scrolling for close-ups and some new sketches.

FANFICTION DATA (4-june-2025) 🕙Title: 15 Minutes to Save Him 🕙Genre: Romance (F/M) 🕙Style: Canon rewrite 🕙Main pairing: Ranma x Akane 🕙Length: +20K words 🕙Ranking: Teen and up 🕙Where to read: ·AO3 - Fanfic with embedded fanart [Read here] ·Tumblr - I will share one fan art or so + a text excerpt for every chapter released. So it works as notifications. ·(Maybe FF.net - Fanfic with text only [account]) Summary: Ranma makes life plans right after the battle in China, but his daydreams crumble when darkness swallows him. Meanwhile, Akane witnesses his decline and is undeterred by his new, closed-off behavior. She'll uncover the root of his change and help him, even if it takes a counterintuitive approach! But will their secret 15-minute deal work? And can she keep taming her hopes of reciprocated love? ------ Progress update (4-June-2025) The fanfic started its release on AO3! See the cover and get further updates in this new tumblr post. Progress update (29-May-2025) New art at end of post. Fanfic edits/beta ongoing. Progress update (18-May-2025) Beta checks are ongoing, which made me start rereading the manga (focusing on specific parts) to improve a particular character's arc. I'm happy I can follow it in Japanese decently well! Level up~ New art added to this post.

Progress update (13-May-2025) -Cover art and some other sketches done -Publishing system decided -Beta reading pending

Progress update (8-May-2025) Drawing art while waiting for beta reading. Cover WIP added at the end of this post~

Progress update (2-May-2025)

The first chapters are as polished as my current skills allow, and they’ve already had some beta reading—kyaa~ (TYSM! @luna12-ranma-akane-otp ). The rest of the fic is also pretty far along, totaling 18k words.

Again, don’t expect regular updates from me, but know that things are happening behind the scenes.

Progress update (27-Apr-2025) The project is progressing nicely, but that means fewer posts as I keep editing the fanfic (not drawing art). Don't worry if you see me post less in the next days/weeks. I added a new sketch at the end of this post's close-ups!

Progress update (24-Apr-2025)

My amazing pro writer friend read the first draft and gave me super useful and sweet feedback. I'm so motivated to improve the story and release it ♡ RELEASE TIMELINE

I have a lot to rewrite and, as this is a for-fun project, there's no set date. But I can say this: I'm the type of creator who finishes projects to keep things consistent, start to end, and then releases them into parts. That lets people savor each installment and perhaps speculate with others on what will happen next.

Yes, I'm evil, not giving it all at once. But at least early readers have security that there is a (hopefully) satisfying ending coming ^^ Then, even if I could start publishing the fanfic once the texts are fully finished, I also want time to do art accompanying the story (like this post's images). So I'm considering whether I...

A) wait to release until I have all texts + images = regular release schedule but longer wait B) just release when I have the text and do images on the go = irregular releases, but we start earlier Probably I'll go with a mix of both, having a buffer of images before the start. Which, in a way, I already have.

What is your preference as a writer or reader?

Publish all at once, "chaos" irregular but release as soon as you have it, monthly, weekly, daily,...

----- *Characters by Takahashi Rumiko

[ziorre]

✨Commission info✨

New year, new art pieces! I'm ready, I'm rested, I'm refreshed! And I'm completely charged to take care of your new ideas and characters!! I truly believe that every character is awesome and original and deserves to be shown with their own story! And I'll try to help you with this in a way that is more convenient for you! You just pick one below ;)

✨ PRICES:

- SEMI-REALISTIC STYLE (for the cases, when you want it looks more real without much stylizing)

- USUAL STYLE (for the cases, when you don’t mind it looks more stylized and a lil sketchy)

- CONCEPT SHEET (for the cases, when you want to present your character, their outfit and props)

* you can find more examples on my page by the commission tag ** a helpful post describing a right order for your refs

✨ DEADLINES: After you DM me with a brief description of your idea, I’ll tell you the approximate date when I’ll be able to proceed with your commission

!!!!Always warn me in advance if I need to draw art by a certain deadline!!!

✨ PAYMENT:  What: USD or RUB When: full pre-payment (when you sent me the email and we approved the art idea) Where: Hypolink/Lava.top (russian platforms, support payment via PayPal)

✨ PROCESS: You write to me in private messages on Tumblr, briefly tell me your idea of our future art, what style and what slot you want (full body / half body / bust). Then I give you my email address and you send me an email (with your Tumblr name as the topic please) with all necessary references (your character's face claim, their pose, clothes, background etc.). You describe the idea of the art in details, where it takes place, and other things that I need to know so that I can base the sketch on all that info, because after you approve the sketch, I don’t change art much in the further stages of the work, just some details. I send you the payment link on my Boosty page. Send you the sketch. After you confirm that you like the sketch, I finish the work and send it on your email😊

✨ OTHER: - I don’t correct the art after you approved the finished version. - I don’t copy other artist’s work. - I publish every commission on my social media, if you don’t want it to be published, just let me know. - If you’re not sure about the art idea, I can suggest you 4 sketches with different poses/concepts/angles for extra $20 and you pick the one you like the most. - For significant corrections or a lot of small ones at any stage of work, an additional fee may be charged (this doesn’t apply to some small adjustments or details witch I missed). There are 3 free changes at the each stages of the work (sketch, finished version), further - $2-$5.

___________________________________

And of course I can't skip to say a huge thank you to those who commissioned and continue commissioning art from me! It means a lot! For real! This is not only material support, but also moral one, saying that I’m not wasting my time and energy in vain, that I’m moving in the right direction, that people like what I do! I can't tell how inspiring it is!! 350 commissions! I’ve never imagined that one day I would draw so many art for others! Just.. wow!! Thank you again so much for trusting me bringing to life your ideas! I truly appreciate it!😌

____________________________________

I think this is it, right? If you have any questions, feel free to DM me ;)  

I’ll be VERY grateful for your reblogs!! ❤❤❤❤❤❤ (and thank you very much for this in advance, it helps me A LOOOOOOOOOT, you are the ones who keep me alive literally! I see each and every one of you doing that! You’re the best!!!) Thanks for your attention! Have a good day =)

[lotus-pear]

YAAAAAYYYY ITS FINALLY HERE!!! ty guys sm again for 5k i rly appreciate it <3

rules and guidelines under the cut!

rules and due date (i've never done this before so bear w me ok!!):

-due date will be march 1st! i will accept entries a few days late dw i'm nor ur professor or smth BUT I WOULD RLY PREFER IF U GET IT DONE BY THEN (just dm me if u need more time)

-pls tag ur finished piece under #lotuspear5kdtiys and dont forget to mention my user @lotus-pear! if i neglect to reblog ur piece then pls lmk even though that probably won't happen bc i'll be checking that tag every day for new entries👹

-pls don't trace the art.. i'll be really sad if u do that :(((( if u need help at all w the posing or hands then shoot me an ask or weed ur way into my dms bc ik this is kind of a complicated piece

-anyone can participate!! u don't have to be following me or anything and it's fine if we've never interacted before

-colors and expression are completely flexible and i'd even encourage playing around w it since the final product isn't meant to mimic my style. if u can then pls try to keep the pose relatively similar although i don't mind if it's changed a little bit. whatever is most comfortable to u as the artist.

-if u guys want to see the piece without any shading or rendering then pls dm me, ik it might be easier for some ppl to just see the bare sketch or the lineart w base colors

prizes🤩 (ik this is what u guys are rly after /j):

-alr so ik everybody's all like "well what's in this for me🤨" oh my god if u would just let me explain 😐 i'll be choosing three winners and two honorable mentions amongst all the contestants

-the top three winners get a follow (yea ok kinda sucky but wtv) AND they get to commission a fully rendered piece from me of a single character of their choice for free >:) (i'll discuss the details w the winners in two months)

-the two runner ups will also get a follow from me AND they get to commission a sketch of a single character from me (again, i'll discuss what this entails in further detail when the honorable mentions are selected in two months)

��———

ermmm yea i think thats it for now i'll come back and edit the post if i feel the need to add anything.. HAVE FUN GUYS I CANT WAIT TO SEE WHAT U GUYS DO🫶🏼🫶🏼

[eintausendschoen]

Don't ask me how I did it – I just did it – it was hard.

Late, late entry for @mircsy's 'draw this in your style'-challenge #AthenaDTIYSmircsy

That is as far as I got. So far. Might do reworks later. Actually my first DTIYS - never did one before, but I see the fun in it now. No, really, it was a lot of fun, I learned a ton with this, even if I'm not fully convinced of the result.

Also, when I saw mircsy post it, that was an 'immediate HELL, YES'-moment, because I love her art and designs so so so much. Her Polyphemus is who ultimately sold EPIC to me after a total of 3 seconds screentime. I am seriously amazed at the quality all artists and animators produce for the musical accompanying it on its journey to release, but mircsy's art was special.

👀 more yapping, WIPs and progress notes below 👀

It made me want to draw characters again, brought the fun back to drawing and painting for me, and somehow invited me put them out there, again - I can't put a lot of time into it, but I missed this as a joyful hobby and just watching the animatics breathed life back into it for me. So, this lil dtiys entry is a big heartfelt thanks for a nudge I bloody well needed.

So - if you ever read this, mircsy: Rock it all as hard as you can, superstar, make your mark and just enjoy the ride - you're cut out for it! ✨🎆 Wish you the very best for all your endeavours. 💜✨

Progress notes: I tried to challenge myself with this and do stuff out of my comfort zone (*cough* cell shade *cough*). A few things went well, and I am proud of those (metal parts, hands, wings, lineart, i finished it under 5 hours total, stars were fun) and other things I'll need to practise more (soft light + cell shading wtf was I thinking 🙈, glowy stuff, ornaments, less perfectionism, line dynamics, took more time out of me than expected ... (we don't talk about facial expression ahahaha its a nightmare 🙊 i really need to learn how to shade and light these kinds of angles omg 😨)).

As you can see above - the glowy stuff gave me the hardest nightmares, I had no fucking clue how to do that - that was fun, but also took so much time to figure out. Once I had a concept, it went down fast, but up until then... bzzzzzt braindefunct - it's inspired by the Antikythera Mechanism in the end, so Athena can make complicated astronomical calculus while in quick thought to see where Ody ended up.

... her mouth changes in every single picture... 😭🙈

[newttxt]

hi quip! i really like your one piece comics and i am curious how you do them! i'm not good at comics and want to be better at drawing them! how do you learn how to make comics?

thank you!

uh oh... im afraid u have caught me at the perfect crossroad of "bored at work" and "unrelated task ive been meaning to do but keep putting off."

this is long. i hope you like reading (and grayscale progress pics). and of course!!! disclaimer before we begin that this is just how I, personally draw comics. there is no "right way."

quip's comic-making process!

Switching my typing to make this more legible...

My process can kinda be broken down into 6 steps:

Brainstorming

Thumbnailing

Sketching

Panels & Text

Lines

Tones/Colors

1. Brainstorming

My brain is a leaky sieve on a good day, so I sloppily jot down ideas in my phone notes the moment I have them. This helps me when it's time to draw too, because if I feel art blocked, I can look through old concepts and see what catches my interest.

Otherwise, I love drawing for other people's writing. :) And if worst comes to worst, doing manga/comic page redraws in my style teaches me new things every time.

Once I have my idea, I'll usually make a bulletpoint list of "plot points" or "story beats" I want. Then I plan the comic with this format that I've adapted from a tutorial I read once. I'm going to use my most recent comic (original comic post) as an example.

I start in the third column, writing notes of what I'd want to see in each panel. I also include the dialogue (in this case, I didn't have to write the dialogue! it's from the fanfic linked in the original comic post!). I usually write the whole name like [Luffy:], but at this point I've drawn so much of these guys, just the first letter works.

I like to handwrite these notes to get an idea for how much text I'm putting in a single panel.

After I describe all the panels, I go back and separate them into pages. I can't tell you how to know how many panels to a page. It's whatever works for you. I just kinda know about how big each panel will be, and so I can feel when I'm probably running out of space. (Also. You can change things later. I don't in this example, but I add/drop pages/panels all the time.)

2. Thumbnailing

Thumbnailing—as the name suggests—should be done tiny. Too tiny to accidentally get sucked into details.

This is about marking down blobs where items/characters go, and figuring out the paneling. I'll draw and redraw these a bunch of times too.

This is also the most time-consuming/brain-working part for me. If I were in a zine that did progress percentage, I'd try to finish thumbnailing around the 50% mark (but I'm also a moderately fast artist, so your mileage may vary).

I think the terrible quality makes them charming, actually. I really like how silly they look. :')))

I will add, when you draw your "page" rectangle, make sure it's the same proportions as your actual canvas for the final image. You want an accurate idea of how much space each panel will take up, especially if you have a lot of text.

3. Sketching

This is my most recent change to my usual workflow, and it's saving me a lot of time. I make my thumbnails a bit bigger (each one about half the size of the final canvas), and I sketch these basic body forms right over them.

It just helps give me placement for my actual lines!

I usually draw these in a paleish color so I can lower the opacity and not get distracted by them while lining. The random darker parts are to either help keep two forms separate (like when two characters have their limbs all over) or to better define sections that were too sloppy/poorly proportioned.

I also think this helps my poses stay looser, because I have more dramatic/wriggly shapes that aren't too bogged down by proportions yet.

Sidenote: I CANNOT show this here, but sometimes this is when I take videos. Of myself. I prop my phone camera up and shoot a video of me acting each panel. :/// It looks really dumb, but it also shows me fun body language ideas like hand gestures, expressions, weight distribution, etc. Just pretend you're an overdramatic cartoon character, and try not to worry about your roommates or mother walking in on you doing odd things. (You can also use the video for anatomy reference later, but I usually just capture the vibe and don't try to copy the actual video frame.)

4. Panels & Text

Oh, boy. So, the panels are usually just straight lines (though it's fun to make creative exceptions, like a round panel to mimic looking through a spyglass), but there are some fancy rules that I don't strictly adhere to.

I believe (I have no technical training in this. Take everything I say with a grain of salt) the vertical gaps (between two side-by-side panels) should all be a consistent width and the horizontal gaps (between two panels on top of each other) should be another. The vertical ones? Should be thinner? Because you want the eye to easily glide between them, whereas the horizontal gaps should be a visual barrier to keep you from jumping ahead. Just something I've vaguely noticed.

There are lots of fun "default layouts" you can look up. Or keep it a consistent grid. I think it's fun to sometimes have characters/objects sticking out of panels and overlapping others. This is just a matter of taste, creativity, and inspiration. (Read Witch Hat Atelier... It has some of my favorite paneling...)

You may also notice I have already done the speech bubbles. This is, to me, a crucial step. This helps me catch early if I don't have enough room for all the words. It also lets me plan the art in each panel with the speech bubbles in mind. There's nothing worse than working really hard on a panel, and then you realize there's no room for the bubbles.

I also try to lay them out in a way that guides the eye! Even without art, can people tell where to go next? Better yet, if I want people to look at panels out of order (aka not left to right, in my case), can I use the speech bubble path to make them? Here's just a vague example of what I mean.

As an added bonus, doing speech bubbles early also allows me to be lazy! :) Ignore the comic; I'm not supposed to post it yet oops,, There's a whole lot of drawing to do on each comic page, and I am not wasting my time on stuff that will be covered up. So yes, if I hide my bubbles, there are a lot of unfinished lines trailing off into nothing. (As a bonus, if there's a part of a character you're struggling with—and it won't look weird to do so—you can move speech bubbles to just hide the problem area yayyy)

Making the actual bubbles could be their own whole tutorial, tbh, but there are some general guidelines I use.

Zoom out when you choose your font size. You want to know how it will look to the average reader, so it isn't super teeny tiny or way too big. You generally want to keep the same text size for all your pages/bubbles.

When I draw bubbles, I try to size them about one vertical letter height (and some change) around the words [left side]. This isn't always the case though, because humorously large or funny shaped text bubbles can convey different feelings [right side].

On Procreate, I set my bubble lines to Reference and just drag-and-drop the white fill on a separate layer below the lines. (Remember to turn Reference back off again when you're done, or your fill bucket won't work right when you're drawing.)

To get the white outlines I use to keep the bubbles from cluttering up the art, I literally just Gaussian blur an all-white copy of the lines + fills... and then I copy and merge it 5 times until it's opaque enough. This is a terrible way to do it, but it works for me. :')

5. Lines

This is the part that I can't tell you how to do. I literally just. Draw right over my wacky sketched body forms. Boom. Comic drawn.

I'll make three suggestions:

Don't focus on making every panel perfect. Give a little extra love to big ones or ones you want people to linger on. Otherwise, know that people are typically speeding through the art. It's way more important to focus on storytelling than art technique. In my opinion, a good story that's told well will always be better than a beautiful one told poorly. (Some comics are beautiful AND well-written... Alas, I am just a hobbyist who needs to get the ideas out of my head at top speed.)

Put your background lines on a different layer. Put your foreground lines on a different layer too, if you have those. Basically, I try to keep the main part of each panel (usually a character or object) on my lines layer so I can erase background/foreground/etc lines to ensure clarity/focus.

You can make background lines lighter colors too. I have too many numbers sorry. (1) Background. The stuff that's farthest away. Lightest lines. Few details; more focused on shapes and the suggestion of a background (I'm not good at backgrounds). (2) Midground. Same distance away as the characters are. Lines can be black. (3) Also midground, and also the same distance away. But they're very detailed, so I lighten them so they aren't so distracting. (4) The characters. Black lines for focus. For people who haven't seen the comic, I swear they are just hugging. This is SFW. D:

6. Tones/Colors

Do not. Do NOT ask me. I don't understand colors. I hate working with them, but I try because I want to improve. I hate doing anything beyond the simplest grayscale shading. Please go elsewhere for your coloring/tone advice. This is how my color picker looks 95% of the time. I have pre-set "percentages" of black that I got by lowering the opacity of a black layer and just color picking it. I don't even know the exact percentages I used. Good luck out there. Be better than me.

7. Sharing

This is a bonus step that I didn't mention earlier, but it's actually the most important of all of them.

You need a friend. Or maybe a groupchat or discord. A family member or coworker if you're really close like that. I don't know.

Find SOMEWHERE you can spam wips and be cheered on. Drawing comics takes a while, especially if you're trying to tell longer stories than I'd dare to attempt. If I don't force someone to praise me for every line I draw, I shrivel up and die.

Also if and when you post online, add alt text. I'll admit I'm the first person to complain and drag my feet on this, and I literally use a screenreader myself when my eyes hurt (strong prescription glasses wearer). Comics should be accessible, because stories are fun and everyone should be able to enjoy them.

***

Learning???

And I guess lastly, how do you learn to make comics? Two steps: 1) read them and 2) make them. This is the tragedy of creating things.

1) Reading them: I grew up reading comic strips, western serialized comics, and webcomics. I've always loved graphic novels too. Then in late middle school, I started reading manga (Death Note and Haikyuu were my first two), and now I'm trying to read more webtoons (sorry im so slow bree)!

I also... mass-consume doujinshi, thanks to proxy mailing services and bilingual friends/Google Translate/knowing some Korean. (I have an entire bookshelf of doujin, actually,,)

The thing is, it's not usually enough to just read comics. You also need to be thinking. :/ I notice paneling, comic devices, clever comedic timing, etc. as I go. It's just a lot of studying/learning while also enjoying the story.

2) Making them: You just have to start. :( Even if you think they're "bad." My first comics were actually just drawings placed randomly all over the page, connected by speech bubbles (yay... I was already practicing how to place bubbles to lead the eye around the page...). I was going to post a pic here, but I'm a coward. Backscroll my account and you can find some older ones though.

I also know my art in general improved dramatically when I did ten comics in ten weeks for my friend's fic. Don't do this. It hurt my hands/wrists. But do practice in moderation.

***

If you actually read all that... I hope it made even a modicum of sense. And maybe it was even helpful? Just know at the end of the day, there is literally no right way to draw a comic.

And if you aren't ready to go for it yet, you can start by just adding a couple speech bubbles to your illustrations or doodles! It's a way to add storytelling and dialogue writing to things you may already be making.

Yay. I love comics. :))))

[kozachenko]

Well since I'm alive again I might as well post some of the art I did during my hiatus, and since I was talking about Keiki in my last post I might as well start with this piece here that I did of her. (click for better resolution)

Artist's Notes;

Ok so I remember having the idea for this a while back and wanted to try going for a very monochromatic palette. I also wanted to generally keep the background very minimal, mainly so the lighting and Keiki herself can stand out.

As for Keiki herself, I mainly stayed on-model with her design... minue the glowing hair, which, I'll get to that in a moment, but yeah I mainly just wanted to focus on making the pose readable. As for the flame hair, I mainly did this because I thought the potential lighting scenario it could make would be fun to play around with. I also wanted to try out rendering flame again and I think the lighting around Keiki's face is my favourite part of the piece.

I applied this technique with flame rendering to the human spirits near the bottom of the piece. I used the lighter parts of the flames to represent some vague skeletal structures, and their faces are inspired by a Salvador Dali piece (it was called something like "Flaming Giraffe" idk) but that's where the surrealism inspiration ends.

Don't worry though, I do have some art of Keiki that I did a little after this piece where I make her look weird. This piece was before I made some changes in my stylization, so I consider this the last of an era of my style. This is also before I found a new way to render hair, which you'll see soon, don't worry, I plan on just dumping all of my art I did up until this point and then going into hibernation again.

Speaking of, I might as well set some expectations for my posting schedule right now. Due to life keeping me busy, as well as my mental health and enjoyment of art, I won't be posting every time I finish a new piece. I started to enjoy drawing so much more again during my impromptu hiatus, and I want to keep enjoying that feeling for as long as I can. If I post stuff any sooner or later, it'll probably just be dependent on my mood that day, so expect me to kinda just spawn in out of nowhere every now and then.

Now then, I will once again pray to whoever is up there that Keiki will do something in Touhou 20 because I am still holding out hope she will appear again. Like, she was made as an allegory for AI and robots and considering today's world she would be perfect to bring back for this. Please, Zun, just bring her back and develop her character more, us Keiki fans only have Touhou 17 and that's it, she never appeared again, and you set her up like she may come back so please just let her return or do something at the very least please-

[electraslight]

I think you should at least address the issues they have with your work proper. Which is mainly the racism allegations and not whatever that was you posted which was, all in all a pretty crappy response to some serious stuff.

my original response is linked here, i'm aware it's very poor, i was upset. forgive me

I will address it, I was just waiting to gather my thoughts, talk things out with people who know better than I, and avoid rushing in to things.

I have not seen the allegations in full, since I am avoiding Twitter and I blocked the main accuser for reasons stated in my original response. I think many of their accusations are unfounded and based on anger, and I will explain why.

First the smaller things I will address:  I do draw porn and I am not ashamed of it. It is completely aged up, behind an adult paywall, and not depicting any taboo act. I do not think this is an issue.

Second, orientalism and my art: I have stated many times that I pull from cultural dress for my work and my designs. Characters like Willow have designs inspired by Korean Hanfu and specific periods in Korean history. However, many characters are not designed based on Asian cultures, and if they are, are not fetishized or romanticized. In my version of the boiling isles, every witch is the distant descendant of a human who slipped through the veins and passed things like food and accessories down with them, as well as articles of clothing also being adopted after slipping into the realm. I am only aware of one specific character being named, if not please inform me, but Amity is based on Tudor period English fashion and Turkish clothing, specifically Kazakh. I will insert my references here.

If my use of referential clothing is inappropriate to you, I severely apologize. I think there are so many amazing cultures with interesting dress that I wanted to draw and if I used an article of clothing in an inappropriate fashion, I apologize.

However, orientalism connotes a fantasy I do not have and my work does not indulge in consciously- these people are people and are not exotic aliens that exist to please white people, wearing costumes that deface cultural practices. I intend their style of dress as a natural evolution, because the culture on the boiling Isles developed independently of the real world, and just like in real life, while many remnants of the past still exist in people's clothing, styles change with time. If my art was orientalist without my knowledge, I apologize, and I will change my way of making this sort of art in the future and do more research on what I draw.

I hope my depictions of these things don't make you feel like I view them as props; when I draw clothes, it's usually because I read an article or a book about a group of people and felt moved. The weight to culture is what conveys me to draw what I draw, and I wanted to make people feel seen. If that wasn't my place, I apologize once again, and in the future, my art will rely a lot less on cultural reference, except to my own.

The racism accusation is difficult for me to explain succinctly, so I apologize if there are issues in relaying it. I am being accused of being inappropriate with my depiction of Raine and Belos in this (link here) drawing, and this post I made about how I wanted to draw Darius and Belos similarly.

My blase wording concerning my ideas on Darius and Belos was an issue, I do admit, and I apologize for the confusion. I have many issues with this statement, however. My first being that I have drawn many characters at inappropriate odds with Belos, something which many artists in the TOH fandom do. In fact, here's a link to a post I made specifically about how Belos's obsessive fixation on others, specially his brother, is a metaphor for his colonialist and evangalistic evil. The issue in my recent piece is that I did not convey the toxicity and possession angle enough. The thing that compelled me about Belos and Raine was that Belos's tendency to try to break and destroy those that oppose him is something Raine turns around on him, using his own manipulative tactics and his overeager desire to defeat them to their advantage. 

The way Raine looks at the viewer with no emotion when Belos is attempting to draw one from them, Belos's bravado and desperation putting them at odds, but they are in control. It was not a romanticization, it was about power, and how Belos invades boundaries to get what he wants, destroying everything he touches. I don't ship them, this isn't ship art, just like my art of Caleb and Belos isn't ship art. Belos's insidious perversion is the focus.

It was a similar thought for Darius too, since me and some friends had watched Eda’s Requiem that day and I was thinking about the coven heads and Belos. At that moment, I was viewing Raine as the character, the politician and revolutionary. Their hatred of Belos consumed them and made them better, powerful enough to defeat him through passion, and that resonated deeply with me.

 I know as a white person I have blind spots. There are things that I don't notice that can be harmful, but I don't have the experience to tell. In the past, I drew one piece that I now deeply regret, of a swap au where Luz was the emperor instead of Belos, with Camilla as a grimwalker. Camilla was very burly and large, and in the moment I didn't see how frankly uncomfortable it was, but when I was informed by friends and the public, I realized how it looked, deleted it, and apologized.

However, I think in this case it is a question of interpretation. Insidious possession was my intention, and I have drawn this many times before with different characters. I don't see it as particularly erotic because Raine is a person of color, and it frankly disgusts me to think about it like that.

I wanted to address this one last because it makes me the most angry. There has been an assertion floating around that I fetishize native culture, depicting Evelyn naked and the (based on canon, by the way-barbarians are mentioned more than once) barbarian lore page. To this is to say: I am native European, specifically Irish. My drawings have helped me realize who I am and my relation to my culture, and I write and draw to depict my experiences and my family's. I am called “ignorant”, however people assume Evelyn, who is based on a bastardized version of my ancestors and the barbarians who are based on how my people were talked about by the British, are all perversions of “real” native people.

These are the Pict 'barbarians' Evelyn is based on.

My people were killed for speaking their language, my grandma doesn't know what happened to her grandmother because she had to escape, and there are fewer Irish people in Ireland now than there were 200 years ago. There are so many native people on Earth and no one person is going to have the same experience, and just because our experiences don't line up doesn't mean mine don't matter in this conversation.

 I am a victim of colonization and I am passionate about the topic, it's why TOH enchanted me. I was moved by the insidious nature of Belos's reign, how it slowly killed everyone it touched. How culture was stomped out with bullshit law, how Belos sought complete control over those he viewed as stupid and barbaric. That's what I make art about, about why he's wrong, about what he did. I won't ever apologize for sharing my experiences, and I have tried to be mature this whole time, but it is frankly xenophobic and ignorant of you to assert otherwise.

Tl;dr: I am sorry if my depictions of your culture felt like I was using them as toys or for my own gain, and I need to take more care in addressing my blind spots and talking to people about ideas before I have them. You don't deserve to be a plaything, and in the future my art will look very different. However, I think many of these accusations are purely people piling on to already present accusations with more stuff because they like to feel like they're on the right side of an argument. I resent the fact that I have been told my culture doesn't matter in this conversation when I relay my experiences, just because ours don't match up. 

I'm going to keep doing what I love and making things, probably stuff you won't see. I have a medical condition that gets worse with stress so I will be offline for a bit. Thank you and good day.

[stringlessau]

IT'S STRINGLESS' 1 YEAR ANNIVERSARY (+ early concept art compilation)

Posting this dumbass little video to start off the day since we have a lot of little gifts for our awesome community today.

One of those things is something i've been wanting to do for a very long while: posting a lot of the original concept art for stringless (since ive always enjoyed seeing other people's early concepts) some of these i have posted massively before, some are completely unseen, so it'll be fun

This one is the page that started it all, his design is at the same time largely unchanged and also completely different

All i have to say is that it originally said (regarding spamton and swatch) "they bicker like an old married couple" but then i thought about it and i changed it so theyre literally just married

Didnt mean to make swatchton, made it anyway lmfao

Right after that, i got working on neo designs, I wanted to make him really scary looking, the original concept was to make him look skeletal and generally for him to look insane and like he had been reanimated from the dead, but a lot of people had told me over time that they didn't really like the design, I was very defensive over it but I ended up taking criticism and i actually really like the new neo, it balances the uncanniness of the original design with the sleekness of my new art

Payton was a natural next step, without someone to sell the thorn ring there'd be no neo, so although his design visually stayed almost the same, he went through a lot of color revisions (thanks mostly to @maskedalterego, who helped me to nail his final color palette), he suggested the gloves, and helped me to balance the saturation of the design since really I've never had a good eye for color.

His final design, color wise, was just me experimenting using the colors of my sona at the time on him, which I was hesitant to do but was so happy with the palette that I kept it.

It's interesting that he was originally intended to be the pink addison (since he sells one of the snowgrave required rings), and the reason he ended up being the blue addison was corey beepington (and the eviction notice short which I have taken one too many concepts from), this still influenced me to make his outfit pink initially, which still is a huge part of his character design

That exact same night, I created concept art for Raster (weirdly, I was sure I created them before Payton, but it might be because I was generally uninterested in Payton earlier on), their design is also largely unchanged, I just got better with shapes and color, I also ended up changing their cheek markings after seeing some swatchton fanchild art by ne0nbandit

A first until now, the first concepts for payton neo were made on paper

I took very long on this design, and I only updated it every few weeks to make tweaks because I felt the concept was too good but my execution didnt make it justice

I'm very proud of how the design looks now, as of the latest neo redesigns, I feel I could finally make this idea justice

Swatch's design went through some last minute changes, I wanted to use this color palette for swatch to contrast with spamton, but decided against it, then i changed their hair to be longer, to make their Stringless design distinct from their regular Deltarune design

Historically, these two are pretty important, the first pieces of art I ever made featuring Rakhin's old design, when he wasn't part of stringless and I was just befriending rope (he made me Payton fanart first, fell in love with his style), the contrast is beautiful

Now to finish this post, here's some unseen Snowgrave route art I made over the time Stringless has been in development, they're all pretty quick sketches, but i love them nonetheless

Thanks everyone for the insane reception this AU has gotten, I haven't been feeling very good this whole year for a huge amount of reasons I can't get into, but Stringless and its community always helps me to remember why I do the things I do

Thanks for everyone's comments and everyone's kindness, thanks especially to @theropeaaa , for being the literal other half of this AU, without whom I couldn't have ever done the Stringless pages, @maskedalterego for helping me and listening to my ramblings since the start, @scamp-boxx for being this AU's biggest hype man (the first ever comment on the first spamton concept art was by them, and they helped me nail so much of the snowgrave route), @boykisserwoah and @weirdohno , for also being here from the start and making an absolutely insane amount of fanart oh my god, @gutamajunk , for motivating me to create Raster, and writing several story outlines on the first days of stringless that were the foundation for the pages, and diaryous milch and rory, our friends that have helped with character designs, story ideas, voice acting and have generally been instrumental to what stringless is today

THANKS EVERYONE <3

-Nick

[tyquu]

Absolutely love your prosthetic Ezra AU. Arts so wonderful and stunning (Sorry if I spell it wrong, English is not my first language)

If you don't watch Asoka show you can ignore my question, because of spoilers)))

I have a bunch of little questions. Ezra spent almost ten years in other galaxy. What is the quality of his prosthesis when he returned home? How did he deal with breakdowns without the right tools and parts?

Anyway, love your AUs and amazing art style!

Wahhh thank you so much! Glad to hear you like the AU!

So I haven’t actually finished Ahsoka (I know, im sorry 😭) but at this point I feel like I know roughly enough to take a crack at this! So here’s what I came up with;

So, Ezra’s cybernetic, as discussed in the post where I went into detail on it, requires pretty regular maintenance in order to function. Stranded on Peridea and without access to any med care/tech from the chimera, Ezra’s cybernetic would begin to go faulty within months.

At most he’d probably be able to make things just about work for three months post crash before it would have to come off. Grabbing a stick to use as a cane, there would be a few months where he has to really go back to basics, and it is not ideal.

However, Ezra would get crafty! Either with supplies he’d have stolen from the chimera or gathered on his own, and he’d end up with various self made peg legs! They aren’t perfect but with every iteration tend to get a bit better.

After staying with the Noti for a while, he’d finally have access to better materials and craftsmanship, and make a final design for his post crash prosthetic. It includes an adjustable buckle, prosthetic knee mechanism, and polished wood transtibial prostheses below the knee.

Obviously it would still need the occasional part replacement due to wear and tear as time goes on, but I don’t think it would change drastically from this point onwards, not until he gets back to lesser space of course, where I’m sure he’d go get checked out by a whole med team and possibly get his cybernetic replaced

But yeah!! That’s all I’ve got. I’m not a massive Ahsoka believer tbh, and I kinda split off in the middle to dabble a little bit on what an “Ezra and Thrawn in wild space adventures” prosthetic situation would end up being like. Especially with the possibility of introducing the ascendancy. But I decided to halt that train of thought for now so I could address the Ahsoka show specifically 🫡

Thanks again for the ask! Hope this sort of makes sense (and please do let me know if it doesn’t!) :D)

[heretherebeturtles-comic]

How long does the process take you to get one (or more) comic page done? I love the idea of making comics but i suck at structure, you know with the script and posting/layout. I was wondering if you had any tips or what you wish you knew before you started.?

Sorry if this had been asked before

OOOooooo a fun question for me!! I love talking about comic creation :D

I do my best to keep the full process under 2 days (or 12-14 hours of work) per fully coloured page. I'm trying to get faster, but speed comes with time and experience.

Hmmm as for tips and things I wish I knew... so many things... I should let it be known that I am an artist and not really a writer, but your questions are focused on script/planning/structure, so I'm going to focus the advice on that.

Start with something small - Learn about making comics and find a comfortable style through making a couple smaller comics and then try your passion project. Writing and planning smaller comics with fewer pages takes a different kind of puzzle solving and thought process. Smaller page limits can force you to try new things which you can then apply to larger projects to save time; limitations breed creativity after all. Every attempt made (even an unfinished project) is knowledge gained that you can apply again for future projects.

Study comics! - It's hard to create if you aren't feeding the mind and giving it things to learn and create from. Read comics made by professionals and study how they handle pacing. How many pages are they dedicating to each moment? What do you think of their pacing and what would you change? Take a sketchbook and make small rectangles and draw out the panel layout from that comic. What are they doing that works and what don't you like about it? How would you do that differently? ... I think this is me assigning homework... i am so sorry.

Set a hard page limit - Try to get your story told within that limit, and then add more pages if necessary. More pages = more time you have to spend working on it. Most standard single issue American comics are roughly 24 pages. I try to work inside that limit using a rough 5 page per scene structure.

Condense or Cut - I struggle so hard with this one, but comics aren't written in the same way as a novel is. They have a slightly different plot structure and a much more limited amount of pages to tell the story in. Obviously it depends on the story being told, and what kind of scenes are important to that genre of story, but in general, unnecessary scenes should be cut out. examples...

CUT! Having the characters go out to get ice cream is cute, but you don't need to show them each ordering their ice cream unless the flavour they choose is an important plot point. Skip to the last one receiving their ice cream and turning to the others who already have theirs and are having that deep discussion. OR skip that scene entirely and have a quiet panel of them sitting in the park at sunset, already holding their ice cream, before delving into the deep emotional conversation they will be having.

CONDENSE! You can combine two scenes if you need to. If you have one scene where two characters are having a casual conversation and another where they are sneaking into a building? Stick them together. They can sneak AND talk and now you've only used up 5 pages instead of 10.

Comics take a LONG TIME to make!! - you have to make peace with that _(:Ⅰ」∠)_ Comics, especially full colour ones, are an extremely labour intensive and time consuming way of telling a story. If one page takes 1 day (8 hrs of work) and you have 24 pages, that is 24 days of working on one comic.

Thumbnails! - Draw the pages small and rough first! It's easier to plan things and mess around with the layouts when you don't have an emotional attachment to how the art inside looks. Once you have a layout you like, you can then draw it again in full page size and work on it from there.

Page and panel layouts are my favourite part of the whole process, I could talk forever about it, but I do not have the energy for it right now. I'll save panel/page layout for another time.

It doesn't have to be perfect!!! - IT DOESN'T HAVE TO BE PERFECT!!!! (shouted with excitement btw). Panels can be boring! A page can be extremely simple! The art can be messy! The dialog can be simple! The plot can go nowhere! In fact it is really really fun to make a messy imperfect comic on purpose. Destroy the perfectionist in you, because they will always and forever hold you back from actually creating things. "what if it's bad?" what if it's fun? what if you learn cool things?

Anyway, those are my tips/advice, idk if I actually answered what you were asking... sorry about all the time commitment ones, that is something I really wish I had figured out a few years ago lol.

Comics are fun to make and a lot of learning how to make them is just jumping in, encountering a problem, and then learning how to solve it.

[luckyartdrawer]

Don't mind him, he's just a little nervous-

vvv extras and yapping below the cut! vvv

Some backgroundless pics for y'all!

Also, gigantic pom-pom anyone? I love it so much-

He's a reallllly tall guy huh? Not comfortable enough to give y'all his whole hand, butttt not mean enough to warrant losing you with his big strides. (And not for any other reason, of course)

I can't help but enjoy adding a little Tsundere-ness when it comes to Moon :)

.

For those who's seen my other art, yeah, I'm well aware both my art style and coloration just straight up changes every time. I have come to accept the chaos, albeit still stubborn to try to make something stick.

The eyes were a very happy accident though, I was going to make them black and red but man- shading is my best friend, that's all I'm gonna say.

Honestly forgot to put the ruffles in the sketch, thus its not there. I was more than halfway done when I noticed and just accepted this is the design now. I'm not the biggest fan of drawing the ruffles regardless, so I might just make it part of the design I draw regularly. (I should workshop just a general design vs. doodle sheet uoghhh-)

And to those who've seen my rambles- I FIGURED IT OUT. I mean, it's obvious since I'm posting nowww, but I got the photos to transfer after a bunch of trial and error :)

Internet may evade me, BUT IT CAN'T EVADE THESE HANDS!!!

[ziorre]

✨Commission info✨

I'm ready, I'm rested, I'm refreshed! And I'm completely charged to take care of your new ideas and characters!! I truly believe that every character is awesome and original and deserves to be shown with their own story! And I'll try to help you with this in a way that is more convenient for you! You just pick one below ;)

✨ PRICES:

- REALISTIC STYLE (for the cases, when you want it looks more real without much stylizing)

- USUAL STYLE (for the cases, when you don’t mind it looks more stylized and a lil sketchy)

- CONCEPT SHEET (for the cases, when you want to present your character, their outfit and props)

* you can find more examples on my page by the commission tag ** a helpful post describing a right order for your refs

✨ DEADLINES: After you DM me with a brief description of your idea, I’ll tell you the approximate date when I’ll be able to proceed with your commission. But the average deadline is from 2 weeks to 2 months. ❗❗❗Always warn me in advance if I need to draw art by a certain deadline❗❗❗

✨ PAYMENT:  What: USD or RUB When: full pre-payment (when you sent me the email and we approved the art idea) Where: Lava.top (russian platforms, support payment via PayPal)

✨ PROCESS: You write to me in private messages on Tumblr, briefly tell me your idea of our future art, what style and what slot you want (full body / half body / bust). Then I give you my email address and you send me an email (with your Tumblr name as the topic please) with all necessary references (your character's face claim, their pose, clothes, background etc.). You describe the idea of the art in details, where it takes place, and other things that I need to know so that I can base the sketch on all that info, because after you approve the sketch, I don’t change art much in the further stages of the work, just some details. I send you the payment link on my Lava.top page. Send you the sketch. After you confirm that you like the sketch, I finish the work and send it on your email😊

✨ OTHER: - I don’t correct the art after you approved the finished version. - I don’t copy other artist’s work. - I publish every commission on my social media, if you don’t want it to be published, just let me know. - If you’re not sure about the art idea, I can suggest you 4 sketches with different poses/concepts/angles for extra $20 and you pick the one you like the most. - For significant corrections or a lot of small ones at any stage of work, an additional fee may be charged (this doesn’t apply to some small adjustments or details witch I missed). There are 3 free changes at the each stages of the work (sketch, finished version), further - $2-$5.

___________________________________

And of course I can't skip to say a huge thank you to those who commissioned and continue commissioning art from me! It means a lot! For real! This is not only material support, but also moral one, saying that I’m not wasting my time and energy in vain, that I’m moving in the right direction, that people like what I do! I can't tell how inspiring it is!! 360 commissions! I’ve never imagined that one day I would draw so many art for others! Just.. wow!! Thank you again so much for trusting me bringing to life your ideas! I truly appreciate it!😌

____________________________________

I think this is it, right? If you have any questions, feel free to DM me ;)  

I’ll be VERY grateful for your reblogs!! ❤❤❤❤❤❤ (and thank you very much for this in advance, it helps me A LOOOOOOOOOT, you are the ones who keep me alive literally! I see each and every one of you doing that! You’re the best!!!) Thanks for your attention! Have a good day =)