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Something I try to keep in mind when making art that looks vintage is keeping a limited color pallette. Digital art gives you a very wide, Crisp scope of colors, whereas traditional art-- especially older traditional art-- had a very limited and sometimes dulled use of color.

This is a modern riso ink swatch, but still you find a similar and limited selection of colors to mix with. (Mixing digitally as to emulate the layering of ink riso would be coloring on Multiply, and layering on top of eachother 👉)

If you find some old prints, take a closer look and see if you can tell what colors they used and which ones they layered... a lot of the time you'll find yellow as a base!

Misprints can really reveal what colors were used and where, I love misprints...

Something else I keep in the back of my mind is: how the human eye perceives color on paper vs. a screen. Ink and paint soaks into paper, it bleeds, stains, fades over time, smears, ect... the history of a piece can show in physical wear. What kind of history do you want to emulate? Misprinted? Stained? Kept as clean as possible, but unable to escape the bluing damages of the sun? It's one of my favorite things about making vintage art. Making it imperfect!

You can see the bleed, the wobble of the lines on the rug, the fading, the dirt... beautiful!!

Thinking in terms of traditional-method art while drawing digital can help open avenues to achieving that genuine, vintage look!

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pride month!!!

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Finished designing the rest of the Losers! Ty for all the love on the post where I designed the core four, I hope you like the rest of them just as much!

Now I can finally do more comics with them >:)

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3 apples tall you would say

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Edward Kaspbrak speaking!

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As far as I’m concerned, pokemon villain writing peaked with Guzma. Legitimately worried about the erosion of culture due to hyper-tourism surrounding their sacred rites and practices. Abused as a child, ran away from home to start his countries only youth hostel for similarly troubled kids, and funds it with crime. Bug type specialist, with an ace that is mostly known for its first stage being cowardly. Cultivates a big scary persona as a defense mechanism to protect himself and his members, no one can beat big bad Guzma, so they don’t have to be afraid anymore. His grunts trust him enough to ask him for help when they screw up, despite the fact that they all come from troubled homes. Was so significant that pokemon switched from having cartoonishly evil bad guys and teams to the current model of “sympathetic and understandable antagonist that has some very good points, even as they oppose the protagonist, and is in some way actively doing good in their community by supporting those who are the most in need of assistance, due to some legitimate failing of the current system.” There is a cartoon villain looming behind him, but they’re a twist and not the main team presented. Everyone wants to be him, but they can never replicate the perfection that is this man.

Thank you for your service Guzma

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Marriage license is so funny like hell yeah I have permission to drive this thang (husbamd)

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something something the horrors may be beyond YOUR comprehension but i get them something something

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on my way! to live yet another day in my fucking life.

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“Shadow and light are the most stable and perfect tools of creation: they unite colors, shapes, and dimensions,” says Moldovan artist Sergiu Ciochină, adding that “shadows move us through diversity, enhancing our perception, while light fills us with the joy of discovery.” In saturated hues, he captures dappled sunlight as it filters through the trees and the rich tones of the golden hour as it casts deep bluish-purple shade onto the sides of houses.

Taking cues from the Impressionists, Ciochină focuses on the nuances of light and its ability to reveal outlines and forms. He works in thick, impasto oil paint on board, emphasizing the shapes of windows, doors, and stoops and transforming otherwise ordinary buildings into compositions glowing with the patterns of foliage, architectural angles, and the texture of brushstrokes. “The symbiosis I create between nature and architecture is intended to evoke a love for space,” he says.

on Sergiu Ciochină

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Victor Frankenstein syndrome aka you spent nights over nights crying and bleeding over this work and now that it's finally done you're just like "nvm. it's trash" and go to bed

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Part 17 in my weekly poster series of 2025