#drawing

[spicymochi]

they made flower necklaces together

[spookyratking]

WALLY DARLING HAS NOT EVEN LEFT MY MIND.

[totallyottie99]

“A letter a day means a new friend to play!”

More fanart for @partycoffin

[donnyssupper]

Wally is such a babygirl material

[tredlocity]

[nikoco11]

commission work!! drawn using @/byvegalia on insta and twt’s hair brush pack <3 pls check her stuff out it’s so nice

[maalidoesart]

your average casino owner

[sakrafka]

ancient horses

[puffygator]

Missy commission

[evenstevenh]

Some werewolves just can't sleep

[bangtanghan]

uboa

[revilonilmah]

Leafeon and Quilava take a relaxing break from their adventuring!

[melbemol-art]

Spring Princess 💐

[storieldraw]

how I felt when we were just in the car another an unspoken out loud thank you

[lackadaisycats]

do you ever get tired or bored of drawing your characters? just wanted to ask bevause you've done so much lackadaisy art over the years. i get bored of drawing my OCs sometimes.

Not really. I still enjoy drawing them after all these years. That's owing to a few things, I think.

One is that I let the art and the character designs drift a little bit. I don't go out of my way to make sudden, outrageous changes to them, but people definitely notice that my older character drawings look different from the more recent ones. Your abilities and sensibilities as an artist change and evolve over time, and that's something better embraced than resisted, I think, even if you're working on the same project for that duration. Forced consistency for such a prolonged period would be too stifling.

Another is contextualization. I do a lot of request drawings. I enjoy making art for people, but it's also part of earning a living. And yes, drawing the same characters in the same poses on repeat can be pretty tedious job-stuff. Changing it up and trying different types of poses adds a little novelty, but I find what works best is story context. So I think of backstories or even non-canon scenarios, and use that as a basis for the otherwise just-a-pose drawing. That way I can engage emotionally with the work, and that makes doing it so much more interesting. It's a thought exercise, a secret micro-story, a depiction of something specific instead of just the repositioning of a mannequin.

When drawing characters for comic panels, that emotional context is always there. I don't get bored with it because there's a million things to think about - the story, the 'acting', the composition and staging, the choreography (so to speak) of the flow of action or flow of the page from one panel to the next. There's and the interplay with environment, the lighting, color, the camera angle, and how all of those factors change the way the characters looks, what they represent, how they come across. In comics, it can be the same character many times over without ever being the same picture.

[amanda-baeza]

Sketches for a comic from one of my notebooks. 1++1=2 1+1=0 (2023).