#makes it fun to break them down for Lineart

[anastoundingmango]

all of them are such cringe teenagers. they’re perfect

[cup-o-stars]

How to draw like you no borax

Good question!

I'd warn against following my process (at least if you want to learn), but I'll be honest and show you, lol. (Heads up: this is just how I do FAN art. When having fun, I generally care less about the fundamentals.)

1. I slap down super rough sketches, jotting lines/expressions like bullet points of my idea. Pretty much stick figures with just enough detail to remember who's who later. Not shown here, I also move, resize, and add details to express the intended composition if I'm planning something larger. You may notice a lot of curved lines / haphazard circles.

2. I refine the sketch by drawing it with more intention and build structure with slightly blockier shapes. If I'm really struggling with a pose, this is also where I'll find references or look at myself for bits and pieces to fill in the gaps. (When practicing, I would highly recommend using a reference from the start so all your limbs are an appropriate length and you don't need to say things like "that's passable" right before posting. If you're a perfectionist you'll leave that thought with the rough sketch.)

3. I'll decide around here whether or not to leave the sketch as is or commit to lineart (not likely). I guess I'd say I "shape the lines" here by going over some to add thickness/weight, and by adding basic sort-of-shading to break things up a little. Then I'll just fill in space if the page looks empty. (Usually this is where I incorporate the borax, but I hear baking soda works nicely if you're worried.)

4. Onto coloring. I don't feel confident enough to pretend I know what I'm doing here, lol. I just choose my base colors, imagine the general direction of the light source, then add minor gradients to the light and dark layers so they don't look flat. Then I just add some BS highlights and outline them. I've only recently found the motivation to properly practice coloring and just go with the flow tbh.

You may notice that Nami's forearm is too long, her hand looks like a pancake and Chopper has no joints! My kind sibling explained to me once that my anatomy is poor, but cohesive enough that nothing stands out too bad, lol. That's why it is important to use references!! And if you're me, practice all parts of anatomy at the same time with full bodies so that even when you're at a loss, your hands aren't that much better than your feet.

All in all, to draw like me, just have a very hedonistic approach to art, ha. Draw what you want, avoid getting burnt out on any single piece (sometimes that happens when you try to perfect drawings one at a time), and follow my personal motto:

Make fun, not masterpieces.

Idk how helpful this was, but there you have it!

[genericpuff]

Hello! I’m just here bc I’m a little confused on what you meant by Smythe drawing out “each individual asset” when she was making comics? Now, granted, I can see that it made her file ginormous, but me personally as someone who knows nothing about making online comics but is really wanting to get into it (and also as someone who has a ‘too many layers’ problem myself), is there a way to avoid using too many layers?

My current way of making comics has been to draw the panels individually and then format them (which I know is terrible management wise and also messes with the quality) but I honestly have no other idea of how to do it properly, and seeing how stunning Lore Rekindled looks, I don’t know how you would manage to put all that lighting effects and little details on the same layers. (But also I may be thinking of it wrong so I’ll let you talk qwq)

Ah I can actually give you a visual breakdown of what I meant by that!

So in this you can see there are a TON of layers, and not even all of them are visible because some of them are stuffed into FOLDERS that have been left closed. BUT if you look REEEEALLY carefully-

^^^ These layers right here? That's specifically Minthe from this panel in Episode 61:

(the unique pose here makes it real easy to tell that this is the corresponding panel, you can see the matching body shape with the dark shading that's clipped to the base layer below it!)

So what this means is that Rachel didn't draw all her characters on one base layer, she drew every single character in every single panel separately. Now of course, she could merge all these layers together as working on separate layers helps make it easier to work on elements that collide separately (like one character being 'underneath' another character like Hades is here) but because she has all of those clipping layers with the shading already added in, she likely didn't merge them afterwards because that would actually create MORE problems (because if she merged the Minthe layer in with Hades, then the shading for Minthe that she painted outside of the lines would show up on Hades and then she'd have to erase it which is just a bunch of extra work).

You can also tell all these characters are on their own layer because the layer thumbnail EXCLUSIVELY shows those characters. A layer will show as much canvas length as it needs to cover what's in that layer, so if the thumbnail is only showing one character, that means there's NOTHING ELSE on that layer. If there were more elements on this layer than just Minthe, the layer thumbnail would look more like this:

Now let's compare it to Rekindled's layers! I'll use a completed page to make it fair as we use a lot of extra layers in the post-production phase where we add the texture effects and glow and all that fun stuff, plus I'll even make it a more complicated page like that big nymph explanation spread from Episode 51:

So I'll break it down to make this make more sense:

BG 2 Copy (technically this is supposed to be BG 1) - Basically the panel shapes, what I'll do is mark out the panels with flat blocks and through that we'll add background elements in a clipping layer (usually done by Banshriek). Often times they'll do multiple layers to make the process easier and then merge them all together in the end. With these shapes operating as panels, it means I can just auto select the whole layer, invert the selection, and easily erase whatever's outside of it (such as the lineart and base colors that I put down afterwards). I could just use masking layers like I did in [AFTERBIRTH] but I find this way works better for the process of making Rekindled.

BG 2 - This is where we add objects / foreground elements. So stuff like furniture, interactables, anything that needs to be kept separate from the larger background to make it easier to work with. This can also include "floating" panels that need to be above other panels, such as this:

All of the backgrounds are then nested in a folder for organization purposes (we also sometimes use clipping layers on top of those folders to apply extra effects over anything contained within that folder without affecting other folders, that's a common technique that Banshriek applies)

Then we get into our Characters folder:

BASE - This is where I do the majority of my work, all the characters in every panel on a page are flatted into this layer. Sometimes I do have to create separate layers to, again, make it easier to work with overlapping characters, but usually those layers will be merged before I go into the shading process. I simply shade on a single layer by using the lasso / magic wand tool to select my area for painting, the flat colors make it really easy to do that. Sometimes I need to create a secondary shading layer if I've put down dark colors that start to bleed into the lighter colors, but again, I merge when I'm done into a single shading layer. We also sometimes employ an Add (Glow) layer into the clipping set if we need a glow effect that's exclusive to the characters and doesn't travel outside of their base colors.

There's a (leaves) layer here that I used for the dryad because I needed the leaves to be above the base layer, after that I selected the leaves elements so that I could erase the lineart in the layer above it where needed.

LINEART - It's lineart, enough said haha That said, I do think Rachel actually uses clipping layers for her lineart in places, it seems to be visible in some of her process videos where you can see the lineart present in a clipping layer, and that would explain why there are panels where the lineart suddenly 'cuts off' and doesn't travel outside of the base layer, like so:

GLOW - This is where we do an Add (Glow) layer that isn't restricted to the base layer, it's where we add all the fun lil' glow and sparkle effects over the characters !

The CLOUDS layer is, like the leaves, a background element that needs to be above the base layers rather than constricted to the background.

Above the Characters folder you can see what I mentioned earlier where Banshriek has added more post-production effects that are exclusively clipped to the contents of the Characters folder. This means the effects / blend modes do NOT affect the background layers or anything above it.

The BLUR (Overlay) layer is something we just started doing over the past several episodes, it's a technique I actually picked up from 66 of City of Blank where I merge all the layers into a new visible layer which I then apply a Gaussian Blur to at around 60% and then set to Overlay (and then I adjust the layer opacity until it looks right, usually around 25-35%), it gives it a bit of a softer "dreamier" vibe in the final colors and really helps unify everything!

CANVAS - This is an Overlay layer which is also set to an opacity of 25-35% where I go over the panels with the Add Canvas brush from the Kyle Webster set, unlike the Canvas overlay texture in CSP I can actually choose the colors I want to use which means I can match the canvas texture color to the mood and environment of the scene (ex. I'll use a very light blue for scenes in the Underworld). Not only does it give it that signature texture from S1 of LO, but it also helps balance out the effects of the BLUR layer.

The SKETCH layer sits on top of everything and gets turned off once all the base layers and lineart are down, and ofc the SPEECH folder is just where all the text is kept.

I know everything I just laid out is a LOT but ultimately it's how we operate, it works for us! But it also begs the question of why Rachel operates the way she does because a lot of it seems extremely unnecessary and more likely to bite her in the ass (the more layers there are, the bigger your file size gets, the risk of drawing on the wrong layer increases as well as the risk of posting a panel that's missing elements because the layer was left turned off by mistake, etc.) And it's more so concerning with how she operates with her assistants because if she's still using this many layers when collaborating with other people, hooo boy. Though based on what I've observed of what her assistants contribute, I get a lot more of the sense that she circumvents this by having the artists do the flats separately and then importing them in as separate assets that she then just imports into the page and places them where they need to be. Still not a great workflow IMO because it's what's led to a lot of the issues of characters "floating" rather than feeling like they're actually in the environment-

-but that's still an issue that could be solved by Rachel just taking more time to actually flesh out the backgrounds and lighting to give more of an impression of the characters actually existing in the space. Like that Hestia panel could easily be fixed by just giving the background a bit more detail and putting actual shading underneath her (and lighting from whatever direction it's coming from).

Either way, regardless of whether or not Rachel's process is productive or not, I hope that breakdown helps explain how we do it in Rekindled! Learning how to manage layers is definitely a skill that can be tricky to harness, but once it "clicks" there's a lot you can get away with. Ultimately how you do it is up to you, but my best piece of advice to offer is to just be open to other types of workflows because you don't know how much you might be shooting yourself in the foot doing things the hard way when there are often way easier and more efficient ways to get the same job done. That's basically the vibe I get from observing Rachel's workflow, it seems like she's still using methods that she thinks are working for her (and probably did work just fine for her when it was JUST her) but could be vastly improved for her and her team if she'd just get over the initial hump of stepping outside of her comfort zone. Would probably make for a better comic too LOL

I hope that helps! Good luck! ( ´ ∀ `)ノ～ ♡

[sanctus-ingenium]

Just wanted to ask, please forgive me if you've already answred this, what program do you use? Your art fucks HARD and like. I was looking at your art of the two moths over the city they die in and I was hit with the wave of "oh that looks really fucking fun actually." Like i know my art program can't do some of those effects and like, I'd love to try fucking about with them.

hi there, thank you! all my art is done in procreate and paint tool sai

because you mentioned that drawing in particular i thought it would be fun to break it down and show ppl what exactly went into each part of it so check this out

sketch & lineart - the brushes come from georgbrush.club and the urban sketcher is my most commonly used lineart brush, it has a nice irregular shape. the square brush is nice for big blocky sketches.

the cityscape was REALLY hard but basically I got a photo of the skyline of florence, traced some basic building shapes, then bullshitted the rest using the vertical symmetry/mirror tool to cut down on the amount of work (so i only had to sketch one half of the city). then for lineart I turned off vertical symmetry, turned on the two-point perspective tool, and got this:

the rose windows were made using the radial symmetry tool.

I didn't like it being so flat, so I used the liquify tool to make a kind of fish-eye effect (limited success tbh). I liked how it looked but the buildings in front needed something to cover them up to make the liquification less obvious...

first pass colours. I felt they were very washed out, aside from the sun which i loved. I use the spectra brush (default procreate) for skyscapes a lot, I love the texture. Although the clouds were filled in using the lasso selection tool, I softened the edges using the square pencil again and added texture using true grit sampler grainy brushes. The translucency effect comes from my setting the brush as an eraser. The sun rays come from the radial symmetry tool.

Blocking in the moths' colours was done with the urban sketcher again.

Something people may not have noticed is the labyrinth hidden in the sky! yeah I had a bunch of versions where it was more obvious but I found that it clashed a bit and was too busy, so I made it subtle. But yes. I searched for "royalty free labyrinth" and picked one.

The toner grit brush is one you've seen before if you've looked at any art on tumblr lately (this is such a popular brush) and it's from the true grit fast grit set. The pointillism brush is from the true grit free sampler pack, like my grain brushes.

I added shadows to the moths, increased saturation overall, and changed the clouds to a translucent blue (you can even see in the sun where I forgot to block in the sun itself because the clouds over it used to be opaque lol). Moon rays were drawn using the radial symmetry tool but this time with rotational symmetry off. I also moved the moon down closer to the moths because I felt that it was a bit far away, and this served to visually divide the drawing into three equal parts, so I chose to lean into that and divide the sky colours too, to show passing time, or an endless moment - morning, evening, night, etc.

And then the oroborous, I tried a few different effects on it because I wanted it to be very clearly separate from the main scene - I settled on a dot matrix newsprint texture, using procreate's onboard tool, and some heavy chromatic aberration. This is because the oroborous isn't real, it's purely symbolic and the moths' demise started when they became photographers so I liked the print media aspect there as well. The story itself is about grief without closure, cyclical violence, and sunk cost fallacy, while everyone explores an endless labyrinth, so an oroborous fits I think

what makes art fun to me is thinking up ways I can tell a story using just a single image. and sure a lot of it will be lost to an audience who isn't familiar with the characters or backstory but i want to leave enough in there that even complete strangers to my work will be able to construct a narrative about what's happening here, rather than it just being a cool image. that's my goal.

Finally I exported it to sai on my pc to give it a once-over. this is really important because the retina display on an ipad is oversaturated on purpose, to make everything look amazing and vibrant. but what this means is that on other screens, your work might look washed out. it's especially bad at displaying yellows! so i look at it in sai on my pc and i make minor adjustments, in this case I actually added another multiply layer on the moths and an overlay on their non-shadowed parts to increase the contrast there.

finally if you've read this far, I played a little trick with the caption of the drawing. yeah, THEY die... but only one of those moths is a theythem pronoun haver... the other has to survive. he isn't given a choice in the matter.

[your-local-uwu-artist]

it was suggested I post this to the tags as well >:D

fuck it ima tag @transcendence-au as well because tbh I'm very proud of my silly little animation

some me being a nerd under the cut!

okay so this all started when I read the original post this was inspired by and though 'wouldn't it be silly to add some art to this 3 year old post?' but then I decided to animate it for funsies!

and gosh I sure do love animating!

So I got the base sketch and then got into the lineart animation for each component!

i don't have the sketches/wips saved at all sense this wasn't really a project and it took less than a day to complete. but here's a peak at the timeline

I animate entirely in my ususal drawing software: clip studio paint. It's just what's easiest for me.

all of these layers outside that folder are just the sparkles! after I finished I added some sparkles for fun! there's a lot of them because it involved a lot of copy and pasting sparkle layers

the bottom folders here are the wings body and facial expression! for everything like the wings arms and flags I was able to just copy paste, reverse, and then align the timing correctly in the timeline

one thing unique about this animation is that the lineart and colors are in separate layers! I tend to do line and colors on the same layer but this time I was using a brush that doesn't have the same lack of anti-aliasing and sense it's a small animation I wasn't as worried about keeping a minimum of layers like usual.

also the movement of the body is only 4 frames! and one one of those is just the hat shifting position

initially I wasn't going to have the second facial expression but when I got stuck on animating the flags I added the second facial expression while taking a break.

the arm animation is just 8 frames! honestly the only tricky part in this is the flags, everything else was pretty simple, which made it super fun to work on because I got both a challenge and mindless therapeutic drawing out of it.

NOW THE FLAGS there was 3 throw away attempts before I got it: you see the thing that made this tricky is finding the balance between believability and visual appeal. a big part of animation is creating the illusion of physics, this is the 'believability' part, I need these to look like flags that are moving and made of flat fabric, HOWEVER if I animate these one-to-one with realistic physics: it won't look good! I can't apply wind to the whole drawing because then the hair would have to react, and wind goes one way, and I wan't the flags to be pointing opposite directions. so without wind the flags would be laying down flat, but that won't look good at all! and furthermore realistic physics would have the flag not being all nice and front facing most of the time. so the trick here was figuring out how much physics to apply to make it look believable, while still making it look good.

one trick I did to help me animate the flags is I actually made a plan rectangle flag as a guide so that the general mass/volume of the flag would stay consistent, this is something i highly recommend when animating! like having a circle guide along a characters head to keep their height and proportions consistent.

after I finally found the balance with the flag lineart coloring wasn't too hard! sense I just had to follow the lines, and THANK GOODNESS the trans and aroace flag have the same number of stripes: saving me time!

and then it all comes together to make a satisfying perfectly looping bundle of cuteness >:DDD I feel like the tau fandom doesn't have as many artists with particularly cartoony/chibi art styles so I've gotta play my part in spreading the joy-whimsy-adorable-sillys >:D

anyway! hope you get to see a cool beetle today :D

[ravewing]

can you do a style tutorial?? dude there's geniunally nobody else who draws like you, your art is so poetic and divine, it's inspiring

WAAA THANK YOU ANON OH MY DAYS ??? genuinely this is one of the nicest compliments ive ever received on my art omga what .

im not very good at explaining things but eem ill try !!

i feel like one of the biggest things is the sort of sketchy/messy vibe .. i use a super tiny brush ('digital brush' on ibis (its a premade lol) on size 1-2) and kind of scribble scrabble sometimes .. i also dont do lineart, i cant be bothered to do allat so i just clean up my sketch using an eraser !

i also stay away from using curves and instead try to use as many straight edges as possible if that makes sense .. also arbitrary lines in the drawing are a must . i think thats one of my fav parts of drawing :)

when it comes to coloring and rendering, i start by adding a darker, slightly more saturated color for shading, then blend it out with a midtone, do thr same for lighting, and then i add details !!

ive also been told that my usage of warmer tones is recognizable, and i achieve that by playing around with the 'color balance' filter on ibis until im happy with the results

for shading, i use a dark color (anywhere between blue and red, depending on the character and environment) for shading and a light yellowy color for lighting on an overlay layer ! then (also on overlay) i use those colors to add more arbitrary lines and scribbles

here i kind of tried to break down my sketching process, idk if it makes sense or not tho😓

my current artstyle is the result of six or so years of constant drawing and growing and experimenting !! experimenting with your artstyle is a huge factor in allowing it to evolve as well as for you to find what works the best .

referencing/figuring out how specific artists that you like achieve their artstyles is super good for experimenting !! in 2021 i was a huge fan of bellasaurus and animatedwings, so i referenced their art a lot, picked out what i liked, and incorporated it into my own style :)

i didnt include humans in this because im not very confident when drawing them and still have to heavily reference things lol .. maybe another day

overall just have fun and go with whatever feels right ! below ill attach some of my art pieces broken down if you want to use them as a reference

[mysteryanimator]

Here ye here ye, another breaking down processes post from yours truly!

For this animation, my plan was to make something I'm proud of AND also something to force me to take my time since with all previous animation works they were all rushed. I normally tend to speed through work as someone whose illustrations are painterly and I like to keep them rough. Also lets be totally honest my other plan for this animation was to animate Mizrox being so sickeningly sweet.

Fun fact, this animation was going to be longer. I had tried to plan out Olrox climbing on top of Mizrak during the kiss to lay on his chest. There was an attempt trying to rough that out and several ref videos It was scrapped because for the life of me I could not figure it out. Also hypothetically if I was going to keep it, I would cut to another angle (perhaps Mizrak's face close up) and then cut to another angle that would make it easier to see that climbing over the top. OR, consider Olrox already sleeping on his chest (im just rambling now but this is basically 'if you were able to do this again' section).

I wish I actually went through a more proper tie-down process because the jump from going from my rough straight to clean was rough (badum tsk) for the first few seconds. Defintely learnt my lesson ALSO Olrox is surprisingly really fun to draw from behind.

I challenged myself to see if I could get the idea of "bigger movements, less in-betweens, smaller/slower movements, more in-betweens." Though the effect of Olrox rubbing his face against his arm may be a little too jarring and I steered quite a bit away from my rough and self-reference video in hopes of making the face rubbing more apparent because I thought the character acting was too subtle and wanted a contrast to the other half of the scene. I reconfigured my CSP animation workspace for this too so it definitely made the process less tedious when cleaning up the animation.

(Which by the way I do record a lot of self-references depending on the section! For things I can't do/uncomfortable doing, I'll end up looking up videos. It's the easiest for me to catch subtle things in body language and also get a feels for the motion.)

Also I'm really satisfied with Olrox's anticipation before his smooch and the shoulder roll at the end even though technically the arc doesn't complete itself. MIZRAK THOUGH, when cleaning up I realised my rough wouldn't make sense because he's already looking at him so there's no need for a turn, and then the lack of a shoulder movement felt jarring, so all of that was done without any thought, wish I did think about it more though.

Now compositing was a monster in its own right and basically me jumping back and forth between turning on and off different layers, but here are all the new things I did; I duplicated and blurred the lines of the lineart, beveled the shadows so it was lighter on the inside, and added a rim of blur so the focus drew towards the couple. Also will absolutely admit that my fanboy ass went "... be crazy and try to mimic the show." The final did not go that route because I thought it was more important to emphasize the mood/atmosphere (Also Olrox is intentionally stylized differently because i wanted him to be softer here and I had to give him eye highlights for plot HELP). THOUGH to say I did not try to mimic the style, the #2 lighting test was my 'attempt' LOL 😭 I can never consume media normally.

Here are the lighting tests I went through. I definitely knew I wanted to go with a morning vibe, though I tested out a night ver for fun and did some edge lighting which led to mixing both version #2 and #3 to make #4.

Fun fact, I almost went with #2 due to fear of getting too heavy-handed with compositing and therefore losing the animation (even though I really liked #4 at the time). Thanks to a friend, they also shared the sentiment of liking #4, though pointed out it felt like midday and encouraged me to make the colours warmer and deepen the shadows. It is a really tough balance but I think for a softer scene like this, the more additional layers of comp worked out in the end.

The edge light was a last minute thing because someone told me to add sound and to have light stream in. Also at this point I deadass forgot that you know, Olrox, is a vampire, but hey rule of cute overrules. We can pretend its light not from the sun LOL

Also yay I got to show off my own style a tad, I love paintingggg. It's not as completely fully rendered coz I knew that it would get covered up but I still made sure it was quite clean regardless. I didn't realise how much of it would be covered up even though I did make sure they would fit/make sense for bg LOL

Now we are done!

If you've gotten this far thank you! There's gonna be less frequency of these animations due to the semester starting back up soon and I don't get many opportunities to actually 2D animate (despite it being an animation degree RAH). Also I remembering cringing and laughing a lot when I immediately started putting colour down going "oh i can see the end of the horizon, i have too much power as an artist, people will see this i cant let them see me be crazy"

[Here's some memes I drew over while my friend was reviewing my work]

[onewolfaday]

i absolutely adore the way you stylize wolves<333 theyre so simple yet expressive and the coats capture the detail so well- theyre also just so shape and your lineart is so loose and chunky /pos

would you ever do a tutorial or show some wips of your process? especially on how you stylize coats, i love the way you draw them-

if not, thats totally cool ofc!

thank you!!! :-) heres a little breakdown of my process + sort of a tutorial- i dont usually do art tutorials so im sorry if this doesnt make sense!!

a big inspiration for the way i pick colours for coats is actually this post by @/vhsdruid, so go check that out too ^_^

more specifically for wolves, there are a lot of pretty consistent features that most wolves share, like having a black tip on their tails and having countershading, so just knowing about those can make it a lot easier to simplify a coat. wolves also break down pretty easily into 3-4 colours with transitional shades between.

then all you have to do is break down the wolf into big colour blocks ^_^ ! it really doesnt have to be perfect, i mostly just make it up. i also add more colours in between because to me it always comes out looking like a husky when you have such clean distinctions of the pattern, but thats the gist.

that wolf i was using as an example was also the reference for wolf 048's coat! so you can tell how my coat stylization goes from blocks -> in between shades -> final :)

whenever i start a new wolf, i find a reference image i like for posing AND a reference image for a fun coat (like, for wolf 048, these were the reference images).

wolves also have this thing with their fur that makes it look like it has a Ton of variation in a small area which i sometimes stylize with wiggly lines, like this! vv

also, here's a speedpaint of wolf 048, and the sketch + raw lineart!!

im not really sure how helpful all that is, but im always open to answering any questions ppl have abt my art/tips for drawing wolves!! keep in mind im no expert haha (but, maybe by wolf 365, i will be?)

[sopuu]

hi !!! i wanted to know if you have a few tips on how you do your poses ? im not the greatest at them and want to see what others have to offer ^v^''

also , i absolutely ADORE your art ! it motivates me a lot

first of all thank you sm!! poses are literally my favourite thing to plan out so ill try my best to explain ghdfskl

so i usually break the body shape down like this

the body is basically like a 2-part rectangle which i can push in whatever direction i want to lead the pose- i like to exaggerate the shape to emphasise the uhh force of that push ig? i just play around with it until i get the energy i want

for idle/straight on poses i try to make them seem like they're doing something so that the pose forms more of a trapezium than a stiff rectangle, let the characters have some fun!

at this stage i don't really mind if the anatomy isn't completely accurate since i can fix that at the lineart/2nd sketch, im just focusing on getting the flow down so i let my lines be loose, just as long as i know which limb goes where then im good

also back poses!! most of the time you see the front of the character so drawing the back can be refreshing for me :) they flow just as well as the front ones too!

the same pose can be drawn in different angles- sometimes i put down a (very freestyled) perspective grid to define the space around the character and see where they can stand, and imagine a floating camera depending on where i want the focal point to be

you also don't really need to fret about following the grid to a T, just as long as they look grounded and the angle seems right

i like to slap down a few random grids to see how the character can interact with them, and they don't even need to be touching the character- they're just guidelines after all

for me i think of poses with a main line of action and a secondary contrasting motion (though sometimes one main line is enough), the second line adds a little flair and weight while the main is what you see at first glance

use references also! i can't emphasise that enough!! there's always pinterest or (especially for action poses) fight scenes from storyboards or from the finished film, which i love looking through frame-by-frame bc the keyframes and in-betweens are gold mines for inspiration- lego monkie kid is one of my go-to's for high energy poses!

aand that's all i got for now, hope this helps ^_^

[nrwynter]

I haven't done one of these in forever! I think the last one I did was... four years ago? I thought it would be fun to make one again with my improved art skills and show the work that was put into this piece.

The final piece was one of three idea prompts I submitted for the zine. I was already sketching out thumbnails while I was waiting for approval, but I did draw for one of the rejected prompts as well. (Unfortunately I don't have access to them at this time but I'll add at a later date).

Once the weapon prompt was approved, I got started on a rough sketch. (The sketches were drawn cleaner than what I would normally do to make sure it was readable haha). The toughest part of the piece was its composition. Scattering the weapons was hard because I needed to make sure everything looked balanced and focus was placed on the master sword.

What ended up working for me was I managed to grab as many weapon models from the game as I could find, threw them into Blender, and arranged them until it looked good. A bonus of doing this was having good references for both the piece and the individual weapons themselves (which came in handy when I had to draw some of the detailing). The models were also size accurate so that helped a ton too. I did have to upscale the smaller weapons so they'd be more visible on the cover.

Some of the weapon placement was deliberate, others were put there to fill in space or for another reason. The majority of the characters wielded some variation of a sword so I sprinkled in different weapons and other things to break up the repetition. That includes stuff like the Fierce Deity Mask and Toon Zelda's helmet. The more sillier weapons like Tingle's balloon and King Daphnes' sail were placed in the back so they wouldn't clash too much with the other weapons.

I'll talk about some of the more of the symbolic stuff further down the post.

I also drew an alternative version of this piece with Link being in the center instead of the master sword.

Fun fact: at one point I did consider including Ganon since he's technically playable, but realized he doesn't have a weapon. This would have meant I would also had to include the big Cucco from the cucco mode so neither were ever conceptualized.

I intentionally left the art's tone ambiguous just in case the mod team had something in mind. I did picture it having a dawn color scheme though, and the mods wanted the cover to have a peaceful/hopeful vibe so that worked out. I did however add some sunset choices in my color concepts for more options. The four I made also had sepia versions to fit with the aesthetics of the game.

8 was the one the mods chose. However, I did end up slightly adding 6's colors into it to make the sky pop. This ended up being the finalized color concept.

(It looks a little fuzzy because I ended up layering 8 and 6 on top of each other and I didn't position them correctly fghj).

When I do illustrations I start with the background first so I can use its colors for the foreground and midground. I normally don't draw clouds this big and up close so I had to be pretty delicate with how I rendered it. I'm glad I only had to do one side and just duplicate it to the other. Also I made the oranges in the sky and clouds subdued.

After the background was done, I tried rendering the ground and it was a disaster. This was early on in the rendering phase, but what was meant to be dirt started to look like sand. I tried to see if adding textures would help but it made the problem worse. I ended up taking a break from the ground and moved on to the weapons.

Next was the most grueling part of the piece: linearting. I am not kidding when I say doing the lineart took three whole days. I was also juggling with my other illustration I was working on for the zine so the timeline ended up stretching to a week. I'm a detail-oriented person and stuff like this isn't usually that bad for me but this one was pretty rough. The sweat and tears paid off, I think!

After lineart was done, I went back to render the ground again. It was becoming more polished and included more small rock formations, but the dirt-looking-like-sand bit wasn't improved. I opted to add grass instead since that would be easier to render. That was probably the right call because I think that helped with the desired tone for the cover.

I flipped-flopped between working on the grass and the weapons. This screenshot was when I had added the shading, textures, and some highlights. Oh, and I slightly tweaked the sky a bit.

With the grass and rendering done comes my favorite part: color editing. Started throwing overlays, soft lights, what have you on everything and used color balance to level out the colors. Also added light reflection on the ground for some of the weapons.

Something was missing from the illustration and I had no idea what it was. A friend had suggested particle effects and that did the trick! Everything was set and done and I submitted my illustration. When I saw the cover with the title for the first time, I noticed that the illustration was made a bit brighter than what I originally had (likely so the title stuck out better). I actually really liked that change and edited my own copy of my illustration accordingly.

With that said, now I want to talk about some of the more subtle details in this piece. You guys probably noticed these already, but I want to talk about them anyway! I mentioned deliberate weapon placements some ways up so let me go over that first.

Ghirahim's sword, Zelda's rapier, and the master sword are placed in sort of a triangular way meant to represent the triforce (although I think I messed up on the distance between them). I originally wanted Ganondorf's swords being in Ghirahim's spot but I was worried about contrast issues with the swords' darker color scheme and battling attention away from the master sword. I think the idea still works considering Ghirahim is Demise's sword (and Demise is like the Ganondorf of that game). Though Ganondorf's current placement can be viewed as him being a looming threat, for Hyrule Warriors and other Zelda titles.

I have Lana's tome and Cia's scepter close together to symbolize them being two sides of the same coin. Toon Link and Toon Zelda's were placed on opposite sides of the piece but slightly facing each other. Toon Link's and Tetra's are also diagonal from each other, both also representing a type of connection to each other. It's a similar deal with both forms of Midna's weapons as well as Yuga and Ravio. Speaking of Ravio, his weapon is the only one partially buried, sort of peaking over at the master sword to reflect his cowardice natureand being Link's Lorule opposite (at least the Link from a Linked Between Worlds). A similar idea with Fi is that she is somewhat of a silhouette behind the master sword to reflect her growth in Skyward Sword. (I know technically Fi is represented twice here, but her "weapon" in Hyrule Warriors is a different blade so that's why).

Like I said before not all weapons have symbolic placements like this, but a number of them do.

One more weapon detail I wanted to point out is on the master sword. I had this planned from the very beginning but I intentionally draped Link's scarf over the master sword so that the triforce of courage on the blade is the only one visible. I also intentionally highlighted the engraving to make it more prominent.

In the background, the sky is shaped in a way to resemble the Hyrulean royal crest. With the gap in between the clouds looking like the wings, the Master sword acting as the body, and the three visible stars as the triforce (but I messed that up slightly). Only thing I didn't include was the feet of the crest. It's not an exact 1-to-1, but here's an outline for a better visual:

On the topic of stars, there are 29 in total to represent all 29 characters. The brightest star above the master sword is meant to represent Link, but the other 28 are scattered around. Some are more visible than others so it may be hard to spot them all, but they're there.

Saving this last detail because it doesn't really have anything to do with Zelda and more to do with my art. I have always wanted to do this with my work for a while but haven't implemented it until now so I wanted to bring it attention.

From now on, all of my illustrations will have a hidden little angler fish blended into the scenery. I got the inspiration from Adventure Time's snail that appears in almost every episode incorporated somewhere and thought I could do something similar with my art. I'll show you guys where I placed this one, but you'll have to find the next ones on your own.

Not the clearest, but I promise in the future it'll be better drawn (and in case you're wondering, yes there are also little anglerfish in the other zine illustration too!). I just thought this would be a fun way people can interact with my art (and also act as an additional signature).

And that's it! If you have read all of my rambles, thank you!

[adobe-outdesign]

chia pop chia reviews, maybe? is there even a better name for those because chia pop chia sounds unwieldy but they aren't all fruit. potato chia pop when

(Note: I already covered a bunch of Chia-specific colours in my Chia review. To avoid redundancy, I'm going to list a few secondary favorites in this colour review so the entire thing isn't a repeat. Also, I'm doing my least favorite colour instead of species for obvious reasons.)

Chia pops are basically just those cheap ice pops where they come in liquid form and you toss them into your freezer. There are a bunch of them and for the most part they're normal food items... except for a few with the handful of "magical". For reasons that have never even been remotely explained in the lore, Chias that eat magical Chia pops change into a matching fruit/veg form, most of which are unique to them specifically. These additional colours give the Chia some flavor (both literally and figuratively) and are their main gimmick.

Conversion is a weird topic for these Chias. The bulk of them got redrawn and put into standard poses for customization (which is a particularly strange choice as they can't wear clothes anyway)... except for some that just didn't, for no clear reason.

Because the conversion was so uneven there's no way to make a judgement call for all colours, but on average I'd say that they looked better pre-conversion, as they tend to just look strange in the default poses—though on the plus side, most of them lost the weird lower lip that Chias used to have. Hopefully TNT will consider doing pet styles for these colours in the future so people can pick and choose what they like best.

(Secondary) Favorite Species:

Agueena: Chias that are based on Neopets-specific fruits are always neat, and the agueena was already a good-looking item, so unsurprisingly the agueena Chia also looks pretty good. It's less fruit-like than some, but the cyan-on-blue splotches make for a good pattern that works really well with the orange hair-like "leaves". The shading on this one's also really good.

Banana: I like my fruit and veg Chias ridiculous, and this is a ridiculous colour all right. The elongated body is immediately distinct and fun, and I like how its partially unpeeled, which adds a bit more visual interest to it than it would have otherwise.

My only issue with it is that I wish the face lineart was colored so it matched the rest of the design. Also, the arms and legs don't seem to actually line up with the body quite right; I kind of feel like the legs should've been redrawn and the arms dropped entirely ala the onion Chia.

Thornberry: Another Neopets-specific fruit, this design is pretty similar to the tomato Chia, which is its only major drawback. However, I find myself liking the thornberry Chia more, as it has a bit more contrast with the dark feet and the texture at top breaks up the otherwise monocolor body.

This is absolutely a colour we could use a pet style for though, as the unconverted version was much better. Aside from having better face proportions, the variable sizes of spikes really added something to it.

Least Favorite Colour:

Gooseberry: Just kind of a strange pick of fruit to begin with (for those wondering: gooseberries are an actual thing, look it up), nothing about the gooseberry Chia has ever looked good. The colors are drab and low-contrast, the body is weirdly off-kilter and has poor shading, the face placement is odd (it used to be lower down on the pre-conversion art, which was better but not by much), and ironically the thickness of the stripes make it not look much like an actual gooseberry. Honestly, all this does is make me want a watermelon Chia.

[aidenlydia]

How long have you been drawing? I really like your art styl. I've been wanting to learn how to draw, but I'm worried I won't ever be able to pick it up or have the patience or know how to start.

(video includes some of my art from 2017-2019)

Drawing has always been a hobby of mine, but I only got serious about it around 2017. The most important thing is motivation, that's why a lot of people get started with fanart and learn the fundamentals through it. Try drawing things you love! References are your best friend, I have entire folders for every character I draw.

All artstyles are a combination of process and appearance preference: I don't use multiple layers for lineart (my sketches are the lineart and I clean them up with an eraser) and semi-realism is the easiest for me because I was mostly into traditional realism at first - I learned I like fine details, clean but sketchy lines and rough textured brushes. It's kinda like handwriting, you already have your own unique way of drawing, but you can shape it to your developing tastes with practice.

For most folk anime and comic styles are usually easier to learn, because they simplify everything already. Especially at the very beginning copying other people's art and manga/comic panels is a great way to get into drawing, figuring out your preferences and build up muscle memory (don't upload copied art, but traced photos are fine).

Remember that the art you enjoy seeing and the art you enjoy making can look vastly different. Having multiple styles, changing over time and experimenting are very natural things.

To this day I struggle drawing chibis and cartoons because I've only studied realism :') Even semi-realism has only recently clicked for me by closely looking at other people's art, so don't stress yourself with only focusing on the fundamentals.

Another tip that really helped me understand better in the beginning was watching various artists draw in real time, just observing them can really clarify the process and break it down. It's also a lot less lonely than learning all alone - there's lots of art youtubers and tutorials.

Here are a few:

How to start drawing for beginners

What our brains do when we draw

How to learn to draw (as an adult)

Learn the sketching basics

Obligatory Drawfee episode

Tips for changing artstyles/get unstuck from patterns

Doodle date (caus they're wholesome and fun)

Guided drawing practice with Nathan

[smugpugchimera]

Hi :) just wanted to drop in to say I really love your art, the way you use lineart and colour are like, insanely beautiful. I'm curious what brushes you use for lineart? Hope you have a nice day!

Hello! Thank you very much, I'm super happy to have such a positive response to my art ^^💜💜💜 Talking brushes: I mostly use a default pen with a fuzzy texture, the exact type is not that important, it cam be noise or a spray tex. of sort) Now what I feel has a more profound effect is the exact proportions of pressure, sharpness and density. Here the preferred setting I use in SAI2:

I'll try to break it down a little so it's not just useful for SAI2 users, for I do not know the ins and outs of how other programs approach this. I set to to have round tip with no sharpness, and both minimal density and density amp set to 0, which results in it corresponding directly to pen pressure. The additional size and density scrollers set quite low too. That, together with high stabilization and low tablet sensitivity (smt you can do in your tablet settings, you can play with them too!) makes the brush rly easy to control for both opacity and thickness. Which is what I personally prefer (it gives a soft pencil feel I think) You'd need to set your density settings higher if you prefer a more opaque lineart brush. I do advice playing with them yourself to get the feel for it, it's honestly very useful to understand and develop intuition for. Now another "tool" I absolutely cannot live without is this pesky lil boi:

The "switch to transparent" tool is like, A Beast, and I don't see a lot of talk about it's versatility. I set it to my hot keys and use it more that undo tool :D To elaborale: I find it helpful to use the negative space (or erase) the lines I draw in a particular way to give them a more unique value that it would have by itself. I'll try to demonstrate:

So, the gist of the technique comes down to subtractive shaping of form, in combination to usual additive approach. Now, this is a specific trick I find rly satisfying to my style of drawing that works well with my brush preferences, which is by no mean universal, but what I would encourage to take away from this if you're not doing it already is to think of erasing as not just a corrective tool, but also an artistic one! (Note: switching to eraser does similar thing- the only downside is your brush settings and texture would have to match with it, which can be a hustle) I hope this isn't too elaborate of a response, and hope it is at least somewhat helpful X3!! Good drawing you Ya'll and first of all: have fun! Have a nice day~

[flare-the-pyrowing]

FROGS FROGS FROGS FROGS FROGS

Aka a ninja, a monk, and a confused punchy boi.

(Ramblings under the cut)

Hehehe artists commentary time. Cause idk I wanna talk about it.

This took me a long time ngl. I mean part of that was a took a break and then had to actively make myself sit down and finish it, which I don't regret.

This was the first time I've drawn Ranno and Liligator (as well as greninja from the front), so between that and the character spacing, posing, lineart, the fact I didn't have an actual lineart pen for most of this, and attempted color matching (cough cough perfectionist cough), it was a challenge. Dude color matching Liligator's blue was really frustrating for a while, but I'm happy with how it turned out. And its As Close As I Can Get™. Ranno's bubbles gave me hell when I started coloring them. I swatched a lot of potential strategies before I tried on the sketch, so eventually it worked out and I think they work pretty good. I've drawn greninja a couple times cause they're my main in ssbu, but MAN. Drawing them from the front. Not doing that again anytime soon I'm doing just great with a three quarters angle thanks. I still think their face looks off, but I redrew their eyes at least 50 times and had to just Leave It if I ever wanted to continue.

Despite all of that, I had such a clear image of this idea in my head so I went and put it on paper. Honestly this was really fun and I like having a project I can chip away at for a couple days.

Anyway here's some alt versions cause I wanna put them here.

W/o question mark

Individual frogs (can you tell I went from left to right lol)

And I know absolutely zero (0) people care but if you wanna use these for icons you can just credit me ig.

Seeya

[yosajaeofficial]

JUNE UPDATE

WASSUP BROS AND HOES, IT’S ME, YOSA FRICKING JAE. BACK AT IT AGAIN WITH ANOTHER UPDATE ABOUT THE JMC 🔥🔥🔥‼️‼️‼️

Last time, I remember saying it’ll be different and things will spice up, and I am indeed gonna provide more stuff piled into these updates because the debut comic is taking so long. I wanna make sure you all get full when consuming these updates instead of being like “oh, nothing happened lol”. I have a good chunk of shit to talk about that’s outside of the comic itself, but it’s like behind the scene stuff about it :3

With that out of the way, let’s finally get started!

The Comic

(W.I.P OF THE OFFICAL DEBUT COMIC)

The comic is slowly making progress, the first thing that’s changing is me showing progress of the comic itself and giving ya’ll w.i.ps in order for me to give you guys content to look over, and because I just want ya’ll to see it yk? The honest truth is that it’s moving slow because of burnout. It was huge and made me wanna give up on the comic and leave the fandom, I was struggling for a good while but my best friend told me it was best to take a break and recharge instead of pushing further. They told me to do something else so I can regain my motivation and passion for the project, and she was right, because I’ve been having fun hanging out, watching her play Stardew Valley, and letting loose without the pressure for the debut comic to come out. I have to prioritize my health and well-being before anything else, and I know the comic will be done!

Also for you all to know, the team I had disbanded, and right now I don’t have a full official one to help with the debut. I have amazing friends that have helped look over the script, one did some sketch compositions, one helped fix up grammar in the script. They helped me greatly and I’m so grateful for them and their loving support even through all of the rough patches. For the most part, I’ve been doing everything on my own, and it can get stressful easily because of how much I’ve had to change my plans and shuffle around when the team disbanded. I’ve been the one doing the scripting, sketches, lineart, color, management, and just everything. Even if I try to act like things are fine behind the scenes, I definitely got more anxious and depressed after events occurred, so this break (not hiatus) has helped me recharge after going through a bit for this comic. To end this section on a good note, I’m feeling so much better and I’m recharging absolutely greatly, I even renewed my love for Donnie after a friend drew him 🦐 Sooooo…The JMC is still in good hands.

Bonus Content: The Villain

YosaJae, what is this? This is the section that’s hella new, the place where I show you guys some cool concept art, ideas, and plots that show the origins of the JMC or even scrapped/cut content. Today we’re gonna talk about the villain of Arc 1. Fun fact, two were created at the same time but one of them was finalized to be the primary villain for Arc 1!

(First ever concept art of Archie Gomez)

Here he is! The cat himself, ✨Archie✨ I needed some variety and needed an anthropomorphic character since Rise has lots of their mutants and yokai. Archie was a character that was a lot more serious and hella threatening but he was toned down after more arcs were created. For some reason, I included freckles because I originally thought, “Ginger people…..” then included the freckles to make him more recognizable. Let’s just say that they weren’t as rememberable as I thought because I forgot them after a while-

Fun fact, Archie was originally gonna be a native Spanish speaker but not be able to speak English. The actual conflict was gonna be about the turtles and Archie fighting due to language miscommunication, but it was later scrapped because of the issue with translating each of his sentences and being truly accurate with his dialogue. He also at first was a one off character that would never return, but he was popular that he became the reoccurring bad for Arc 1.

(Archie Gomez Evolution 2022-2024)

Archie had went through a good bit of design changes over the years and I changed him to be more easier to draw by giving him a more unique silhouette by drawing his head as a pentagon instead of a circle. The transition was at first a circle to triangle, but then the shape was too complicated to recreate so I had to go with a pentagon (as an accident at first too). That changed him A LOT but I was hella happy with the way he turned out because he started to look more unique and iconic. Pretty cool, eh~?

Aaaand that’s it! Thank you all for stopping by and coming in to read this update! I hope it was fun to go through and very refreshing. I wanna make my updates more like this instead of what was said above. Especially because this is taking so long, I wanna be able to go over behind the scenes with you all since ya’ll at least deserve that; I can’t keep being mysterious about the comic since it is taking years for it to be made, but it’s trial and error so I gotta do this in order for it to be worth the progress. I’m strong, I can do this! Hopefully your day/night is amazing, and take care until next time 😋🫶💜

[pleucas]

Would you ever consider doing a colouring tutorial?

Heyooooooo

I've done a coloring post before (a few months prior), but somehow, my coloring/painting process has changed a lot since then lol. I'll give a breakdown of my process (and go into specifics on coloring) here, but please do take it with a grain (or a spoonful) of salt... I'm still very much learning, and though you can use my process as a guide, experiment on your own to find what works for you! This post got a little long I'm ngl so. open at ur own risk. it's really just me rambling and being a bit too pretentious for my own good

using my recent post as an example, my process is basically just:

first i get a clean sketch (after many hours of pain finding detailed references lol), not gonna go into that since you asked abt coloring

then i immediately go to block out shapes over the sketch. For big paintings, I don't do lineart (because i find that it eliminates a lot of depth that can be achieved with shapes and shading) — for smaller sketches and pieces, i'll do lineart tho.

I started darker to lighter in this painting because I knew I wanted harsh light. For me, it's a lot easier to project "additions" onto a surface — ie, if there's a harsh light, that's the addition vs. a shadow in neutral lighting as the addition. dunno if that makes sense, but breaking tones down like that helps me understand how i want to chronologically color smth and choose my bases:

for example, since I knew I was gonna have harsh light here, I felt comfortable with just getting the tones for my shadows down immediately. There won't be many midtones due to how extreme I saw it to be, so there was no point in finding a neutral base tone.

how i choose colors varies from painting to painting, but for this one, I decided to lean purple-blue because skk are just one of many red and blue gays (same reason why most of my other skk works lean red-blue-purple), and also because I knew I wanted my light to be on the warmer side — thus, the shadows and unlit areas will be cooler.

i also wanted it to recede (to emphasize the perspective and for depth), so for the base colors, i made them cooler + darker as they went back. This wasn't as clear in the finished product, but i think it did a good job at reminding me the vibe i wanted as i rendered

By how much I've written for this step, I guess you can assume that it's the step I put the most consideration into — and you'd be right. I think base colors really determine the vibe, and it sets you up for the rest of the painting. Sometimes I have to color adjust my bases over and over (with hue adjustments, color balance, curves) until I'm satisfied. I think that satisfaction is obtained w/ more ease as I've painted more and more. Alongside the sketch, this step takes me quite a while. Sometimes it's fun to mess with really wild color combos, but that's another topic.

Then I block out the lighting, which is probably the most drastic step but also somehow the quickest for me. Once you understand how light affects color (warmth, tone, etc) and you gain confidence with it, blocking out values in relation to base tones isn't too hard. That ofc takes practice and a lot of fundamental understanding of Shapes & Colors but there's a lot of stuff online abt the theory specifically from professionals, so I'm not gonna lecture y'all as a fanartist for glorified literary author rpf

then i just start rendering, layer by layer. above is a screenshot i took mid-rendering; at this point, dazai's clothes were basically done but I later worked on the face + hair more and textured the tie.

I try to do the stuff I want people to focus on first, because at least for me, that's when I have the most energy to make smth detailed — the more detailed an area is, the more naturally drawn you eye is to it (this is because the brain likes areas of high contrast, and details are entirely founded on the placement of contrast).

My art has never been too extremely detailed — I enjoy flatter + bigger shapes, styled texturing and silly patterns, but I find that "detail" still translates into "effort". When I look at paintings, it's very clear where someone put most of their effort — and when I can't tell, then I know I have a very confident + experienced artist who can effectively distribute their workflow (goalz). So yeah, I render in my very silly poly style but still keep that in mind.

eventually, I finish rendering. This part is kinda a blur tbh, and it always varies from artist to artist. I'd say the things I keep in mind are:

shape + form (making sure my rendering doesn't mess up gesture or vibes, and that it keeps things loose)

composition (making sure i don't overdo areas where i don't want people to focus on)

and tone (ensuring that the depth and believability of the scene stays intact so that my non-realistic style can work)

I added the bullet because i wanted a reason for the goofy expressions, just a bit more pizazz so that skk's drama was also believable lol. also visual storytelling or whtv (but that's not something i usually prioritize, it mostly comes with the concept and sketch).

I also added the bullet for some compositional spice. the dark shadow on dazai's arms was there to also emphasize the warped perspective, but it also left a weirdly empty vibe that I didn't enjoy lol. So yeah, bullet! and ofc my favorite, weird flowy line pattern thing that doesn't adhere to the laws of physics

I think a lot of my traditional painting experience leaks into my digital painting practice. I don't like lineart too much, and since I mainly work with acrylic, I rely on opaque color blocks, layering, and "carving out" shapes. probably explains my affinity for solid flat brushes in Procreate,,,,, but yeah. It's a little all over the place, but at its core, it's a lot of technical stuff mixed with habits after finding what works for me.

Dunno if this helps at all, or if it was interesting lolol. Thank you for reading until the end if you're still here! I appreciate it. I'm still learning but I've definitely learned a lot since I started this blog so it's exciting to track my progress. I'm sure I'll see this in a few years and laugh lolol.