#i love them but that panel is a lot to process | Explore Tumblr Posts and Blogs

cooloddball · 2 years

Note

LOVEE your jib 10 closing ceremony analysis. You are too funny. Can you do jib 10. Pleeease?

thanks. i don't think i'm funny but i'll take it. :)

so i haven't done a full jib10 analysis because cringe but... here are some of the things i have shared about it:

bonergate

thee selfie (jib10 selfie)

key gay moments

mishalecki vs cockles jib10 panels

#asks #anon #cockles #i might analyze it one day when i'm like high or something like i did with jib8 #i love them but that panel is a lot to process #god i'm so physically tired rn #so to all those whose asks are in my inbox i promise i will answer them tomorrow #i need some rest it's been a long day

32 notes · View notes

piesa2 · 5 months

Text

im always in between not considering myself a comic artist and then also when i do make a comic im like wow i love comics

#maybe its cause yk. i get better at it and i feel more comfortable with the process now than i did yk a couple years ago #enrolled in this school barely ever having drawn a comic nor having done much research into the course #just kinda based on ‘i want to draw lots’ and what the application process was like #didnt even really read many comics #and then after a year or two of sorta doing comics wanting to do other stuff but also #occasionally making a comic still #in the end its really not that weird at all i think. the course gives a lot of freedom and make whatever kind of art you want.#im not graduating with a comic for example but rather a sort of transmedia exposition #but then. i also do like comics. learned to like them. i like panelling (but storyboarding is so hard)#above all i think i just love drawing. i want to do more than that as well but an empty piece of paper is my home #its my home! and i love my home

3 notes · View notes

egophiliac · 1 month

Note

Hi there! I really love your comics and how expressive they are. How do you go about making the characters in your comic so expressive?

thank you! 💚💜💚 I am REALLY bad at explaining things, so my apologies if this doesn't make a lot of sense, but maybe there's something helpful in here somewhere. :')

1. warm up! drawing is a physical activity, after all! so if I'm planning on sitting down and drawing for a while, I usually start off by taking a couple of minutes to doodle a bunch of circles and lines and random shapes, just to get my drawing arm goin' again and get back into the physical groove. just stuff like this:

and just do that for however long you feel like! you can kind of feel when your arm starts to loosen up and your strokes get more confident. it makes it a lot easier to get those swoopy big lines and gestures!

2. play around with how you use your lines! paying attention to the shapes that they're making will change a lot about how much force and life your drawing feels like it has. (no way is better than another, it just depends on what effect you're going for and how it looks as part of the larger whole.)

and you can also use lines against each other to get different vibes:

it's not really a matter of "you need to make sure all your lines are always doing this all the time", it's more like...being aware of it, and getting that into the general thrust of a pose, if that makes sense? like a lot of smaller lines of action, beyond the big one that goes through the spine.

(just gonna use my own art as examples, apologies)

if you have a good foundation of tension, then all of the little bumps and contours of a character's details won't get in the way of it, and it'll still come through.

and don't forget about negative space either! the spaces between things have their own interesting shapes too!

I don't mean this to come off as, like, all these extra things that you need to be constantly thinking about and stressing over. more like...just try different stuff and then see how it works and how it changes the feeling! if you find a good shape, see if you can exaggerate it and make it more interesting, and how that affects things! angles and shapes are a LOT of fun to experiment and mess around with, especially when you're going more cartoony. :D

3. acting!

just...spending a little time to think about what the characters are actually doing! (aka the "figuring out what everyone is doing with their hands" bit.) this is more a personal preference, but especially in multi-panel comics, I like to have them be in the middle of doing stuff. not just big actions, but smaller things -- like even just how they're sitting or standing -- so that it feels like we're looking in on the middle of a scene, instead of a couple of characters just standing around neutrally and staring straight ahead while talking at each other.

this probably sounds really obvious, but it is one of the most fun parts for me! I love trying to find some little action or something that they can be involved in, especially if it's relevant to their character or adds an extra joke. (for some reason this usually involves me being mean to Sebek) (I'm sorry)

it doesn't need to be everyone Always! Doing! Something! all the time, especially if starts becoming distracting (sometimes they do actually need to just be standing around neutrally and staring straight ahead, especially if there's a bigger action going on that you want the audience to focus on instead). but even just figuring out some kind of non-neutral pose for them to be in can add a lot and make it feel less generic!

3. thumbnailing!

this is, again, very much a personal preference; unfortunately, every artist really is different, and we all have different processes that work better for us. so I can only speak to my personal experience! but I find what helps is to start REALLY rough -- not so much as in messy, as in not trying to start right into actually drawing everything out. like, literally just starting with stick figures and :O faces.

it probably doesn't sound relevant when talking about Drawing Expressively, but I find it's really, really helpful to have already figured out what everyone should be doing (acting!) and what the overall general layout and flow of things should be, before getting into the actual meat of drawing the characters. like having a sketch for the sketch!

(good compositional flow is something I struggle with, and text layout especially, so this stage also helps a LOT with making sure things are fitting where I want them and staying consistent/not breaking screen direction/etc.)

then after that, I can go ahead and focus on getting those Shapes and Lines and Angles and all that, without having to think too much about the layout or where things should go!

(of course, the downside of that is that my thumbnails are usually way better than my actual drawings, alas alas.)

4. this is more philosophical, but...give yourself some slack. the stress of Making Things Look Good is, ironically, often the biggest problem. (see: thumbnails looking better than the actual drawings.) so...let yourself draw shittier and without regards to accuracy. make things just for yourself without thinking about posting or showing them to anyone else. draw stupid faces and wrong proportions because they feel better that way. focus on what's fun and not on getting a perfect end result. "draw expressively, not well", as they say -- you can always tighten up things like proportions and details later, if you really want to.

that's all WAY easier said than done -- god knows I haven't really managed it -- but even just aiming for that attitude really, REALLY helps. if your lines are confident, they'll look a lot more alive and expressive than lines that are exactly technically precise but have no rhythm in them. (this is why tracing photographs tends to look so weirdly stiff and unrealistic, by the way -- even if you're drawing realistically, you usually need to exaggerate and stylize a little bit so it doesn't look lifeless.) it's a balance between caring about what you draw, but also being willing to let things go a little bit.

↑ I hope some of this helps! I don't know if any of this was actually what you had in mind, let alone much of it actually made sense outside of my head. :') but hopefully you (or other people) will be able to get something out of it!

#art #twisted wonderland #(not really related but since that's what the examples are)#i'm so sorry most of my art advice boils down to 'SHAPES ARE FUN'#(they are though)

631 notes · View notes

bonus-links · 22 days

Note

DIRECTORS COMMENTARY PLEASE I LOVE HEARING YOUR THOUGHTS AND PROCESS <3!!!!!!!!

YEAHHH lots to say for this update

there's a scene I didn't so much as cut from the beginning of this update as significantly shorten: Wolf, Loft, Wake, and Slate are changing into their lighter outfits. Loft says the same line as having the party, Wake begs them for this one day with his Gran Gran, and they all agree they can wait. I've been trying to get better about like, not putting a ton of work into unnecessary connecting scenes, which is why I cut it down. Wake sounding more cavalier also works better for the overall chapter. But i was sad to leave this joke out lol:

may I present to you, Slate's picture gallery! he was mostly on task documenting flora and fauna but he gets a little sidetracked sometimes

I love the idea that he's just, like, kind of terrible at photography. he documents stuff for Zelda and it's always weirdly cropped and kind of out of focus, but she appreciates it anyway.

Slate is also picking flowers for the party! so he is still helping out on that front lol

idk if i've mentioned this before, but beetle does still have pincers! they're just. idk what the right word is. retractable maybe? yeah. like the ancient weapon blades

the filling of the half moon pies is pineapple :-) i was. so worried about it looking like an egg HAHA.

I thought way too hard about how they were going to cook these pies. I was originally going to draw a clay oven or some other setup, but ultimately I thought the Zelda tradition of only having pots over fires to cook was a funnier nod lol. So, they're frying the pies

believe it or not, I wrote this scene before reading dungeon meshi HAHA but it certainly served as good reference for how to set up shots for it

Aryll did in fact eavesdrop on Wake telling Tetra The Situation

That's Champion's little sister in the memory! I like the headcanon that her name was also Aryll.

Champion and his sister are making meat pies instead of pineapple ones.

One again, made a bunch of layout mistakes I ended up having to fix, except this time I didn't catch them until I had already gotten to rendering :-( if you're a patron, you probably saw these versions in the WIP:

problems here: Wolf is walking the wrong away. I was sad we'd be losing his expression but alas. And for the panels with Champion's sister, the angle is too low to be an actual POV shot. I could've left it and said he's just sitting or something probably but it was really bothering me lol so I redrew everything. and then recolored all of it. woof.

as a general rule, if he has scars, that's Slate. No scars is The Other Guy

I understand the complaint about this in BOTW, but I actually kind of like that weird moment that occurs after you finish a memory cutscene, and it just abruptly goes back to Link looking blank-faced like nothing happened. It implies this kind of....distance from the memories that I find interesting. Slate has complicated feelings abt the memories of Champion's life he gets, but like. there's pies to make

shout out to peony she's a real one

#directors commentary #bonus content #ask

428 notes · View notes

foxy-alien · 2 months

Text

Page (4/14)

I wanted to share my process for my 14 page Nona comic, This got pretty long so the rest is under the cut!

First, I start by making a script, as I'm weeding through Nona I’m drawing immediate reactions. This way I don't have to keep track of action as well as dialogue. This is the most dialogue heavy page of the comic so this one has the most detailed panel break ups.

In this scene Alecto’s inner thoughts are my favorite part so I dedicated a lot of time figuring how to add them naturally. I especially love “The old man, Crux—the child Crux, barely one hundred years old”

Once I have a rough, and I mean ROUGH thumbnail for the page I move on to creating a digital sketch.

Side note, you’ll notice I go back and forth from traditional to digital back to traditional. Having to fully redraw poses multiple times makes me really think about the action and what I want to include.

Thumbnailing is for figuring out panels. Sketching is for action and dialogue. I tend to show action and emotion over following all the rules of comic making. If you notice i break the 180 rule, but at the end of the day character interactions are more important to me.

I redraw the sketch on comic paper in mechanical pencil. Again I don’t trace the digital work because I want the linework to stay loose. I just focus on lineweight and contrast at this step. The dialogue is written out first then I line everything else with my felt tip pen.

I clean up the comic and replace the handwritten dialogue with a font I made out of my handwriting. This part is tedious but I really don't know how to skip it. My handwriting is too hard to read but I also need to make sure all the dialogue fits naturally, so that means doing it twice.

My coloring process is really chaotic and can't be summed up in screenshots.

Crazy right? I am constantly adjusting, changing, and generally making a mess and then cleaning it up when I color. Often when my colors look off to me it's because I have a contrast problem, so I check it in greyscale.

If you want to know more I can share my brushes and techniques.

And with that I’m done! And then I move on to the next page.

#my art #my process #tlt #the locked tomb #tlt fanart #gtn #gideon the ninth #gideon nav #gideon tlt #gtn fanart #ntn #nona the ninth #ntn fanart #tlt comic #the locked tomb fanart

337 notes · View notes

copperbadge · 7 months

Note

Do you still want to be a Jew?

Talmud, the multi-volume Jewish book of law and culture (and recipes, and arguments, and grampa jokes) tells us that roughly 1500 years ago, if a gentile wished to convert, they were brought before a panel of Rabbis and asked why -- did they understand the Jewish people are persecuted and hated and living in diaspora?

If they responded, "Yes, I know; I can't understand your suffering, and I am unworthy to share in it, but I am willing to share in it to be a Jew," the Rabbis accepted the convert at once and immediately began teaching them the laws of Judaism.

This isn't a tradition in place anywhere today as far as I'm aware, and I don't consider myself Jewish because I haven't converted fully, but when I read that a few years ago I laughed out loud, because truly plus ca change. The first Jewish person I told that I was considering converting looked at me incredulously and said, 1500 years after the Talmud was written down and thousands of years after the oral tradition began --

"I love being a Jew, but I was born to it. Why on earth would you give up your privilege for it?"

And I replied (less eloquently, but in summation), "I've seen what you go through and I know I don't fully understand it yet, but I'm willing to try in order to join the Tribe."

It's a wild time to be converting, but I can't say the world isn't giving me opportunity to understand the suffering of the people I intend to join. I struggle with a lot of aspects of conversion, and it's not entirely uncommon for someone to go through a significant portion of the conversion process and end up not converting. I really struggle to learn Hebrew, I've never felt able to believe in a single divine being, and I'm having trouble finding a shul that feels like home. But I was at a friend's shul on Friday to welcome the Shabbat Queen, and even when I don't fully understand the prayers and can't fully understand the persecution, yes, I wish to be a Jew.

#judaism #conversion

479 notes · View notes

innaillus · 2 months

Text

Drawing Ryōmen Sukuna

Development notes

This post has been in the making since last year, before the manga has reached its current arc. My aim was to respond to comments that pointed out that my version of that time didn't look like the one in the anime. I calculate everything I do and the way I do it. My current goal is to share my thoughts on the development of my take on him - simply because I'm a nerd when it comes to anatomy and I love figuring things out. It involves a lot of thinking, questioning, analysis, dissecting information and building theories. So I totally understand if it's not anyone's cup of tea.

MANGA SPOILER WARNING

The very beginning

I used to have a serious case of lack of self-confidence. My earliest art of Sukuna dates back to 2021, but it always felt like my skills are not worthy of this particular character. I never shared my art. I was also struggling to find my artistic voice. I was obsessed with the idea of semi-realism, but even if I managed to pull it off after weeks of stylisation practices, I didn't like the results.

Due to personal reasons, I stopped trying to draw him for a long time.

The development of "my" version

It was an entirely conscious decision to draw him differently.

The top reasons for the change was that I didn't want to sexualise him in his host, Yuuji, who is a minor. Back then I thought he inflicted the deformation on himself (extra limbs, eyes, etc), for the sake of efficiency, and I was curious what he looked like before that - or what he would look like in a civilised environment.

During the process, I considered a number of factors:

the beauty standard of the other JJK men - I wanted him to fit the lineup - his original appearance made him stand out quite much

in a setting where he adheres to the rules of society, more or less, I believe his MBTI personality type (ENTJ) would dictate a lot of his choices when it comes to appearance, at least to a certain extent. I thought he would choose to have an appearance that fits the beauty standards of the era

I kept his tattoos because it's a very distinguishing feature of him, but I also exercise freedom in the way I draw them, to make them as stylish as possible

Reincarnation

I used to believe once he reincarnates, his proportions would be closer to that of a "normal" human, even if he has some extra limbs. However, his size and features are above and beyond of what we are used to, and even the story emphasises their malformed appearance. So a a whole new era of Sukuna started in my art. I chose my favourite manga panels of him and mix-and-matched the most attractive features into a figure that I consider on the fine edge of monstrosity and unconventional handsomeness.

Even when I draw him with a regular number of limbs, I keep his usual mass and proportions. I dubbed this form "true gains" form.

I also realised that some of the tattoos Yuuji's body displayed was a product of the partial reincarnation stage, like we see it on Tsumiki's forehead.

NOTE: Did anyone notice that Sukuna is getting progressively more and more human/handsome in the manga? When he took over Megumi's body, I also noticed that as the story progressed, he started to look older and more mature. I'm curious of it was a conscious decision.

Twin dilemma and speculations

According to the Japanese wikipedia page, the mythical figure Sukuna could have been a conjoined twin. Despite my extensive digging in the matter, I was shocked by the recent lore drop.

My question: what does Sukuna look like in a universe where he did not absorb his twin in the womb during development?

It hasn't been confirmed, but I find it very possible now that he was born with his extra limbs, eyes and mouth, as well as the deformed, wide features. (...as opposed to my first theory about him altering his own body for the sake of efficiency)

This, however, would mean that in a universe where both him and his brother are born healthily, he would look different. There is the obvious lack of extra arms, eyes and mouth - but I believe he would also be closer to the JJK beauty standard of men, as far as proportions go (eg. more narrow face, anime-esque nose, larger eyes).

At first I was hesitant to accept this idea, as I'm very attached to the 4-arm hulk / "true gains" form now, but then I realised: this would mean that "my"version of him actually has logically explainable place in at least an alternate universe.

Thank you if you got this far.

I may edit this post later. Let's see where the story takes us.

#ryomen sukuna #jjk art #jujutsu kaisen

393 notes · View notes

junkworldusa · 3 months

Note

HI I love my copy of Junkworld btw!! Thank you!!

Idk I might have asked you this before or someone else may have but I was wondering if you would talk some about your art practice like. Routine and the like? I think I remember you doing Lynda Barry exercises?

Well either way thank you!!!!

Oliver!!! Yes!!! I'm so glad!

I have to preface this by saying that I don't even work on art every day, much less comics. Last October I picked up knitting on a whim and spent all my free time making hats while listening to an audiobook of Moby-Dick. I made a lino print for the first time while sending out JW #1, fell in love with it, and have spent the last month or so carving and printing and experimenting. I go on painting jags, collage jags, writing jags, and I have two (2) guitars that are sitting in the corner patiently waiting for asteroid Kiana to circle back to them. I've been this way my whole life, and I am trying to work with it and not against it. HOWEVER. There is a hardcore Type A perfectionist inside me that wants nothing but consistency. This part of me abhors the flightiness, the mutations, the bouts of melancholy -- if there must be a Quest, it cries, let it be towards a singular Goal!!!!

For recovering perfectionists there really is no better teacher than Lynda Barry. She has a list of materials, she has dozens of exercises, she has you set time limits. According to her books she is quite a strict teacher in-class, demanding a lot of time, effort, care, and attention. All of this is wonderful. She boxes you in and sets you free.

"Making Comics" is the essential text. My favorite exercise is Monster Jam.

Here are a few of mine, all done left-handed to minimize the influence of the Type A chatter who lives in my brain. I have dozens and dozens of pages of these monsters. Barry recommends this specific process a lot: lay down the lines under pressure before your brain can catch up, then add color/patterns/details, under no pressure at all, while watching/listening to something you like.

There are several iterations after this - you draw their parents, an older sibling, a lover. Then you go back to the beginning and draw, in 6 panels, the story of their life. It somehow always presents itself.

As valuable as they are, I don't use these exercises to actually make comics nowadays. I use them to loosen up and activate that aforementioned feeling. Most of my comics come from doodles or notes scribbled down in a tiny notebook I carry everywhere. The process of making a longform comic is something I have bashed my head against for YEARS, and now involves divination, random image generation, a deck of Nancy cards, a lightbox, and a ton of panels chopped up and spread out on the floor so I can move them around. This is why I still only work in grids!

#2024 #not comics #thank you for the question #also happy belated birthday!!!!!

292 notes · View notes

randomyuu · 10 months

Text

i keep the warmest truth.

Well you look at that. Another comic hahahaha why did I do this to myself—

But I do enjoy drawing this comic! It was a different kind of challenge, where this one focuses a lot on close-ups, so I need to learn about the subtlety of expressions. Can’t say I learn a lot (I use lots of copy-pasting of the same position lmao), but I still learn... something!

This beautiful one-shot fic is titled i keep the warmest truth by Dehawny. If I have to summarise the fic, it’s basically Ace!Gojou and Adorable!Yuuji. It's more like gray ace but better keep the “A” going, haha. And as usual, the fic is NSFW, so please do read the tags before you decide to give it a read.

Ace!Gojou is something I don’t know I need. I think I love almost every kind of Gojou headcanons, but Ace!Gojou holds a special place in my heart. I could be biased as someone in the ace spectrum, but the way Dehawny wrote Gojou and Yuuji’s interaction is truly heartwarming. And also a bit possessive, but I wouldn’t have it any other way. Possessive Gojou is my jam.

And Yuuji. Oh, dear lord where do I even start with this boy. I don’t have enough vocabularies to express how much I adore Yuuji. Him being his horny teen-self and constantly worrying about making the pleasure mutual is too much for my heart. And he’s still understanding of Gojou’s sexuality. Yuuji is kind, like that. Don’t mind me as I’m crying out happy tears in the corner.

Alrighty, below are my thoughts as I drew this, as usual haha:

After I got a taste with comic-making from my previous GoYuu comic, this one is a bit easier to plan once I narrowed down the scene I want to draw. I wanted the comic to start with Gojou positioning himself and Yuuji in the futon, bringing up Yuuji’s question weeks ago, but that means I have to draw 10+ pages and I was like, “haha nope”. I still love my hands, thank you very much. So I start with Yuuji’s reaction after Gojou explains a bit about his sexuality.

Panelling is still a struggle. In a way that I still feel that the layout can be improved, but I can’t for the life of me figured out what needs to be improved. I guess this kind of thing will come eventually, but not now.

During the sketching, I must say I got super hyped drawing Gojou’s eyes. That eye close-up? I really want to try making it as ethereal as possible in an achromatic setting. It’s intimidating, don’t get me wrong, but I have always loved drawing eyes since I was a kid and this is a fun thing to test my love for eyes.

If I have to complain… it would be the intimate position of them laying on the futon. I never really try drawing “couple-like” positions before, but it was really hard! Like, holy shit, can you guys stop being so awkward looking? Where the hell did I draw it wrong??? Thankfully references have helped me a lot with positioning.

The line art took sooo much time because I realise I want to make Gojou and Yuuji more… buff (kinda) so I need to re-sketch a bit :(( but the result is better than the previous one, so I’ll take what I can get haha. And I start to really like using screentones for shading—once I properly learn how to do manga layout, I think I might fall in love with drawing mangas!

But overall, this is a fun process to do, and I hope you enjoy the comic and this rambling of mine! :D

#Yuu's art #jjk-fic-fanart #jjk-ship #jjk ship #五悠 #goyuu #goyu #5u #gojou x yuuji #gojo x yuji #gojo x itadori #tumblr's UI changed quite a bit huh #I hope there's no problem with the uploaded images

505 notes · View notes

ecogirl2759 · 6 months

Text

THE MOMENT WE'VE ALL BEEN WAITING FOR!!!!

Here it is, guys!

The Kiyotaka Ishimaru Mastermind comic from 4コマ KINGS Vol. 4!

SPECIFICALLY CITING THIS SO THAT OTHERS KNOW WHERE TO FIND THIS COMIC!!!

Huge, HUUUUGE thanks to @panicuriprince!!! They helped me with clearing the text, rewording panels and putting everything together! Pages 4, 5, and 6 are her doing! PLEEEASE go send her some love, they REALLY helped me get this done and I literally couldn't have done this without her :D

There's a document below the break with more literal translations for the comic, as well as translation notes, a link to a Google Drive folder with ALL of the pages, and other interesting tidbits! Please give it a read!

The Japanese pages will also be below the break! (As well as a little spiel of mine. It's quite long, so be careful!)

(also please forgive how many tags there are here-)

Remember to read right to left <3

.

As promised, here are the Japanese panels:

.

AND HERE'S THE DOCUMENT!

.

✨ WOW ✨

I can't begin to describe to you all how AMAZING this feels!

I've spent the past 2 years on what felt like a wild goose chase, desperately searching for this one comic that I wasn't even sure existed.

This all started with me finding a photo on Tumblr of this comic and spiraling into this deep dive. First I didn't know if this was even real, then I found out that this comic series had ceased printing, then I couldn't be sure which book it was actually in.

There is literally almost no information out there about the fourth volume of this anthology series. I've said this before and I'll say it again, volumes 1 and 2 both have full translations that you can download off of other websites, and while 3 doesn't seem to have that, there are a lot of separately translated comics floating around out there, namely on Pinterest.

The 4th volume had NOTHING! No matter how hard I searched or how many links I clicked, no one has really said ANYTHING about this book, which was why this specific comic was so hard for me to find.

But I have all of the books now, so I definitely want to do this again for all of them so that people have easy access to these translations. I'll start with book 4 though haha.

Also, I'm not sure who it was, but HUUUUGE thanks to the kind stranger on Ebay who was willing to sent me the whole series!! I literally don't know where I would be right now if these books weren't with me, so thank you <3

Also, thank you to all of my Japanese teachers that I've had throughout the years. If it weren't for them, I wouldn't have been able to understand the comic, haha! One even helped me out in the early stages of this process, so extra thanks to him <3

I feel really passionate about accessible media. I think that everyone should be able to read and find whatever they want. That's part of the reason that I've endeavored on this project. I want everyone to be able to seek out and find these comics if they really want to. And, of course, I want everyone to be able to understand them, too.

So please enjoy this comic! If you'd like to repost it, I'd appreciate being credited just so that others know where they can go to find the full comic.

This one-man project isn't so one-man anymore, and I seriously can't thank everyone who's helped me enough!!! I'm honestly so glad I didn't have to go through this alone <33

ALSO

If you see anything, LITERALLY ANYTHING, that you think I could change/improve (like formatting or different interpretations of the Japanese text), PLEASE shoot me a message!! I want to make sure this comic is as good as it can be, and I'd love to hear your thoughts!

Even if you don't have a suggestion and would just like to reach out to ask a question or something, PLEASE don't be afraid to do that! I know I get really cold feet when sending people asks, so I'm going to reassure everyone who needs to hear it now: You're never going to be a bother to me! I love getting asks! Whenever anyone sends me something, I get really excited <3

So ask questions! Tell me I did a horrible job and got none of the text right! Ask why Ishimaru literally cannot be evil! I don't know the answer, either!

.

Thank you all so much for the support and the kind words you've been giving me ever since I first announced I was translating this comic! Your support has been extremely motivating to me! Also, you guys are hilarious with your tags!

Seriously, thank you so much! Words literally can't express how I feel right now, but I guess the best way I could describe it is cathartic. I'm REALLY happy that I finally get to share 2 years worth of work with you guys! You've all been a massive help to me in more ways than one <333

KEEP BEING AWESOME <3

265 notes · View notes

emry-stars-art · 10 months

Note

Question: how long does medusa neil takes to grow?

Like, taking the hands as Andrew's, is it more of a "whiplash because I was petting this baby a month ago and it's now Big" situation or "wait what you're telling this hot mer is that tiny cute thingy I'd found around as a teen?" one

Ok ok so I had just put out “Andrew finding baby jelly neil would be really cute” as like a fun little side thought but now I REALLY LIKE IT AND I WANT TO PUT IT IN THE TIMELINE

so to answer this question: physically? A Sea Nettle mer like Neil I’m going to say takes about 17-19 years to reach physical maturity/full size (which in jellies is pretty far removed from mental and emotional maturity, jelly brains take a good while to develop because they start with so little)

So this. This is what I’m deciding thank you so much @snazzy-jas-z-is-a-fan-of (which counts as your second option, dear galacticvampire)

And it looks like this:

@exy-is-sexy medusa admirer 🥰

So Andrew always comes back to the beach (fisherman’s son, they’re there a lot) and always gets distracted going to a specific tide pool housing this little thing he found. Aaron thinks it’s really cool too, their dad is too busy with work down the beach and is happy his kids are entertaining themselves while he gets ready for the day. Of course, yes, he tells them. Very good, finding such a mer in these waters. (He thinks it’s kids being kids. No one’s seen a jelly mer, they’re kind of believed to be extinct if not simply legends. But a little imagination is healthy.)

Then one day, Andrew checks the tide pool and finds it empty of the tiny jelly. It’s nowhere in sight, he looks all over the nearby waters and in any grass or rocks it could have gotten caught in. Nothing at all.

Maybe by the time he’s taken over his family’s fishing business, Andrew has convinced himself it really was in his imagination. His memory serves him well but if he’d convinced himself it was real back then, that would be what he remembered now.

Until he finds a monster washed up on his beach.

(A shot of the process under the cut)

IT DOESNT COME ACROSS IN THE PANEL. BUT I CANNOT PROPERLY EXPRESS TO YOU HOW TINY THAT SECOND NEIL IS. literally I think that is the single smallest thing I’ve ever drawn. Look at this

That’s me sharpening my 0.3 mechanical pencil to get it small enough to draw the eyes. I just need everyone to know this because I think it’s so stupid and funny. And we all love tiny baby jelly Neil and it doesn’t get ANY tinier than this folks

416 notes · View notes

shepscapades · 5 months

Note

GOD DAYUM

So the part 5 thing huh? Welp IT'S GOOD I LOVE IT

Because X is my blorbo I just wanted to point out some things here

MMMMMMMM HE HAS LONG HAIR??? I mean *looks at my posts* long hair fits him absolutely [Still not sure if he has long hair or not but looks like he has his hair tied in a ponytail or in a bun, I don't know it just looks like it on the second image]

[oh and also he called him "Doc" again, instead of Docm which I don't know what could mean in this situation yet, but one day it'll probably make sense as we get more parts]

This Etho right here looks either terrified or confused, and I think it's because

X is going to go absolutely crazy and he's scared that X is now in control [based on the "you dropped your crown king'' caption that might refer to Etho who isn't the attacker anymore but could also refer to Xisuma which I'll explain later]

or

2. He finally snapped back into his senses

or

3. he sees X without his helmet for the first time and his good 'ol computer brain is like '??????? Who tf is that"

"you dropped your crown king" could also refer to X as his helmet got destroyed in process [being the crown] and from what I know, we don't know the reason for why X wears helmet in this AU. The most popular headcannon for his armour and helmet is that he's a voidwalker and can't breathe in the overworld, we don't know if it's a thing in this AU but if it is that could mean that now he's powerless, he "dropped his crown" - he became weaker, powerless against his enemy. Also Doc looks kinda scared, or maybe just surprised after seeing X's face for probably first time. [if he's scared, then he's probably aware of Xisuma's condition when it comes to air]

NESTLE CRUNCH

But also poor Doc he looks horrified

ALSO

*looking for lore through old posts* huh these seem familiar... WAIT

AND THE DATE THOSE WERE POSTED

[it's in Polish sorry, but it says 13th October]

SO THE COMIC HAS BEEN SKETCHED OUT SO EARLY?? Damn those really take long to do, I mean I was aware of that fact but It's been like 3 months since those sneak peeks have been posted and WOW THAT'S A WHOLE LOT OF MOTIVATION YOU HAVE HERE SHEP

[also only now noticed how in this panel Etho's body sketch is red as a sign that he's the danger in Doc's eyes and Xisuma's is green/blue. Oh and in the first sketch X didn't have his hair visible in the visor hee hee ]

So yes, loved it, even if there were only 3 images I still think it's amazing ! We got to see your Xisuma a bit [he- he handsome -makes big eyes]

Sorry for the long ask again!! just!! excited!!

Now I'm going into my drawing cave as I'm full of inspiration already bye bye <333

(also also to reiterate, I have no idea how long part 6 will take since I just kinda have rough storyboarding for the rest of the comic, and classes just started up again— this is my exhibition semester so most of my drawing energy will be prioritized for my grad gallery… we will wait to see how much energy I have left by the day for destruction :3)

ALSO ALSO ALSO! “You dropped your crown king” was absolutely me trying to find a silly caption for what’s supposed to be a serious/dramatic part of the story while also referencing the fact that Xisuma’s helmet shattered/fell off— there are many conspiracies and clues to be had here but I just wanted to clarify that that line is not one of them SFKDFGHJ

I will therefore also not directly respond to anything else being discussed here BUT thank you as always for sharing your theories and analysis!! It always makes my day >:D

#LOVE IT #dbhc ask #1-marigold-1 #ask #dbhc xisuma #dbhc doc #destruction #dbhc etho #the shepherd #my sona #art escapades #dbhc theories

314 notes · View notes

snuffysbox · 11 months

Note

Hello! I absolutely adore your comics - I was wondering if you could share your comic process. I'd love to hear about your workflow and how you go from a sketch to inks/paneling and colors/textures!

Thanks!! I can do a little step by step, but it's a pretty straightforward process so there isn't a whole lot I can say about it other than that.

I start with a quick script, just kinda getting my thoughts down and thinking about the structure, dialogue and what I want to convey

Then the thumbnails/sketches. They're somewhere inbetween, as I tend to take them a bit further than you would industry thumbnails. I'll usually start by filling in the frames I think I'll use and their spacing, then adding my sketches. I revise this a couple of times if needed.

Next, I transfer the sketches to an A4 file and add in my speech bubbles and frames first and foremost. I use the figure ruler in CSP to draw the frames. I find that spacing out my speech bubbles is crucial for determining where my inks will go.

Then straight to inks! not recommended to not tie down your sketches more than I do (I would not send these off to someone else to do inks if I worked like that) but I get bored with the process if I don't have to figure some stuff out in the lineart process as well lmao

Next is base colors and then finalizing the page with a smattering of shading on a multiply layer, a noise and gradient layer set to soft light and voila, comic ✨

hope this was somewhat helpful! The reason I don't use CSP EX's native manga/comic system is honestly just that, uh... it's a little intimidating to me still, and I'm not planning on publishing or printing these, so they don't need to be perfectly within margins and whatnot.

#step by step #long post #comic #art advice

419 notes · View notes

deoidesign · 5 months

Note

if i may ask, is it difficult at all to re-edit/organize the comic pages from the webtoon format to fit the graphic novel format?

on another note, I'm so happy that your kickstarter was funded!!! I love time and time again, im so excited to see this all happen <3

I'll just turn this ask into something of a guide for the process! Because yes, it is difficult, but there are also many ways I have been preparing from the beginning for this very situation to make things easier for me!

I've worked in both print and scroll in the past, and have done this transition once before for a short story, so I already had familiarity both with my goals for print, and struggles with the transition!

How I prepared from the beginning for this transition:

1: My panels are 2500 pixels wide, so they can span my page (which is 8.3x5.8 inches) at 350 DPI (which is print quality)

2: My layers are organized: Text, FX, Foreground, Characters, Background

3: I draw one very large (twice as big as any panel would be, minimum) background for my major locations, as well as drawing furniture assets in isolation. This not only saves me time when making my actual episodes, but it also offers me INCREDIBLE flexibility when making this transition to print.

These 3 things let me pull the character art to the page by itself, scale it up or down to fit my panel, and then fill in the background behind the character.

So, I read the scroll version, decide how many and which panels I want on the page for the pacing (I also keep page spreads and page turns in mind while I am doing this), and then I pull those panels over from the scroll version to the page.

Then, I make the panel borders/page layout that I want, fit the character art into it, paste in the backgrounds, do any art editing that I need, add FX, and then re-do the text!

Sometimes I do need to draw parts that are missing (shoulders or elbows getting cut off is an extremely common one) and sometimes I need to adjust facial expressions, cut panels, or rearrange panels to make things read more clearly. Since it's my comic already, I know how to do these things while maintaining the original intent, but if I were working with someone else's comic I would need to work closely with them to know what can and can't be cut.

(original panel vs an expanded version)

Another common issue is that VERY tall panels will inevitably lose a lot of information when they’re turned to pages. Identify the purpose of the panel (pacing, showing a lot of detail, etc) and then replicate that with your page layout.

examples (in order) are: scene transition, being overwhelmed, suspense, and establishing shot. All of these were a single panel in the scroll version!

Another issue when converting pages is that panel order is a lot less straightforward than when starting from print format. Conversational back and forth that's fine in scroll often messes up the flow of reading in a page (characters facing out, not looking at eachother from panel to panel, etc) and so some creative solutions are necessary to keeping the reading order.

For the first page I had to delete and rearrange some panels, and in the second the dialogue bubbles guide us to read this page in a circle. (dialogue guides through a lot of my pages lol)

And the last really common issue that pops up is that height differences can be really difficult. Usually in print this is solved with clever angles, but I’ve already drawn everything. So, I’ll either resort to vertical shaped panels, panel pop-outs, or editing a character up or down to fit into the panel.

(examples in order)

So, yes, it is difficult! But I have a lot of experience with both formats, and having prepared for this from the beginning I've been able to make the transition a LOT more smoothly than I otherwise could have.

I hope this helps!

And, thank you about the kickstarter! I'm extremely excited I'll be able to print these, the proofs I've received so far look just absolutely stunning and I'm so so so excited to get to send them to people!!!

Obligatory self promo, if you want to see the kickstarter page and get these four books for yourself, then you can check it out here ^^ It's been funded, so at this point we're just reaching stretch goals and placing orders!

#asks #anon #art tips #comic tips #web comics #comic books #comic advice #also this is just my own experience obviously everyone works differently and I cant promise this will work for you too #but doing things this way I've been able to finish about an episode (15 pages or so) every day #so it's been extremely swift (though also of course a ton of work)#thank you past me for making this so easy!!!#it'd easily take 5x as long without the prep I did!!!

169 notes · View notes

theskeletongames · 5 months

Note

Hello! I’m a big fan of your comics, and absolutely love how you write them. I was curious; before the drawing portion, how do you arrange your ideas? I’m trying to write my own comic but it’s proving more difficult than I expected. Any tips?

I have some old "how I make them" guides. Here's one that has the whole scrip for one of the bitty problems chapters

And then there's this tag "Comic Tip" I use for showing or discussing my paneling process. I've been holding onto my comic in it's separate phases lately in case I have some good examples of how I made something so I'll probably post more in time. I do want to show of my scripting phase again because its a little different than it was for that older chapter, but still mostly the same.

156 notes · View notes

psychewritesbs · 9 months

Text

Chapter 236: Go South—JJK is generational

Gosh. Can we pleeeease just like... have a moment of silence for the one and only...THE Man, Gojo Satoru.

Ok, time's up.

Moving on.

Word vomit under the cut.

The process of reading this chapter was a very interesting one this week because the fandom got really noisy as soon as the leaks dropped.

Between allegations of bad writing and the utter sense of grief Gojo fans were expressing, it was quite the 💩 storm.

And then the actual scanlations started dropping, and little by little they replaced most of the noise with the utter sense of calm and peace and satisfaction that Gojo felt in his last moments in this plane of existence.

I gotta say that I just absolutely loved how Gege depicted those emotions (outside of Gojo's "dream") through shots of the devastated Shinjuku district.

The remnants of the battle of The Strongest, as if the landscape and the buildings themselves represented the end of an era, the devastation of the structure of Jujutsu society itself.

After all, as The Strongest sorcerer in the modern era, Gojo represented the very system he was trying to destroy.

Gege loves his irony.

Now, I would normally say that the words in the speech bubbles are superfluous because Gege creates such a beautiful atmosphere through the setting alone. But it is the words themselves that re-contextualize not just the battle, but also shed more light on Sukuna's interest in Megumi, which I feel we haven't seen the extent of what he had in mind.

Now I'm hoping this isn't a dream

Listen, I must admit I've never cared for Gojo.

I don't hate him, I don't love him, I simply never really cared for him.

That, of course, changed with this chapter.

And it is perhaps Gojo's death that really solidified in my mind the idea that one of the underlying themes in jjk is... dun dun dun... DEATH.

Yeah, I know. Sue me, I'm late to the party lmao.

But it's not just death itself that is a theme, but rather the face we put on when death comes knocking at the door.

There aren't many things that we can be certain of in this life, but death is one of them. So how we confront death and our mortality shapes the sense of self.

I know a lot of people were dissatisfied with the transition from 235 to 236 and Gege not showing how/when Gojo got slashed in half, but I find the abrupt transition makes sense, and I even dare say was... quite poetic.

For one, now knowing that Gojo knew Sukuna was holding back, a lot of incidents throughout the battle are given new meaning. Like that look of confidence on Gojo's face as he "thinks" he's finally managed to "get through" to Sukuna.

So I have to say that I loved that Gege starts the chapter with Gojo becoming aware that he has died or is dying.

In other words, Sukuna's attack was so sudden that Gojo's next moment of awareness as "Gojo Satoru" is in what we would normally think of as "the light at the end of the tunnel" where he is greeted by people who were of significance to him in his youth.

And can we please just talk about how Geto is the first person he sees when he becomes aware that he is dying?

Please. This is fucking poetry!

Insert keyboard smash.

Screaming in jjk.

Go South

I literally lack the words to explain why I love this whole chapter so much. Which is a lot to say because I am about to word vomit about it. But like...

Again, hindsight is 20/20.

I always thought of the panel above as Geto being jealous of Gojo surpassing him in strength but, in retrospect, I think Geto's disappointment had more to do with Gojo's sense of self over-identifying with the title "the strongest" and how that made him harder to relate to, which is one of the main themes in this chapter. I'll come back to this in a sec.

But first...

Quick depth psych segway. I think I've said this before, but it bears repeating again that an overwhelming sense of self is all ego. There's nothing wrong with ego per se.

The problem is that an over-identification with ego means inherent separateness because, as an organ of the psyche, the ego sense of self is what gives us a separate identity from the collective.

On the other hand, soul/heart (another organ in the psyche) is the principle of relatedness--love, the single energy that can bring us all together as a collective.

But as we already know, the stronger the sorcerer, the more overwhelming the sense of self.

Unfortunately, because an overwhelming sense of self = separateness, this also means the person in question can't relate to others.

And is this not thematically perfect for a sorcerer whose perfected cursed technique was meant to render others unable to "reach him"?

In other words, Gojo saw himself as separate (because he was "The Strongest") and that made it harder for him to relate to others, but only because he self-identified as "The Strongest".

Infinity ∞, in this sense, is also about the self-fulfilling prophecy Gojo was stuck playing out in his life in regards to seeing himself as "The Strongest".

But like a serpent eating its own tail, Gojo came back full circle, and in the moments before his death, learned that what really mattered to him was not strength for the sake of strength, but rather the connections he had fostered with others.

PLEASE. GEGE. WHAT THE ACTUAL FUCKING FUCK?!!!!!!!!!!!

To bring it back to "Satoru became 'The Strongest'"...

I just loved so much that seeing Geto as soon as he becomes aware he's died felt like an encounter that meant Gojo had returned to the person he was before he self-identified as "The Strongest".

But more importantly, Gojo's imagination of himself as back when he was young also speaks both to how much he cherished that period of his life, and to how he was emotionally frozen in time due to his encounter with Toji.

It makes me wonder whether Gojo was afraid of dying alone when Toji almost killed him. So it's almost like what he took away from that battle was that he was always alone, and so he sought to push others away.

The kicker is that he simultaneously feared his existential isolation and yet craved the very source of his fear--human relations.

But in choosing self-preservation, he was a selfish to the very end.

What an idiot (tragically affectionate).

Anyways. How much of this is hc? Someone tell me please 😂. I feel like I went off the deep end in the last few paragraphs.

Like everyone else in this fandom I've lost all objectivity when it comes to Gojo because his departure from the story was truly one of the most heartbreaking moments in jjk.

I understand people's complaints about the "execution," but I think the world-wide phenomena that Gojo's death has spurred speaks to Gege's ability to elicit deeply archetypal emotional responses as a story teller.

With Gojo's death, a part of our own psyche too has died. And what's most significant about this death is that it was, true to Gojo's character, "something that needed to die because it represented the very thing it sought to destroy."

And this would be why I love Gege's writing.

A fitting way for Gojo to go out

I know not everyone agrees, but I really appreciated that he was satisfied and at peace in the very end.

He got his cake (battle to death with Sukuna) and got to eat it too (reconnected with his loved ones).

Sukuna

But we can't talk about Gojo without talking about Sukuna as the one who liberated Gojo from the burden of his existential isolation.

Sukuna gave Gojo a fun battle, but if it weren't because Sukuna figured out how to cut through Gojo's metaphorical defenses by learning to cut through space-time itself--the very fabric of reality, Gojo might not have found his humanity once again.

The outcome of this battle spells out in no uncertain terms how dire the situation is as Sukuna has proven himself to be the uncontested "Strongest".

But in a sense, the end is a new beginning, and this time, there is no light at the end of the tunnel.

JJK is generational

I get the feeling that everyone will remember where they were when this panel dropped.

I was in bed. It was 6 am and Tasokare, my miniature panther, was demanding attention.

A moot was on the way to the gym. They never made it out of the house after seeing the panel.

Another moot was completely avoiding Twitter to avoid leaks, but her brother, who does not even read jjk, saw the panel on Facebook and showed it to her.

Yet another moot was on vacation at the beach.

JJK is generational like that and there's just so much more I can say about this chapter and its implications (like the idea that Sukuna can now cut through space-time, why?! what does he want to get out of this ability?), but I just don't even know what more I can say right now.

Anyways, thanks for reading. I'm looking forward to any thoughts you might have. Just a heads up, I'm very, very slow at replying.

#jjk ch 236 #god I love jujutsu kaisen

256 notes · View notes