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#lineart can be so satisfying sometimes
spicy-clones · 7 months
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helloooooo!!! super big congrats on the follower celebration!! 🤗🫶
could i please please get the prompt “Someone discovers they like their hair pulled” with Kix please?
buttttt how about it’s the first time he has been intimate with someone after growing his hair out so he had noooo idea he liked his hair being pulled before, but boy oh boy does he LOVE it
sending much love and thank you sm! 💕
Awwww yeahhhh. I hope this hit the nail on the head. It was fun to play out in my imagination. ;) LOL! I have to include this gorgeous art of him as well, by @rosemarynightmares-art <3
Kix x Fem! Reader - Minors DNI - NSFW - 1.5k words - content below the cut
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Content Warnings: making out in public, hair pulling, sex in a closet, unprotected P in V, I hate the word creampie because it doesn't seem so dramatic the way I write it but there is mention of what happens after unprotected sex. ;)
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It was him. It had always been him. You just didn’t think you would ever actually get your chance. After all, what kind of medic in one of the busiest squads in the GAR would have had the time or opportunity to notice you? Sure, your work took you around his areas on the ship fairly frequently, but you couldn’t have imagined that you’d ever catch his eye. 
You even enjoyed your time off in similar ways, either coaxed into debauchery at 79s with your separate groups of friends or sometimes crossing paths in the quieter parts of the planet – an abandoned warehouse with an expansive array of broken-down starships that had a natural walking path around the perimeter that people would frequent. It was as close to a park that the Coruscant underworld would ever get. 
He was always cordial, always polite. He had no idea the effect his smile had on you, the way your heart would pound in your ears when you’d watch him run a hand over the tattoos across his head. It was embarrassing, the way he’d captivated you heart and soul with a smattering of conversations that brought depth and insight. 
But it had to be him… Sitting alone in a booth, mindlessly scrolling on a datapad. He wore the armor, decorated with proud blue accents across the white. He sported the medic symbol on his shoulder plate. He had the same tendency to part his lips just a hair while reading something and twitch them occasionally as he grew more immersed. But he looked so different. His hair was a stark contrast to the last time you’d seen him – it was in the standard military crew cut, making him nearly indistinguishable from so many of the clones who opted for the default appearance. You could swear you saw a hint of ink poking out near his temple, but with the hazy lighting, it could have just been wishful thinking. 
It wasn’t.
Your curiosity got the best of you, and beyond your wildest of dreams, you found yourself deep in conversation with him two hours later, having connected in more ways than you thought possible. It was as though the stars aligned, bringing the two of you together at the perfect time for your ridges and valleys to fit together, creating a soothing, inviting, intoxicating presence for one another. The effervescent spark of excitement was dancing between the two of you as you recounted missions and duties, humors and gripes. It had exploded into a blaze when you both felt inexplicably drawn to one another, alight with desire as your faces drew together in the booth. His kiss had been gentle at first, polite and respectful. He moved his head against you, slowly opening up into more passion. 
“I want…” you began, smothered by the repeated caress of his lips on yours, “...to go where…” He wasn’t letting up, flickering his tongue against yours before releasing you for a breath. You tried to finish your sentence, “...we can–” His mouth covered yours entirely, a single hand on the outside of your thigh searing into your skin and fanning the flame. You dug your fingers into his hair, gripping a handful and pulling it back firmly to allow yourself to talk. He groaned loudly, and both of your eyes snapped open, each finding their look of surprise mirrored on the other’s face.
You felt almost feral in response, and he got a glimmer in his eye as you tightened your fist around his locks again, swinging your leg over to straddle him in the booth. Your back banged into the edge of the table, eliciting a growl from you at the sharp disruption. But it worked in your favor; the sound you made had provoked him as well, and his hands were heavy on your hips and thighs as his mouth worked its way to your neck, raking his teeth across your pulse before lavishing it with kisses and suggestive swipes of his tongue. It sent a shiver down your spine, and when his hand hungrily grasped your breast through your clothes, you were seeing stars. 
He moaned at the feel of you tensing and writhing against him, the pure hunger radiating from you joining his own and stoking the fire. The next thing you knew, he had scrambled out of the booth, pulling you with him, and the two of you were locked in a supply closet with a broom handle jammed through the door. Clothes and armor plates were hitting the ground in reckless abandon, and then you were both naked, love-drunk and heavy-lidded as you gazed at each other in the almost complete darkness. The light peeking under the door was the only illumination, but it was enough for your hands to find each other’s bodies, caressing and grabbing as you came together again. 
His hard length rutted against your thigh, his hands ravishing your breasts with increasing firmness that had you whining for more. He lifted you onto a crate, spreading your legs and moving between them before lowering his head to your chest. All it took was the flat of his tongue lapping across one nipple for your back to arch, offering yourself up to his appetite, cradled by his strong arm below you. You wrapped your legs around his waist, hands raking up his shoulder blades and burying themselves in his hair again. He rumbled his desire, growing in intensity as your fingers teased tingle-inducing patterns on his scalp. 
“You seem to like this,” you whispered, and your nipple escaped his mouth with a soft pop as he lifted his head to lean against yours. 
“You have no idea what you’re doing to me” he said breathlessly, hands roving your body again. He scooped you closer to him, leaning you flat onto your back on the crates and pressing himself up against you. It was intoxicating – his scent and sound all around you, the muscles in his forearm tightening beneath your hand as he held himself up with it beside your head, the movement of his torso as he ravaged you passionately, the thick thigh and irresistible butt you couldn’t help but grab and squeeze. Your knees moved up toward your shoulders, guided by his gentle hands, and it tilted your hips upward where they met his hard cock, gliding against your folds in a tantalizing implication of what was to come. 
You breathed his name, heaving chest grazing his as he lowered himself on you, being careful not to crush you but perfectly paralyzing you with both weight and intensity. He stole a kiss before working his way back down your torso, lavishing it with kisses and love bites. Your hands found his head again, and you splayed your fingers across his scalp, tightening them and feeling him shudder. His response was undeniable, provoking you to coax him on. Pivoting your hips to grind against his, you ran your fingers through his hair again and again, moaning your satisfaction as he pressed against you again. When he sank in, slowly and lusciously, groaning until he bottomed out with his thick shaft against you, you tightened your grip on his hair, sending him to the next level. 
You raked your fingernails down the back of his neck as he dragged his cock out, making you gasp slightly as he blew a gentle puff of air toward your pussy. It was tingly and cool, and you were still shivering from it when he pushed into you again, filling you perfectly and making you ache for him to rock into you repeatedly. You pulled him against you, wrapping your legs around him as he thrust deeper, experimenting with angles and listening to your moans and sighs as he increased the intensity of his passionate movements. 
Something in him had been kindled by you, and he slid his thumb against your clit, your silky arousal making his circular strokes smooth and gratifying. You were coming in no time, chin pressed to your chest as you whined his praises. Waves of pleasure reverberated throughout you, and his heavy breathing gave way to more vulnerable vocalizations as he climaxed, right at the same time as you because this is perfect fantasy. You were still riding out your own high as his thrusting slowed and became erratic, milking every last drop from his throbbing cock until he came to a halt, leaning with a hand on the crates on either side of you as he slid out, still dripping as he turned to search for his clothes. You felt the tickle between your legs, mumbling your thanks as he handed you your own attire, and did your best to clean yourself up with what you had. When you’d both assumed some semblance of normalcy, despite the random tufts of hair poking in odd directions, he opened the closet door, poking a head out first. 
“All clear?” you asked playfully, still glowing from all that had transpired.
“Absolutely packed,” he answered, turning to grin at you helplessly. 
“Hm. Well hey,” you said in a bright tone, “I love the new haircut…”
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squidpedia · 16 days
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Hey! How do you do lineart & Sketches???
You’re one of my biggest inspirations for drawing and I really love your art style!
UM??? THANK YOU?? I 🥺🥺🥺
I’ll try to word this as best as I can but I am honestly terrible at text descriptions/explanations sometimes, so I’m sorry if anythings unclear or odd. My process also varies sometimes depending on the artwork
Sorry for somewhat long answer ahead!
Usually for any artwork that I know will take a longer amount of time, I start with a really quick 1 minute sketch to get the proof of concept down. It doesn’t have to look good and the proportions may be very off and really messy but thats ok, my main goal is just to get the whole idea down and interpret it again later. I write notes next to the sketches sometimes if I have a specific thing I want to include later like for the coloring or lighting.
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After that, I usually make a revised sketch on top of that and keep tweaking or redoing the sketch until I get something I like. This is also where I reccomend you start checking proportions and flipping the canvas. The first and third image had to be revised before I was able to make lineart I was happier with. Some other times I just jump straight into the lineart if I think the sketch already looks ok (but this is kinda risky as I usually end up having to resize a lot of the lineart later when doing this, which can end up dropping the quality of the selected area and making it slightly blurred compared to everything else. Sometimes I just end up redoing the lineart entirely for the selected area when this happens).
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When coloring the lineart I try to mostly color lines that exist inside the silhouette of the person, but I’m also kinda loose with this rule and also will color anything on the edges if I think it looks better in a certain instance.
I’ve been trying to keep my lineart much thinner and enjoy using Procreate’s ballpoint pen for lineart. For sketches I usually use whatever feels most satisfying or convenient or just try a new brush for sketching to spice up my process every now and then.
In worst case-scenarios, if I’m really struggling to get something I like when sketching, then I just keep redoing the sketch and trying to figure out what I don’t like about it. The undertale the musical gif had something around 6 redo’s before I finally liked it enough to give it lineart
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Sometimes I also try making quick messy color mock-ups of my sketches to plan out colors or specific effects for later to test what colors I like and what I think would look good for later. I also might write notes if there’s any extra details I think of that I want to include later
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Thats everything I can think of, I hope this helps and sorry again for this being a pretty long answer, its the best way I could think to explain my process, but I hope its a bit helpful at least!
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lemongogo · 5 months
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what's your process for coloring like? the look of that elendira is so textured and interesting, i can't figure out how you do it
AA THANK YOUU ^__^ !! textures & brushwork are my favorite things abt my art, so im happy you find it interesting hehe . its SOO cool to look at & so much fun to draw imo
i prefer to color by building in layers , if that makes sense 🤔!! hundreds of them !! such that i'm always drawing on Top of previous layers, working from big & messy blocks of color to, eventually, small and refined blocks of color until it feels processed enough. as a result, i rarely ever erase (!!) and i rarely ever draw lineart aside from the initial sketch
a rough, patchy textured brush is key here, as it'll give you dimension and variability w/ your colors. i recommend "Brush and various sets of fountain pen style (万年筆風ブラシと色々セット)" on Clip Studio (ID: 1679706) !! :3
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im terrible with explanations though, so i'm going to show a step by step of that elendira drawing if you dont mind :3
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sketch layer !! because i mostly render through color alone, i try to make this as close to the finished thing as possible . ^__^ i hateee drawing the same thing over and over and like the expressivity and movement of my sketches anyways , so the more i can preserve at this step, the better. if u were to look at a side by side of my sketches and finished pieces, youd notice a lot of those og lines are present in the final drawing :3
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2. flats !! pretty self explanatory, but the solid background gives me an idea of where the figure begins & ends while the colors themselves help distinguish whats what . i stick to ambient lighting @ this point because im usually not sure what i want to do with the overall palette or lighting yet . having two tones (ex, dark and light in her hair or dark and light on her skin) can also help in identifying key features early on that u wanna preserve. as you build layer by layer, sometimes these areas will remain untouched and i think it makes for a rly lovely feel at the end
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3. start blocking !!! to be totally honest with you, i dont really know what i do here HAHAHA. like i just scribble the shit out of it, usually focusing on what i might want to do with lighting (ex: grey areas to accentuate folds in her costume). i think i like to start "erasing" the sketch where possible by coloring on top of it .. like if you look at her hat or her arm , you can tell i'm starting to get a sense of the shapes i like vs the ones i dont. it's at this point that the final image starts to emerge in my mind , like im gradually pulling her from a tarpit of scribbles until shes recognizable lol. chipping away at the marble until i can free her. tbh.
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4. keep blockingg...when u think u are done , block some more . as you can probably see, the brushwork becomes more intentional as i add more shape, with specific focus on line weight. this is also where the patchiness of that textured brush comes in - notice how none of the colors seem totally uniform (ex: the red cross or the original sketchlines for her waist). you can see bits and pieces of the layers underneath pushing through and i really like that !! ^__^ its very fun and sketchy to me, so i try to keep them around. those areas are also great to colorpick from, because it'll give you "new" colors to work w/ that are already part of your palette.
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5. GRADIENTS & GRADIENT MAPS !! TONE CURVE !! COLOR PICKER !! this is the best stage tbh. flatten your image so its all on one layer and just go crazy with all the color settings in ur program. add gradient layers and set them to darken, or overlay, or subtract, orrr. lighten or dodge glow or divide or soft/hard light.! OR!! edit the hue, saturation, luminosity and contrast.and then color pick from these edits, block even more on top of ur image, flatten, color edit again, etc. etc. until u feel satisfied.
ANYWAYSS . i hope that makes sense @__@ sry i wrote this out and deleted it like 23 times trying to make it make More sense but thats what ive got HAHA i hope its useful though :3 !
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hrishcha · 4 months
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Brushes maybe?
I’d love to figure out how you render that way ur stuff is so good! Any advice you could give maybe? The texturing is STUNNING
Hi! Thank you :] To be fair, I'm not sure where to start as I have multiple ways to draw things, but I'll try. (Also I might show more if you choose an example if you had any specific brushes in mind)
For most recent art my favourite brushes that were used in rain world fanart have some color jitter. It's a feature that can be enabled in clip studio, but I'm sure that other programs have similar setting.
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When I'm less confident in general execution of the idea or have many details to pay attention to and want to take things slowly i like to use oval marker brush. It doesn't have any texture and has somewhat soft edges so i can work from very loose blob of sketch. Its flat shape that doesn't turn with the movement allows me to "chisel" out the shapes and volume in the drawing. That's why many prefer using flat brushes instead of round.
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Sometimes I straight up sketch with thin brush for lineart and clean excess lines so it looks like lineart instead of drawing one over the sketch layer from scratch. This hoverer requires a lot of practice and generally clean confident strokes so I resort to it rarely and use it for more stylised cartoonish things. Tip: you can also duplicate lineart and blur the layer and lower its opacity so the whole thing will look more interesting and less sharp.
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And then there's this thing :) not sure what to add here other than that they're pretty.
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As for the advice hmmmm… Probably I'd say that many brushes show their potential if you adjust your style to each, like you'd usually do with traditional medium. While keeping one favourite consistent style may be comforting, and I respect that as drawing should be what brings you joy, sometimes experimenting might be useful for you. I do have limited amount of styles for some of my favourite brushes and don't go as crazy as I could, but sometimes it feels more satisfying to let the brush guide your process with its shapes and textures instead of breaking it into your already existing pattern. At least that's what I've been enjoying recently :) Keeping up with developing multiple styles might distract you from learning other aspects, so to choose what's better is always up to you. I wish I'd had more in-depth advices on how to render in general but figuring it out was a complex and long process for me as well
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skeltrr · 2 months
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I am not sure about this. But im going for it.
IF THIS IS OKAY TO ASK, HOW DID YOU LEARN TO COLOR HOW YOU DO???? I want to eat your art in a very good way the way you color is so satisfying i’m so jealous
and hungry
thank you so much!! I really wish I had anything to hand you that would teach you better than I ever could, but my coloring style is all fucked up and home grown. I will give you some tips though that are important to how I do things! I use photoshop, but I'm sure you can recreate what I do in other programs easily
gonna do a read more cause i talked a lot lmao
first of all, you're gonna need a textured square/rectangle/triangle shaped brush. We want blocky shapes and a round brush would make things too soft. The brush I use is in this set and is called MB Lineart (Legendary).
Next thing: I don't use pen pressure for opacity or line weight, just let the brush slap down harsh, bold lines
another thing I do is I will shade with a color that's a bit darker than I want the shadows to be, then I go back in with the same color but a few shades lighter and block it into the first color, you can see it pretty well here on p1's arm
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another thing you can see here is that I let the brushstrokes be messy. If you zoom into any of my art it is extremely messy, that's how you keep the painterly feel
the last thing I wanna mention is layer settings. My favorites are Color Burn, Darker Color and Luminosity and sometimes I use them all at once, usually with bright and warm colors. For an example of how this can change everything, here is another P1 with and without a bright orange Darker Color layer at 50%
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so play around with those, too!
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pleucas · 8 months
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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:
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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
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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.
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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
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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.
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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.
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bioluminesced · 2 months
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saw your last fanart (16 of january) and it's so good
it beats me how this kind of colouring/painting is done though. how do you pick the right colours? the right places? the value of colour and it's warmth?
i always have trouble with colouring because i have a very strict basic knowledge of shadows and colours and no visual imagination
sorry for such a long ask
hi anon!! no need to apologize this is such a kind ask and i still really struggle with this sometimes. i didnt start experimenting with color in my art until around summer of 2022 and before that it was so frustrating to color that i almost didnt produce any colored work.
i also have complete aphantasia so my visual imagination is very limited! this leads to a lot of trial and error in my work because i cant tell what looks good until i simply try it lol
i will try to answer about my process as thoroughly as possible! but a lot of it is seriously just vibes, and playing around. a lot of what helped me was studying how artists i liked used color in THEIR work and trying to work it into my style.
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a lot of the vibrancy and harmony in my work comes from my base layer, which i put under the sketch like im “priming” the canvas. when im coloring later on i let this base layer inform my choices and also let it show through in places for unification of the colors. its a lot like doing an underpainting except i dont go crazy on the range of values
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the hardest part for me is doing the base colors over this layer. i dont have a lot of guidance for this because i kind of just pick colors to start with and then edit them bit by bit until it looks satisfying to me/matching the intended mood and harmonizing with the base layer. i edit the colors mostly by using gradient maps and layer modes until i find a version i like and merge it to just create a normal layer with the colors i want. i keep this base layer underneath my sketch
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i render on top of my sketch/lineart always so i can better define the shapes and have smoother edges. this is the part where i really go crazier with my colors - some conscious decisions i make:
- where can i make my highlights and shadows stand out more? i accomplish this by choosing warm colors on the cool base or cool colors on the warm base. theres blue in the flesh tones of the face and orange in the blue tones of the coat.
- where does the rendering need to be more “clean”? someone viewing an art piece will gravitate to places in the drawing with finer detail, so i put a lot more work into the shapes and colors of the faces and the fish, because this is where i want someone to look the longest
another thing i usually do is pick one really saturated color and place it throughout the drawing. for thos one its that bright red, around the eye, blood, and outline of the fish as well as the characters’ hands.
this part of my process takes me the longest and can be seriously frustrating at times! something i always force myself to do is to keep working on it. whenever im like ok its done! i go back and render for another half hour and it ends up looking a lot better
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gradient mapping the final drawing! for further unification i have a gradient map i made that works for most of my warm pieces
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and i put it on top with an overlay layer mode and then adjust the opacity
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it makes a big difference in the warmth and unification of the final drawing!! so honestly i cheat a little with my colors :P
i hope this helped a little bit with your question! my general advice is to also do some color studies of movies or pictures you like it really helped me get a feel for harmonizing color (and not being afraid to use really vibrant colors!!) again thank you for such an ask and good luck to you!!
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hi I'm sorry if if this is weird or something but you're my favourite artist and I love ur art sm and I want to be as good as you are (or at least a little good) but I don't know where to start, and I was wondering if you had any tips? (Sorry for bothering you, I hope you don't mind)
hii <33
ty for all the compliments and dw bae, you’re not being weird at all lmao xx
i want to start by saying that i’m very very flattered, but art is sometimes tricky bc i’m rarely satisfied with the results, and sometimes the disappointment leads to art blocks or breakdowns, which are completely normal.
so, my first tip would be: even if you don’t like your art, keep drawing. you can take breaks of course, but remember that improvement comes with practice!!
second tip: copy. a lot. wether it’s a real life picture, a painting, somebody else’s art, try to analyse the piece, think about what you like about it, study or trace the general shapes, and try to replicate: it will help you develop your own art style. (i used to copy the drawings from the books i read as a child, i had a whole folder of them. in this phase, sharing on social media is often debated if you use other ppl’s art so i advise against that)
once you know what you want your art to look like, watch tutorials. i think trying different styles can further help you with stylistic choices, so even if you want a more cartoonish art style, watching a couple of tutorials about realism can help with the understanding of anatomy, which doesn’t hurt.
however, i think most ‘do this’ and ‘don’t do this’ tutorials you see on tik tok or ig are bullshit. ‘don’t use pure black for lineart!!!” comic book artists use black. ink is black. there are shading techniques all revolving around black lineart. it’s not a matter of ‘don’t do it’, it’s more of a ‘do this if you want this effect’.
experiment, try many many things. i went through millions of art styles, making (sometimes subtle) changes: i went through a more real-ish style to full on anime, and now i’m copying realistic paintings.
life is too short to settle for a single art style.
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pigswithwings · 5 months
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since art has been brought up what is your process and brushes you use?
the gist of it is: i use my phone, my index finger, and the app IbisPaintX to draw! also my brushes are the Digital Pen and the Fade Watercolor (Opaque). my general process is making sketches and focusing on the energy of a piece, then sticking to that
long stuff and more detailed stuff under the cut... i put a bunch of images in there for reference
overall its not very fancy!! mostly i make art when i feel very inspired by something (which is to say, not super often). i usually start with a very rough sketch which helps me figure out how i want the art to feel. so for example this piece
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was originally this sketch
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basically the purpose of the super messy sketch is to outline ideas and stuff. i say "i think this would be cool, it looks cool in my head. this is what the finished product should emulate" and then i roll with that. also usually i have multiple sketches based on the same idea, but more often than not there will only be one sketch that i want to work with.
i tend to pick colours based on the feeling of the piece! so for me, the idea of plants gets the colour green, the "i have no mouth and i must scream" art gets a lot of red and orange. it's basically colour associations.
although very simple, my backgrounds tend to be developed around either the concept or the sketch. for the plant one above, i tried to use more flowing shapes in the background to emulate leaves, hills, and vines. for my first few "factory pomo" style pieces i wanted to get a sense of contrast, so i designed the background to be almost split into two colours/two parts, etc.
other examples
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you're probably noticing how similar my sketches are to my final pieces. it's basically because i treat sketches like lineart. i pick a sketch and enlarge it so that it takes up most of the frame. then, i set it to a low opacity and draw on the layers underneath it. oftentimes i turn the layers on and off to get a sense of how the whole thing looks, and the finished product will not include the original sketch layer. but a work in progress for me usually looks something like this
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it's a whole lot of going back and forth! zooming and out, erasing and redrawing and turning off layers and zooming out again. it can be messy sometimes but i stick to it and enjoy it a lot. i am not always faithful to the sketch, either; i usually add whatever i think looks cool. for the piece above i did Not originally intend to have glitching effects on my sona's body. but then i thought it would be cool to add some!! so i did :]
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as for Brushes i work in IbisPaintX and i use this bad boy the Digital Pen (set to various thickness depending on whether i want very small and fine lines or just want to cover a Big Area). its basically just pixels so thats how i usually get very crisp lines!! also you can turn it all the way down to just 1 pixel if you want to be really precise. eraser tool and ruler tool are my best friends. also the Fade Watercolor (Opaque) that is right underneath the Digital Pen is what i use to sketch sometimes.
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um hope this helps or satisfies your curiousity!! yeah. not a formal tutorial to my art or anything, this is just how i do it. which is in a silly way
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ravangie · 20 days
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Your style of characters is so beautiful!! How did you learn/develop/practice to draw like that?
Ah!!! Thank you!! 💗💗💗✨✨
Here comes a long rant, get ready
Talking about your own art style is kinda tricky, I feel like to artists it comes as second nature, so one doesn't really see it as a so-called separate "style". Rather they see it as a continuation of themselves in a drawn form (at least i do). But if i had to, i'd say that one's art style consists of two things:
1) What comes naturally.
I look at 5 year old kids drawing and see that each one of then has their own unique style. Already. Without even trying.
I've been drawing my whole life and I never tried to shape my drawing style into a box that I could call "my style". I just let the lines flow naturally and followed where they led me.
I started going to live-drawing sessions again recently and my friend told me that she could see "my style" of drawing that she sees in my digital works in those quick sketches that I make during these sessions. I think that's because when I work on digital illustrations, I don't think about how I should draw this or that. I just do it.
So, practise! With time, the ways you personally draw things will flow to you. When you draw one thing a 100 times you start to notice simularities in all of the 100 different examples, and then you systematize what you've learned and put it to use drawing your 101 drawing. After a while you won't even think about it before drawing them in the usual for you way.
I like to draw freely, not picking up a pencil from paper, with my lines just flowing naturally everywhere that I want them to. And I try to keep that same feeling in my finished drawings (where there is lineart still visible).
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Here, found an example of a quick live sketch without any boobies for ya (just to be safe) and a linework for one on my more recent digital works. See how I try to keep the lines alive in the same way. And add highlights where I deem them necessary just for something interesting to the eye.
2) Your inspiration.
Everything that you see and like impacts your style, whether you mean it or not. My friend (other friend) watched Wolfwalkers the other night and immediately texted me saying she could see the inspiration that I've drawn from that movie. And she was right. I am a fan of the artstyle of the whole studio, so it's only natural that i, maybe even unconsciously, took something that i liked from their works and incorporated it into my own art style.
When I asked my friend what exact simularities she saw, she couldn't pinpoint them, she said it's just the vibe that she's getting. And i was content with that answer. Means i didn't copy and paste, but rather interpreted what i liked in my own way.
Also. Very important. You have to love what you draw. You're gonna wanna spend some extra time and add those extra couple of strokes that don't add anything in meaning, but are there to just be pretty. Sometimes those couple of strokes make the biggest difference. I think it's is very important to take time to just sit with your work and listen to what it needs to make it truly finished. A drawing can go from empty and unfinished to fantastic in just a couple of lines.
So. There it is. Sorry for the long answer. Or maybe you're welcome? Anyway hope it satisfies you!💖💖
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k0nstanta · 8 months
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hii!! i was wondering if I could ask what is your usual colouring process? how much time one fully coloured piece and doodle take! I adore your ocs so much they inspire me to draw more myself:3 they feel so alive!
hi anon! thank you vey much, i'm very happy to hear that you feel inspired!
i wrote up a little something for your questions under the cut:
so, first of all, the way i color things ranges from drawing to drawing, especially if i feel like playing around in the process. sometimes i decide to try something out (palette, filter, technique, brush etc) and if i really like how it looks i may recolor the entire drawing lol. point is, there's a lot of sidetracks to my process (especially now, since i'm trying to get used to a different art program than the one i used previously) but the very basics of it are as follows:
1. i sketch and line whatever it is that i want to draw (this might take a while depending on whether i have a solid idea right away or not; in the latter case i might do some thumbnails first to figure out how i want the drawing to look. you can't really see here, but when i line things i usually draw on the same layer as the sketch, and after i'm done i adjust the brightness/contrast settings of the layer to get rid of the sketch underneath. it might seem like i'm just making my life harder this way, especially since this method only works if you sketch with a lighter color (or make it lighter in settings before starting lineart) and your lineart is drawn with a solid opaque brush (which is how i always draw), but it helps me to not get caught up on trying to make the lineart precisely follow the sketch. it also makes changing things on the go much easier, since i only have to erase on one layer.
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2. after i'm done lining, i underpaint with a solid color (usually the skin color, but sometimes something random), then block the alpha channel and color over it with flats;
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3. i don't color everything at once, instead going piece by piece, which helps to keep the drawing balanced color and contrast wise. i pick a desired area with magic wand and then go about rendering it properly (which usually involves adding some value variance with an airbrush and then laying down shadows/highlights/etc). you can't see this here either, because for some reason i forgot to do it this once, but i also usually lower the opacity of the lineart layer halfway when i color. it helps me concentrate on colors and how they look together better;
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4. when i'm satisfied with color, i recolor the lineart to be whatever color i think fits the piece better and change lineart layer settings to either multiply, color burn, or linear burn. after that i just play around with filters, add decorative details, and clean everything up. it's also worth noting that sometimes i starts trying out filters/effects directly while coloring because i want to explore some alternative colors or palettes; i also have a tendency to pick very pale & unsaturated colors so messing around with HSB (hue/saturation/brightness) & depth/contrast settings while coloring helps a lot.
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5. cropping it & there you go!
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this one took me 1,2 hours. depending on how complex the drawing is it might take me much longer (especially if im working on a commission) so i'd say my average time drawing is somewhere between 2-6 hours. if a drawing takes longer than that i break it apart into several days of work. don't draw for too long! it's bad for your health.
as for sketches, as i mentioned previously, it all depends on whether i know what i want to draw or not, and if i do, i usually just go straight at it:
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this one took me 20 minutes. on average, a doodle can take anywhere from 10 to 40 minutes, more if i want to make it look fancy, but at that point it enters the vast limbo between sketch and finished piece.
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that's it! sorry the gif quality is really bad, it's the best i could do. here's a video of the same stuff, hopefully in somewhat better resolution
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quinthejester · 9 months
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maglor woke up this way, such a pretty boi
(got some personal feelings and art ramblings under the read more)
So had a small art crisis yesterday because i had a few issues with the Maedhros art I posted, but after some doodling and experimenting I figured out the issue was in the facial structure, the way I drew the eyes and the way I shaded. Also didn't like the lineart I did for the hair so I just went 'screw hair lineart'. I also know I sometimes rush things, partially cuz I'm just impatient but also because I deal with chronic pain in my hands, so I tend to rush things in moments I feel like I can draw, which is a habit I'm trying to stop lol. (the hand pain thing combined with school work is the reason I've had periods of just not posting things in a while)
After a bit of testing things out, drew and coloured a Maglor which I'm much more satisfied with, though I know I still have room to improve and I want to continue improving! I'm planning to try draw facial shots of the rest of the brothers since I kinda struggle a lot drawing close ups, and practice makes perfect lol. When I finish them, I'll probably redraw Maedhros hopefully in a way I'm a lot more satisfied with. Dunno if I'll delete the original art post, but will see.
I still want to improve more so if anyone has any tips or whatever, feel free to message me! I'm pretty happy to read critique and tips.
Anyway if you read my little rambling, thank you, I hope I don't sound whiny, just personal feelings I guess
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diezmil10000 · 8 months
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Hi hi, hope you're doing well!! Wanted to ask if you could explain how you pick colours! They're always so appealing to look at... (If you could also explain how you pick blush colours it'd be great! I never manage to pick good ones, no matter how hard I try :'))
hi anon, i'm doing fine!! it's summer right now where i live and that's healing all my problems (⁠◡⁠ ⁠ω⁠ ⁠◡⁠)
i have recorded the process of some of my drawings and everything is posted in my youtube channel (in twitter too), so i'll drop the link here and try my best to explain the coloring part to you. the short answer is that none of the colors you see in my drawings are similar to those i initially picked.
i try to keep my lineart loose but i pay attention to the outlines so i can quickly select the outer parts, invert the selection and fill it with the bucket tool. my base colors are all 100% opaque and i don't use any fancy brushes here.
as to how i pick colors, i never use the color picker tool, i eyeball everything. that's important for me because i tend to make all of them warmer: the greens are dark yellows, the pinks are light reds, and everything that's close to blue is very desaturated. i do this even for drawings that turn out much different later, unless i have a very specific vibe in mind from the beginning. i also never use pure whites for anything, and if something is black i make it part of the lineart.
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then i always color my lineart!! there's no trick to that, the layer is in normal mode and i just paint it with a darker color than what's below it. i usually add the shadows and highlights at this stage of the drawing too. you're going to kill me for this but shade with gray set in color burn or linear burn (never multiply). i just don't want to think about color variety at this stage because it makes things more difficult for later. sometimes i add textures and some basic color correction here (curves, color balance, layers set in overlay, etc.) but i mostly leave that for the next part.
as to how i choose blush colors, i usually pick the base color and move it towards the saturated end of the color wheel, and a bit more pink. sometimes i add a multiply layer and airbrush hot red over the base colors at low opacity. coloring the lineart with hot colors surrounding the blush areas helps a lot too :)
i also almost always duplicate the lineart, blur it and set it in linear burn (i paint this layer in a light gray). this adds a lot of depth to the drawing, especially if later combined with the bloom effect.
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the key to why the colors in my art pop so much is that i don't enjoy drawing as much as i enjoy postprocessing pictures 😂🤣😅👌✌️👍 once i'm satisfied with the "base" colors i merge everything except the background, open a new canvas and go crazy with filters and textures. that's why i use ibispaint X even if i do the lineart elsewhere (krita), and even if it works a bit wonky with big canvases.
i do something different for each drawing here, so first i'm going to explain my reasoning so that you understand my process: i used to have a problem of using very strong colors that overshadowed my beloved lineart into which i had put a lot of effort, so my goal nowadays is to make everything look less contrasted without losing the visual impact of saturated colors. that way the lineart remains a strong point and not just a way to separate one color from another.
what i usually do is duplicate the new merged layer, set it to exclusion mode, add a gradient map and play with the opacity. then i duplicate that and do the same thing with another gradient or another blending mode. i tend to add like 3-6 layers of bullshit over my drawings, including textures and other filters like "bloom" or "sharpen". i understand everything that's going on there but i don't think too deeply about it, i just pick whatever looks best.
for the final touches i always pull up the saturation and contrast (since a lot of it gets lost in the process), and i usually have to manually change some colors (ibispaint X has a filter to do that) or tweak the curves. then i add chromatic aberration, noise set to overlay and little polka dots set to linear dodge.
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here are some comparisons of the before and after of recent drawings. the 1st one is very subtle, but you can clearly see how much warmth and depth it gains it gets after all the postprocessing. the 2nd one is so different that i understand why you're curious about how i pick colors. i don't think i can replicate that look just from picking nice colors, there's a lot more going on!! the 3rd one personally feels like it had potential lost (i liked the yellow highlights), but the colors were too strong and all over the place, so the finished result looks more intimate and calm and i like it a lot more.
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thank you for the interest anon, i'm very happy that you like the way i color things and i hope i have explained myself. good luck with your own journey!!
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wisteriasakana · 4 months
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Sprite template: Guildmaker7
Pink Pro Update!
The Yuri Game Jam is over, and it still feels strange to me to have submitted well in advance (Then I remembered that the deadline was pushed back by like a week, so I would have submitted just in time, but details-). Deciding to post a demo rather than the whole game turned out to be a good choice for my peace of mind.
Now, I should make a pretty and tidy (One of the two adjectives might be wrong) update, but first I want to present you a flashback from a few days ago:
---Flashback---
*Soe enters *Soe sees real money *Soe implodes *Soe waits a couple of days to see if it was a misclick - Yes, even the confirmation one *Soe realizes *Soe implodes again *Soe's mass is not enough to generate a gravitational collapse, so there's no black hole but just an amazed fish
Person who decided to offer me a hot chocolate, thank you. I still find it hard to believe, but I thank you very much! °˖✧◝(⁰▿⁰)◜✧˖°
---Flashback End---
So, it was said. Pink Pro. The update, yes.
Changes and additions
Since I have more time and can do things more slowly, I decided to fix a few things that I wasn't sure about.
For example, Sus's house. You can't visit it in the demo, and in a second time I'll show you a "before-after", but trust me when I say that the first version was absolutely plain and uninspiring - It's even more comical when you consider that it's reiterated how rich Sus is and how her house is ridiculously big. Now I am much more satisfied! It's certainly not the most beautiful map I've ever made, but I find it does its honest job much better than the previous one.
Among other differently useful things I decided to add there is the change of NPCs inside the Pink Jewel and the Magnolia Jane after some time.
Given that time is actually passing (I mean, something is likely to happen in the evening, right?), it seemed silly to me for the customers to be walking around the shops for 12 hours.
It doesn't impact the plot at all, but I think it gives the setting a bit more three-dimensionality.
(Yes, I also entertained the idea of changing customers with each finished order, but my imagination for NPC dialogue is very poor, I don't want to suffer).
Characters' expressions
When I made the expressions, I got a bit carried away, so now Chantal has many more than I had planned. However, this means that I didn't do some expressions that I should have done and that I came up with others-
According to my fantastic to-do list, the expressions that are missing are: 4 for Chantal, 2 for Janet (Yes, Janet has more than two expressions!), 1 for Margrit, 3 for Kenicea and Silsdia, 2 for Saster, Byma and Nicopte (Yes, she also has expressions!), 4 for Sus, Zora and Deilela. The last three might have one less, depending on how they look best.
My relationship with doing expressions is: sometimes, I get on and do them all in less than an hour, without any problem. Other times, for reasons unknown, I spend an hour doing one, which also turns out ugly.
In this case, however, it is not a matter of procrastination - I often literally just forget to do them. (๑꒪▿꒪)*
Other ideas
Since I have more time, I was thinking about adding another, simpler CG - Just coloured lineart on a unicolour background.
On the other hand, I decided to scrap a small idea I had planned to do if I had more time / for a possible update: Chantal's sweets designs.
I would like to show off her "eye-catching" style more concretely, but when I tried to draw them, I realized that was definitely not the case (Let's say, like, no one in the world would have realized that the Île flottante was an Île flottante and not an ugly sponge).
The options, then, are three:
One day I'll be able to draw better and I'll put pretty pictures for all the recipes;
One day I'll go begging for people who can draw pretty food;
Imagination is a wonderful gift, imagine these beautiful recipes in your mind ♡♡♡
Cutscenes
As for the cutscenes, however, I am exactly halfway through, at the third order. I therefore have to finish the third order, do the fourth and fifth, the final climax and the epilogue.
To reassure you, as already mentioned, in the midst of all this there are also Important Scenes, and those have all been done.
And that's it for Pink Pro!
Yes, of course, it's because I'm also working on something else - I can't concentrate on the same thing for more than two days in a row if I don't have at least one side project.
I'll talk about that, though, in the next few days - The devlog on Candy Apple has become the devlog on Candy Apple and Red Riding Hood and the Little Bad Wolf, just as the projects on Three Yellow Quartzes will need a separate devlog.
Thanks for listening, and see you next time!
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eliyips · 4 months
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Can i ask how u do lineart so well,, it looks so smooth,,
I've always been very big on keeping my lineart clean and smooth! :) I'm very inspired by comic and graphic novel illustration, so naturally, I try to take notes from that sort of aesthetic in a lot of my art.
The short answer is that I just have a lot of practice, and am very picky about how my lineart looks. So, I'll often spend a long time making sure it looks just how I'd like it, before moving on, even if the lines aren't necessarily going to be the focus of the final drawing.
The longer answer kinda depends on what lineart you're asking about! The style of my lineart tends to change to fit whatever mood I'm going for, so I have a lot of different line styles with varying levels of smooth-ness.
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On the super-smooth end of the spectrum, we have these bubbly, cartoony lines! These are a pain to draw, to be honest. But they really contribute to giving that cute look :) For these, I used the Clip Studio Paint G-Pen, with some minor adjustments to the settings, mainly so that there's not too much line width variation. The uniform, thick lines are important for this look! :) Drawing in this style really just a lot of trial and error. Usually when doing lineart, I'll erase away at lines to get them to the right thickness, or even just clean up a sketch and call that lineart, rather than doing lines on a new layer. But, that's a lot harder to do when the line thickness has to stay consistent. So, I end up just drawing the same line 7 times over, un-doing my work and re-doing it until i'm satisfied. Again, it's a pain! I used to draw like this a lot more frequently, but I stopped because I found that other approaches are often a lot more satisfying and rewarding. This is still great, for that cutesy look, though.
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Next, we have what I would affectionately call my ref sheet lines. As much as it's probably a bad idea, I have a habit of just kinda skipping the lining stage of art. I'll just take my sketch, and tidy it up until it's clean enough. But for a drawing where there's only going to be flat colors, that sort of roughness can look sloppy, In my opinion. So, particularly when doing ref sheets, or other art which I don't intend to render, I will actually go through the effort of fully sketching out my idea and lining on a separate layer. The result is a lot cleaner and more deliberate, and looks a lot nicer when colored! Especially if I take the time to color the lineart :) I also really like doing small details with thin lines, particularly body/facial hair, elastic cuffs on clothing, and the seams of clothes, too. I like drawing those little details a lot, and I think they shine the most in my cleaner line style :D
For this, and for most of my lineart, I use these brushes which you can find on the Clip Studio Asset Store:
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I'll bounce back and fourth between these, and Kozmo's Scratchy Scribbler brush, which you can find on Ko-fi!
Additionally, I have a modified G-Pen with a pencil texture that I think I made myself? I don't remember making it, but I also don't know where it came from! So i guess I did, lol.
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A little more messy than my ref-sheet lines, we have the line style which you probably see most often on my page. As mentioned before, I usually kinda skip the sketch step for these? I don't encourage that, it's a bad habit of mine. But I make it work! I feel like the best way to explain my process with this is to just offer you a timelapse of my lineart process:
I just kinda... go. and it works out! most of the time. lots of cleanup and tweaking, and as you can see with Bdubs and Etho here, sometimes I do actually just. do a sketch and then line over it. So maybe I have no idea what my own process even is, LOL.
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Now, to completely abandon your original question here's how i don't do smooth lineart! :D In this style, for the most part, I ignore the cleanliness of my lines, only really erasing with the lasso fill tool, when lines get too cluttered to actually read. Usually I'll only go for this when I'm already planning on painting over the lines. Because sometimes an idea doesn't need or want clean lines, and sometimes I just want to paint some values or slap some colors together and call it a day. Love my clean lines, but scratchy, messy lines are fun too! :)
Not sure if any of this really explained how i do smooth lineart, but I sure did talk about lineart for a while. I hope you could find something interesting or insightful in here! :) thanks for the ask, and I hope you have a great day <3
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floofrights · 2 months
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Hi. As someone who hopes to one day start my own webcomic, I'm fascinated by how your deleted scenes archive features almost complete art that follows a widly different route that that of the final narrative. It's a bit mindblowing to me, honestly.
If I may ask, how does your process work? Do you follow the conventional script -> sketch -> final art workflow and just take "kill your darlings" to heart regardless of which step you're in, or do you use the art itself as part of your writing (and consequently rewriting) process?
My process is very unconventional and also very flawed in a lot of ways. But it's the process that works for me. Sometimes.
(This is gonna be really long by the way and also it's probably gonna be wonky and messy so be warned lol)
When it comes to making a chilli issue, and just most of my comics in general, I don't write scripts. Would making comics be a lot easier if I did? Probably. Certainly. Absolutely. But it's not my process. At some point I'd like to start writing scripts before I work on an issue, but it always just felt easier not to.
Instead of a script, I write a very rough outline in my sketchbook, with notes so illegible only I could read them. I often deviate from these notes as I'm making pages however. Sometimes I'm about to hit a story beat and I decide it can be done in a slightly different way, so I do that instead. But I don't differ too much from these notes. For the most part.
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When it comes to dialogue, it's very on the fly. I may have specific character quotes in my head when I'm planning out an issue, but most of it is only written in the moment when I'm actually making the page.
In terms of art, Chilli has a very "simple" style, and that was on purpose. I used to draw final lineart in my webcomics, and I found it very tedious. What I'd often find is I'd like the undersketch of a panel more than the final art. So when I started making Chilli, I just used the undersketch AS the final lineart, and I developed and refined that style as time went on.
When actually making an issue, I start off by figuring out the panel layout of a page. Sometimes this can be edited as I work on a page, but this is where I visualize the panels ahead of time. Once the border is done, I begin to draw the lineart. Sometimes I make a rough undersketch for a panel if it's particularly complicated, but usually I don't do that.
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Once the lineart's done, I go back and give a thick outline to all the characters, and any other elements in panel, to make them pop from the background. It also makes it easier to color the page. Because the coloring process in Chilli is so simple, I often just use the paint bucket tool.
Now for dialogue! Again, this is usually only written at this point in the process. Even if I know what HAS to be said, HOW I say it can be tricky to figure out. Once the dialogue's done, I create the speech bubbles, and then boom! Finished page.
On an average day, I can draw four pages of an issue, but this is far from my limit. If i really wanted to, I could make 5-6 pages a day, but my wrist would absolutely not like that lmao.
And so day by day, I work through an issue, four pages at a time, until eventually, I have a finished draft! Does this mean the issue is finished? Nope!
Once a draft is complete, I do a mini "round of edits," where go through and make little changes fit to my liking. This could range from editing dialogue to make it less clunky, to redoing an entire panel. Once this round is finished, I set the issue aside. I don't work on it. I don't even look at it. I need it fresh out of my mind.
Eventually, usually about a couple weeks before it's released, I go through the issue and do an even bigger "round of edits," rewriting even more dialogue and redrawing even more panels. I do at least a few more rounds of edits until I'm finally satisfied, and that's when the issue's released.
Sometimes however, things can go horribly wrong.
Issue 12 was supposed to be a completely different issue. It was supposed to be the start of a new arc, but as I was making the issue, I just found myself unsatisfied and not that confident in the story I was setting up. So I scrapped that attempt halfway through, and instead began work on the issue 12 that would eventually release.
"Red Meat" in particular was a very troubling arc to make. I made probably about 300+ pages for that arc, and I ended up scrapping over a third of that. I did not do a good job at planning out the story for that arc, and it ended up biting me in the ass later when I realized I didn't like where the arc was headed.
Issues 25 & 26 were both drafted at this point, and I didn't like either of them, issue 26 specifically. The problems they had couldn't really be fixed in rounds of edits either, they were fundamental problems. If I wanted to fix them, I'd have to scrap a lot of what I'd already made.
So I did.
I redid a lot of issue 25, and I scrapped that version of issue 26 entirely. It was for the best ultimately, but in the moment it felt very demoralizing having to scrap so many finished pages.
Issue 27 also ended up being way too long (like almost 70 pages) so I had to cut a lot of (finished) pages in that one too to keep the pacing up. I cut out a lot of good stuff from that issue, but it was for the best. Even after those cuts the issue's still tied with issue 12 as the longest chilli issue.
What happened in Red Meat was a worst case scenario though, and going forward, im gonna make sure that something like that never happens again. Because, fuck. It didn't feel good scrapping those finished pages lol.
My process is very messy and slightly taxing, but it's the process I'm familiar with. I would not recommend doing what I do, especially if you've never made a webcomic before, but instead to try and develop your own method that works for you! Different processes work for different people
Thank you for your ask! Good luck on your webcomic journey, wherever it takes ya!
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