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#i always wanted to redraw this panel
fluffyspike · 2 years
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Kusuo's special power, the playing dumb face.
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crumbpigeon · 8 days
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i feel like a lot of modern comics characterise Tim as being the most loyal to/believing of Bruce and i could explain why that's wrong and ooc
but genuinely nothing i can say will explain it better than these three pages of gotham knights#26
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fureiya · 3 months
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quirkle2 · 1 year
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miscellaneous stuff i didn't manage to finish before the year ends. maybe next year !
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spider-man-2o99 · 1 year
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2099 Unlimited #3 (1994); written by evan skolnick, penciled by chris wozniak
whumch whunch. btw.
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birdmenmanga · 2 years
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god I’m laughing deliriously. the production quality literally does not have to be this high. in fact more than likely CANNOT be this high. what the hell do I do
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zarla-s · 2 months
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once on youtube i saw a girl who had a comic and she redrew her least favorite comic page and used it as like a guide of what and what not do when making comics.
im not asking you to do that but if you did which handplates page would you redo and why?
A few leaped immediately to mind, haha.
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Hate how I drew Papyrus's head on this page, hate it!! If I was going to go back and redo any page I'd go back to this one and redraw Papyrus.
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Sans is otherwise fine on this page but I don't like his head in this panel, I'd redo that.
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I don't like the back of Papyrus's jaw here, I remember struggling with it at the time. I could do a better job of it now I think.
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I'd want to make the gutter bigger here to differentiate these two panels more.
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Don't really like Sans's head here either, I'd redo that.
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The right panel here is too cramped, you can't see the focal point very well (the SOUL in his chest). Would probably restructure the panels to try and give it more breathing room, probably cut the Papyrus one.
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I'd make the blue glow around Papyrus's hand more obvious so it'd be more clear what he was trying to do.
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The text in this panel is confusing because Sans's speech bubble is near Papyrus, would probably re-stage this to make it more clear who's talking (aside from fonts).
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Don't like Asgore's expression in either of these panels, I'd want to redo these.
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This one was just me being dumb and forgetting Sans was blind in his right eye, I did a quick fix at the time but nowadays I'd like to go back and shift his head around properly to make it clear he's looking with his left one.
The first two comics look weird to me but those were early, that makes sense. For a lot of pages it'd just be small changes, nothing super major but just smoothing out things. Inconsistencies with Gaster's hands, weird looking Blasters, Asgore's horns, bed too big, couch looks bad, that kind of thing. But the ones above are the ones that just jump immediately to mind as a "man that looks wonky ugh" moment, haha.
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On the flipside I've always liked the brothers in these panels. There are always parts in the comic that are going to look wonky to me, but there are parts I still really like too! Important to remember both things.
[index]
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runningwithscizzorz · 7 months
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HOW DO YOU DRAW FACES??!?! seriously, everything about your art is pure eyecandy, I love it SO MUCH, but faces. YOUR FACES. the faces are perfect. they capture every detail. they feel so human. so expressive. i would love to know how you draw/structure your faces because it's the biggest thing i'd like to improve on with my art!
Art is a translation of how you perceive the world. Art is both extremely watered down and painfully vulnerable with emotions. The artist translates the world, and people translate the art. Lots of art gets lost in translation. My goal is to make people read my art regardless of my language. I want my art to speak louder than my simple cluttered words could.
How can you read a face with no words? You have to find your own way to do that, but here’s a very rough way of how I read people and attempt to translate their world into mine.
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One practice is drawing straight from a reference. I've been watching TLOU, which has some of the best acting ever and is perfect for screenshotting specific moments to recreate. Pulling scenes from episode five, I stretch and amplify the facial features to properly read their emotions in my style, ex, making Ellie and Sam's eyes bigger to amplify their youth, smoothing out facial wrinkles for simplicity, and (my favorite) exaggerating the mouths so they emote louder.
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Second method is feeling how your face moves. Ethan Becker on YouTube explains it better (go watch all his videos) of how to feel and observe how your face compresses and works with different features to properly express emotions. Using your own face as a stencil to understand how your muscle and jaw work is both simple, and always accessible for artist reference.
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An example of how I break down bits of a chapter into chunks for each panel while still attempting for it to run smoothly like the writing. Honestly, a lot of this part rides on wanting to do the author justice for their fabulous work. You want to show them how much their work affected you and why it’s totally worth it to draw their stories.
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Some examples of scenes from media (that almost made me cry) and how I translate and manipulate it into my style. This is why I redraw scenes from movies so often, not only is it fun and easy, but it’s a great way of studying the masters
But, to actually answer your question, I think the reason my drawings are so expressive to you is because I still follow somewhat typical human anatomy while still being cartoony enough to break the uncanny valley and create an aesthetically pleasing style. I’m still practicing and studying everyday to get better. You must work as much as possible to attempt to properly translate the world.
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96coccinelle96 · 1 month
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Happy St. Patrick’s day!! I wanted to make a lil comic of them bc they are always on my mind obv
This was so SO rushed (I pinky swear that first panel is not what you should ever expect from me but I was so tired and I don’t feel like redrawing it 😭)
also excuse me while I have a style crisis lol
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nopanamaman · 2 months
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Do you have any advice for drawing & animating quicker or is it all practice? Perfectionism also ties a lot into my workspeed, and I've always wanted to make a comic, so I'm trying to find away around it.
Practice helps for sure! You become able to capture the shapes you want faster and learn to streamline certain aspects of your style.
But also if I had to point out other factors that helped me get faster:
Less frames per page. It's easier to make a less cramped layout look good. Yes, you will need more pages to show the same succession of events. But juggling a ton of speech bubbles and panels every time will really slow you down, especially if you suffer from perfectionism.
Less frames per animation. All my current animations are low FPS. Use references to pinpoint which keyframes to prioritise and experiment with timing to make the most out of the few drawings you have. Post production can help smoothen things out with tweening and light camera shakes.
Flow/composition over everything. Most people won't care about the anatomy or perspective being subpar if the flow is good. 90% of my animation frames look like actual shit, but I like the way they move, and that's how most people will perceive them anyways. People usually blitz through comic panels as well. As long as the art in a particular panel isn't distractingly worse than the rest of the comic, no one will care.
Storyboard. When I was making the comic page by page, I often ran into the issue of having to go back and change things because the flow ended up being weird when reading the whole thing together. Storyboards help you settle on the overall flow and composition super early on, so you won't need to redraw the same scene several times over.
Lasso fill. I saw a post on twitter about someone being shocked at how much lasso fill has sped up their colouring process. It couldn't be that good, I thought. It was that good.
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idolomantises · 8 months
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I've always wanted to try doing a comic. Do you have any advice for a beginner who's never drawn comics? any mistakes you made that you learned from or just tips?
similar to making a video game and an animated series, don't jump into a massive project right away. practice a bit with smaller, shorter and simpler stories. really allow yourself to refine your work and your writing
if you ever plan on working on an official series, make an outline. seriously, this is so obvious but so many new writers dont create one. they just have an ending and a few key moments planned and think its enough
you will learn, very quickly how annoying backgrounds are. dont be afraid to cheat and use 3D assets to make the workload easier on yourself.
when it comes to design, be sure to draw characters you're fine with drawing over and over again. that really detailed tattoo looks cool on a cover, but how do you feel about redrawing it 5 times in one page?
paneling is a very common thing i see artists disregard when they make comics for the first time. it should be pretty readable (like i love jojo's bizarre adventure but my god its like araki wants to straight up confuse his readers)
dont over explain, let your art speak for itself. your readers are smarter than you think, and gestures and expressions can convey enough.
do cheats. not every panel needs a background. zoom in on the face. copy and paste characters and backgrounds, this one seems obvious but i know a lot of artists are afraid of being seen as lazy. value your physical health over some guy online complaining about you being lazy
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8) ISAYAMA'S ENDING FOR LEVIHAN
On the manga, Levi was sitting on a wheelchair and he's with Gabi, Falco and Onyakopon
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Levi was holding a magazine/newspaper(?) in his hand, but instead of looking at it, his eye was looking at the plane above them... remembering Hange.
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In Isayama's draft for this panel, the sketch for the plane was different. But Isayama redraw it to a similar flying boat that Hange protected. Isayama also crossed out the dialogue that says, 'The pain that we feel' and changed it to, 'The story we sought after'
Can't imagine how painful it is for Levi, losing everything and Hange 😢💔 (If only I could, I would give him a hug...)
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On the anime, Mappa changed Levi's ending into Levi distributing candies to the children. When he saw a round lollipop, he blinked because he remembered someone.
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He remembered Hange and the day they visited Marley with the kids...
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Isayama and Mappa were trying to tell and show us that in whatever endings, Levi will always end up thinking about Hange.
Just how can he even forget the person who saved his life? The wounds that Hange treated before might've already healed, but he would always remember her by his scars.
Afterall, Levi spent more of his days with Hange than anyone else. Hange truly played a big and important role in Levi's life 🤧
9) IS LEVIHAN CANON?
Even without statement and confirmation from Isayama-sensei, I firmly believe that Eremika and Levihan are both canon.
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There's a lot of evidence that proves their relationships are parallel to each other.
Just like Eren and Hange are both obsessed with Titans. Eren wants to kill titans while Hange wants to learn and study them.
Levi can recognize Hange by her knock while Mikasa can recognize Eren by only sensing him.
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When Eren asked Mikasa, "What do you think about me?" Mikasa replied, "You're a family".
When Hange asked Levi, "Maybe we should just live here together. What do you think, Levi?" Levi replied, "If we just run away and keep on hiding, what will we have left?"
Both Mikasa and Levi lost Eren and Hange because they chose to say a safer answer. Had they answered differently and truthfully that time, then maybe they never lose them.
I think that's what really Ackermans are. They are physically strong, but they are not good in expressing their feelings through words. (They only show it through their actions)
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When they bid a farewell to the love of their life. They didn't say, "Good-bye," ... But instead, they told them, "See you," / "See you later,"
They believe that they would see them again, in a place where there is no more war, no more pain, no more tears, no more regrets... A place where they can be happy together. A place where they could finally get the happy ending both Eremika and Levihan deserve <3
Bonus:
Isayama himself wrote, "Levihan" instead of writing it as "Levi and Hange" so he would lie if he'll say that he doesn't agree with Levihan ship 💜💚🤭
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English is my third language so please forgive me if I didn't get to explain it well. I just really want to talk about Levihan because they mean so much to me 💜💚
Thank you for reading! 😊
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golby-moon · 2 days
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okay so I know the @destieldtiyschallenge is over and I've elected to ignore that idk there's still more stuff I wanna redraw though I am forcing myself to almost maybe possibly be done uh. but yeah so I saw the silly final panel of this comic that @wigglebox gifted to the masses and oh no my hand slipped
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here's the original drawing, which is actually a comic though I only did the final panel
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I will admit to wanting to draw this for Sam's face. speaking of faces Dean and Cas' are pretty weird and I'm aware of this, closed eyes are always just kinda weird. also I was gonna color this but idk it just has a certain vibe like this in definitely not just being lazy. but yeah let's pretend the challenge is still ongoing guys 👏
(04/21/24)
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anticmiscellaney · 1 month
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I absolutely adore your work! What's your process been like for writing NewOldRare and developing Neil and Louis? Your art and character writing feel so genuine and realistic to me, so I'm really curious how you go about it!
Thank you! I've always been obsessed with character-driven stories and interaction, so I guess this is the result of years of practice and observation, and dismantling stories that do and don't work to see why.
Unfortunately, there isn't a clear way to explain it. It's one of those "you know when you get it right" things, requiring an eye developed over a long time. I will redraw things if I don't feel like I've captured the nuance I wanted to, and a few months later I'll look at it and see where I could have done better. Same with writing. I'm obsessed with pacing and page design, I had a moment of "that's how I think about it too" when Will Eisner described comic panels like music.
The technical approach is I make notes about stories I want to write, then I expand that into outlines, then scripts, then thumbnails, then I draw the comics and colour them and finalise the dialogue. At every stage I'm asking myself if it feels right, if I'm getting across what I want to. That's not to say there aren't surprises and things don't develop organically, but every stage is an attempt to solve as many problems as I can before the next stage. My thumbnails are quite detailed because it makes pencils easier, and I spend a while on them.
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I have total aphantasia so I am operating off feeling rather than any mental images. I have no idea how it works and no idea why I pursue this when I'm missing what many visual artists describe as a crucial component. I just do it and I have better things to do (art) than wonder about something I can't change. I don't think it's made me a better or worse artist, though I think it has given me different ways of approaching/developing things. But also, literally everything about you makes your work different to everyone else's work.
You need to care. If your character is into music, listen to that music. If they have an old car that keeps breaking down, read up on common problems for that model. If they work as a film projectionist, watch a training film about using the machine. The characters care about things, have things in their lives that matter, have skills and interests and challenges. If I don't care enough to understand them, why should anyone reading it care, and also why am I writing it if I don't care?
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So I do, and in caring I understand them better. This helps me develop characters/story but it also gives me so much more to write/draw. Understanding how things work and how they are done from a physical standpoint makes writing/drawing them easier too. The more you put into your head, the more you can get out later. I'll do way less for a 12 page short than for a 300 page graphic novel, obviously. Pick your battles, a little can go a long way.
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They tell artists to collect visual references - solid advice - but you should collect substance too. If you pay attention, you will hear and see things you could never in a million years make up.
I find online socialising difficult, so I go out regularly and talk to people, or just hang around and observe. Chatting with strangers mostly involves listening to them. No one in gay spaces is interested in flirting with me (I'm rather homely and queer men assume I'm straight) but I think an audience is just as appealing sometimes, and maybe even harder to find. You'd be amazed what people will tell you if you're genuinely interested and listening. I once spent forty minutes at a sci-fi con talking to a guy who'd recently gotten into fisting. While I have zero personal desire to partake in that activity (and he had no interest in being fisted by me), I'm engaged, I'm invested, I'm asking questions, spare no detail.
I collect behavior and movement and the ways people interact too. Reading stories on reddit or whatever is one thing, but the words might not be as interesting as the way they're standing, the way their hands move, the way they respond. A guy in a bar once literally humped my leg like a dog because he felt I wasn't paying enough attention to him. I would never think of that as a response to that situation, but he did, and he followed through. Fortunately my friend had just tried to drunkenly sit down and missed the chair, otherwise I would never hear the end of it.
I see the leghumper around sometimes, he's got a boyfriend and avoids making eye contact with me, thank god.
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computercatz · 30 days
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*puts my hand on your shoulder straightly* (original image under cut!)
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i always wanted to redraw this panel ^__^
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