I'm going to be using tones on OUTLAW'S APPRENTICE, and I've found that laying in (untextured) tones with my pencils is incredible helpful in determining how a page is going to look, how a scene will play out, etc. Makes them part of the planning instead of an afterthought.
Last thing: one of my Patreon patrons is banking months of commissions to do a "Team Avatar" piece. Here are some thoughts for how I might approach it, in the sketchbook.
Got an October job that'll likely take too much of my attention to be able to devote time to a daily drawing challenge, so it looks like "Brochtober" won't make it past the idea stage (probably for the best)
作者のその他の人気の漫画
Thought I'd share my approach to placing figures in an environment, which I use a lot in wider shots that establish the location of a given scene and the spatial relationships of the characters to it, and to each other.
Today's Charles Schulz's 100th birthday. Peanuts means a lot to me and my family, but there's one factor of his work that I've thought about an awful lot, and which I wrote about in a (comics) essay for a Peanuts tribute book some years back. 1/2
My favorite prequel-era thing was when they had Obi-Wan go full Jedi KNIGHT, armor and all.
A quick thread comparing the ages of the characters in Alexander Dumas's THE THREE MUSKETEERS and the ages of the actors playing them in adaptations: 1/
Tightened pencils!
I got an ipad so that i can work not-at-the-desk sometimes (I've gotten to the point where I almost exclusively do my pencils digitally, so to do anything other than fool around I needed something screeny). First sketch on it that I'm pretty happy with (about ten sketches in):
Commission for a Patreon backer, from the HOLLOW KNIGHT game
Me and & @TheKyleStarks's newest, from @Skybound/@ImageComics: 6 SIDEKICKS OF TRIGGER KEATON When the worst man in Hollywood is murdered, his 6 former supporting actors (whose careers he tanked) have to fight stuntpeople, ninjas, bikers, & more if they want to solve the crime.
