I have practically nothing to show (cuz don’t draw much). But here the Inquisitor in robe :Dd

Nothing serious, just a little grumpy Lavellan 💚

Cypress and Gladys as ponies cause I’ve been watching the series again

A cute little thing I made c:

The website I used to make this!!

They made labubu versions of themselves/j

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I’m restarting my Hext Generation line since I wasn’t feeling the old ones anymore.

So meet Marrowposa who is the daughter of Skelita and my chupacabra oc, Chuy.

How it feels to see everyone using Clip Studio Paint. Procreate, my one time payment beloved. I will never leave you 🫶

Art dump!!

VGen icon commission for @/rose.ysposeys on IG <3

If you want to commission me you can submit a request on my VGen here!

I had a little spark of an idea that ended up being these two twins, Edith and Edna.

One Week - Buster Keaton’s Silent Film Adopted to Comic Book - Page 205

For this sequence, I decided to deviate from the original aspect ratio of the film. If I kept the panels at the same aspect ratio as the film, the sequence would take up either 3/8 of a page (if I used small panels) or 1 ½ pages (if I used large panels). I believe that neither of these options would have been as sequentially satisfying as the option that I chose. I chose to use three widescreen panels of a single column width, each panel of a different height. While I ended up cropping some of the film, the result is a more dramatic and visually dynamic sequence.

In addition to changing the proportions, I used background to further enhance the action and the drama of this sequence. I included the background in the first panel to establish the setting. I omitted the background in the second panel to add impact to the broken house. Including the background in this panel would be redundant. It would take away the reader’s attention from the sad spectacle of moving the dilapidated house.

But I include a bit of the background in the third panel. That is because I determined that the background here does not interfere with the main action and it adds to the expression of movement — in the first panel, the background is on the left of the house; in the third panel, the background in on the right of the house. This help to express the movement of the house from right to left. That is why I chose to use widescreen panels, rather than the film’s 4:3 image. This required cropping part of the images at the top and at the bottom. I feel that the loss is actually a gain. It is an example of the famous phrase “less is more”.

more characters whom i refuse to elaborate on

Midnight

Candlelit by Victoria Rose

sometimes you can’t help but get into trouble

Sketch

ALT

i’m so stoked honestly

Another main character ref sheet completed!!

This is Marigold! One of the two main characters for my story, Evershore

All I’m going to say is that it’s a doomed romance small-town-mystery vibe :3

One Week - Buster Keaton’s Silent Film Adopted to Comic Book - Page 102

Not every panel, not every sequence, benefits from having background. Omitting the background in the four panels at the bottom of this page made the sequence of gestures by the figure more readable. So, too, omitting the panel borders which would add unnecessary clutter to the drawings. I feel that panel borders are visual pollution. I use them sparingly. When I do, it is either for emphasis or clarification.

Rather than using borders, I used the rope on the floor to define each of the four panels. The rope defines, as well as adds information, without polluting. (Panel borders don’t add any information. They are primitive picture frames.)

Gutters, the empty spaces between panels, are all that is needed to define panels and to separate panels. (As a bonus, in black-and-white comics, eschewing panel borders allows the artist to open up the page with beautiful negative spaces.)

But back to background. Many scenes in Keaton’s films use a stationary camera. Thus, the background stays the same throughout a scene. When adapting scenes like these into comics, there are three options — (1) redraw the same background in every panel; (2) draw the background once and copy-and-paste it to other panels, making adjustments for changes in figures; (3) draw the background once to present the setting of the action, then eliminate it from the rest of the panels that follow.

I have used each one of the options in my adaptations.