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Have I drawn Rouge yet?

Well, here’s Rouge.

Have I drawn Rouge yet?

Well, here’s Rouge.

Super super quick late birthday sketch for Noill / Zetta-Bot!

I have no idea how people know and remember your birthday, but I guess so many people giving you so much of their attention is just a sign of what a cool guy you are!

Super super quick late birthday sketch for Noill / Zetta-Bot!

I have no idea how people know and remember your birthday, but I guess so many people giving you so much of their attention is just a sign of what a cool guy you are!

Here, let me read verbatim the note I wrote:

"Draw a blue lady.

Just a regular lady, but
color her blue.”

Here, let me read verbatim the note I wrote:

"Draw a blue lady.

Just a regular lady, but color her blue.”

DRAWIN’ CUTIES.

Just messin with stuff.

DRAWIN’ CUTIES.

Just messin with stuff.

Warm up doodle.

Have a Nitros.

BOMBERMAN HERO.

Warm up doodle.

Have a Nitros.

BOMBERMAN HERO.

First off:

Kinzie Kensington is a cutie and probably the best character in the Saint’s Row games.
Is this because she wears a hoodie, sits on computers all day, is bad at social norms but doesn’t feel ashamed of it? Probably.
Are all those reasons just fancy ways to justify liking that scene where Pierce finds a giant dildo in her wearhouse/room because she didn’t even try to hide it? also probably.
Furthermore:

Trying to work on lineweight.
The way I originally learned lineweight was “try to thicken lines at places where lines meet at near-90 angles, and also at places that would be shaded anyway.” This never worked for me.
What I’ve done here is make a p. even lineweight, and then go back and add weight to lines that I want to call attention to. Bangs that frame the face, the back of the bun, and the tips of the ponytail
That gap at the back of the head works on basically the opposite idea. No one is caring about that part, so don’t even draw it. I’ve never been able to think about not drawing a thing that, if this were tangible, would be there.
I’m not used to thinking of things as just composition and eye movement (I never really even understood what they were talking about in all the 200 different times I’ve heard it explained). I normally approach everything as just “what is this form, what is the view of it, so how do we render those?”

But I have made a cutie here, so I need to try this more often.

First off:

  • Kinzie Kensington is a cutie and probably the best character in the Saint’s Row games.
  • Is this because she wears a hoodie, sits on computers all day, is bad at social norms but doesn’t feel ashamed of it? Probably.
  • Are all those reasons just fancy ways to justify liking that scene where Pierce finds a giant dildo in her wearhouse/room because she didn’t even try to hide it? also probably.

Furthermore:

  • Trying to work on lineweight.
  • The way I originally learned lineweight was “try to thicken lines at places where lines meet at near-90 angles, and also at places that would be shaded anyway.” This never worked for me.
  • What I’ve done here is make a p. even lineweight, and then go back and add weight to lines that I want to call attention to. Bangs that frame the face, the back of the bun, and the tips of the ponytail
  • That gap at the back of the head works on basically the opposite idea. No one is caring about that part, so don’t even draw it. I’ve never been able to think about not drawing a thing that, if this were tangible, would be there.

I’m not used to thinking of things as just composition and eye movement (I never really even understood what they were talking about in all the 200 different times I’ve heard it explained). I normally approach everything as just “what is this form, what is the view of it, so how do we render those?”

But I have made a cutie here, so I need to try this more often.

I don’t know.

Here, have a Youmu doodle.

I hate sketching digitally. Lines just never get put where I want them, and I think it’s because of…screen ratio changes or something. I don’t even know.

I don’t know.

Here, have a Youmu doodle.

I hate sketching digitally. Lines just never get put where I want them, and I think it’s because of…screen ratio changes or something. I don’t even know.

Listen, something will come out of this.

Fingers crossed it’s a Formula D track. And not like, dust and ghosts.

Listen, something will come out of this.

Fingers crossed it’s a Formula D track. And not like, dust and ghosts.

Just for my own reference (and I’m sure there’s better ones of these out there, my brain just has to build things itself.)

in an environment, there’s rarely (if ever) such thing as a pure color. The light you view something in will have color of its own; there will be an ambient color that changes the entire palette of what you’re viewing. Our brains just auto correct so that we know something is blue even if actually in the light it’s closer to what we would consider a pure green.

So in the center are the “pure” colors, and around the outside is the same palette, but with every color affected by the color in that direction. So if you’re coloring, (in theory?) you should never pull from the center square. decide the color of the scene, and then pull from the palette that is adjusted to that color.

I dunno, I’m still bad at this.

Just for my own reference (and I’m sure there’s better ones of these out there, my brain just has to build things itself.)

in an environment, there’s rarely (if ever) such thing as a pure color. The light you view something in will have color of its own; there will be an ambient color that changes the entire palette of what you’re viewing. Our brains just auto correct so that we know something is blue even if actually in the light it’s closer to what we would consider a pure green.

So in the center are the “pure” colors, and around the outside is the same palette, but with every color affected by the color in that direction. So if you’re coloring, (in theory?) you should never pull from the center square. decide the color of the scene, and then pull from the palette that is adjusted to that color.

I dunno, I’m still bad at this.

trying this box logic thing I saw the other day. I’d say it works p. well.

And man, you want to meet a guy who can look at people as a collection of abstract geometric shapes, you’ve come to the right place.

Can we talk for a second about how designing my characters’ rooms is generally way more satisfying for me than to actual draw out any of the scenes that take place therein?

Anyway, here is a floor plan for the office of Nick Korn, Private Eye. A piece of design for a work in progress comic I’m doing work for. If I keep up, you’ll be hearing more about it soon.

Can we talk for a second about how designing my characters’ rooms is generally way more satisfying for me than to actual draw out any of the scenes that take place therein?

Anyway, here is a floor plan for the office of Nick Korn, Private Eye. A piece of design for a work in progress comic I’m doing work for. If I keep up, you’ll be hearing more about it soon.

So one more thing before I pass out.

I never really considered myself an artist. What an artist does is recreate or capture something in their works. An emotion or a message or dream.

It’s rare that I do that in my works. I try to recreate dreams sometimes, like I did with that restaurant album art from the other day. But I have no message to express, and my relation to emotions almost always comes out (strangely) through words and descriptions. Trying (usually pretty successfully) to pin down and label emotions and their causes and how they manifest, and really just attack the whole thing as a logic puzzle.

And my art has always been a tool for that. a way to play around with an idea, but not with the end goal of creating a work that expresses that idea. For an artist, that expression is the goal. I find graphic designer is a more fitting title for me: the graphics are a means to the end that is the design.

So the thought occurs to me: If I want my works to be memorable, to be the kind of thing people like and want to share, then I need to be creating things that have some sort of impact. And the stuff I normally put out are just the scribbles of me slowly working things out, not me trying to share the things that I was struck by. How can I expect an audience to react with awe to something, when the creator was never awestruck by the subject in the first place?

I’m overall a pretty stoic person. But after thinking about it, I was able to come up with two things that I have a sense of awe for. Not just fascination or obsession, but an honest to goodness reverence for.

Space, and city skylines at night.

So this is a step towards creating something that might catch people. If I keep these as my subject matter, my whole working attitude should be different, and a different type of result will be rendered. There is something that strikes me, and I can try and show you all what it is that strikes me.

You know, try and be an artist.



(By the way, you’ll notice that a lot of the stuff I’ve put out lately is busty girls. For me this definitely falls under the headers of “figuring things out” and “obsession”.

I am not someone who is awestruck by beautiful people, and honestly I’m becoming more and more sure that I’ve never even experienced full on sexual attraction. But I do get caught up staring at certain sets of breasts and hips and muscles and even fabric that drapes in such a way to suggest these things that are underneath. And I have no idea why.

I have no idea why, and when I don’t even know what direction to go in for understanding, I get frustrated and I get obsessed. I will work on it and try to recreate it and try and weed out what specifically is happening. That’s the science and logic approach. Have a control case, and then create an experimental test case that you can tweak until you get the same results.

But in this case, it’s clear enough that I’m trying to explore something embedded deep within instinct and the subconscious, and is so core to the human experience that it is excellent at eluding the conscious mind.

It’s like trying to build a Ferrari when your only experience with them is when they blow past you doing 60. “Alright, well I’m all but certain it’s a car, so gonna go ahead and assume for wheels… how far apart are they? Fuck I don’t know! And it might have had pop-up headlights? I might have totally imagined that. Fuck it, throw some on there and let’s get building while we wait for another one to come screaming by.”

But that’s my own problem, and I will find an answer in time. But again, that is obsession, and obsession is quite different from reverence. There are not many people like me who would rather see the author’s notes over the final book they led up to.)

So one more thing before I pass out.

I never really considered myself an artist. What an artist does is recreate or capture something in their works. An emotion or a message or dream.

It’s rare that I do that in my works. I try to recreate dreams sometimes, like I did with that restaurant album art from the other day. But I have no message to express, and my relation to emotions almost always comes out (strangely) through words and descriptions. Trying (usually pretty successfully) to pin down and label emotions and their causes and how they manifest, and really just attack the whole thing as a logic puzzle.

And my art has always been a tool for that. a way to play around with an idea, but not with the end goal of creating a work that expresses that idea. For an artist, that expression is the goal. I find graphic designer is a more fitting title for me: the graphics are a means to the end that is the design.

So the thought occurs to me: If I want my works to be memorable, to be the kind of thing people like and want to share, then I need to be creating things that have some sort of impact. And the stuff I normally put out are just the scribbles of me slowly working things out, not me trying to share the things that I was struck by. How can I expect an audience to react with awe to something, when the creator was never awestruck by the subject in the first place?

I’m overall a pretty stoic person. But after thinking about it, I was able to come up with two things that I have a sense of awe for. Not just fascination or obsession, but an honest to goodness reverence for.

Space, and city skylines at night.

So this is a step towards creating something that might catch people. If I keep these as my subject matter, my whole working attitude should be different, and a different type of result will be rendered. There is something that strikes me, and I can try and show you all what it is that strikes me.

You know, try and be an artist.

Read More

Here is some of Pinez’s Julienne. I’m sure I’m all wrong on colors and stuff, and I’m sure I over did all the shinnies, BUT HERE YOU GO.

Here is some of Pinez’s Julienne. I’m sure I’m all wrong on colors and stuff, and I’m sure I over did all the shinnies, BUT HERE YOU GO.

I don’t know. You tell me where I’m going wrong.

My guess is step 2. And also step 4.

So when my desktop cycles to a new image from my inspirational art folder, sometimes my immediate tastes will line up with it, and I just go ahead and try to recreate some part of whole of it. It’s an alright exercise, and when something p. good comes out of it, it’s a p. good confidence boost too.

So here, have a cute oni girl.

This was fast, but I still basically inked it, so i really don’t know what a sketch is for me still really…

So when my desktop cycles to a new image from my inspirational art folder, sometimes my immediate tastes will line up with it, and I just go ahead and try to recreate some part of whole of it. It’s an alright exercise, and when something p. good comes out of it, it’s a p. good confidence boost too.

So here, have a cute oni girl.

This was fast, but I still basically inked it, so i really don’t know what a sketch is for me still really…

Have I drawn Rouge yet?

Well, here’s Rouge.

Have I drawn Rouge yet?

Well, here’s Rouge.

Super super quick late birthday sketch for Noill / Zetta-Bot!

I have no idea how people know and remember your birthday, but I guess so many people giving you so much of their attention is just a sign of what a cool guy you are!

Super super quick late birthday sketch for Noill / Zetta-Bot!

I have no idea how people know and remember your birthday, but I guess so many people giving you so much of their attention is just a sign of what a cool guy you are!

Here, let me read verbatim the note I wrote:

"Draw a blue lady.

Just a regular lady, but
color her blue.”

Here, let me read verbatim the note I wrote:

"Draw a blue lady.

Just a regular lady, but color her blue.”

DRAWIN’ CUTIES.

Just messin with stuff.

DRAWIN’ CUTIES.

Just messin with stuff.

Warm up doodle.

Have a Nitros.

BOMBERMAN HERO.

Warm up doodle.

Have a Nitros.

BOMBERMAN HERO.

First off:

Kinzie Kensington is a cutie and probably the best character in the Saint’s Row games.
Is this because she wears a hoodie, sits on computers all day, is bad at social norms but doesn’t feel ashamed of it? Probably.
Are all those reasons just fancy ways to justify liking that scene where Pierce finds a giant dildo in her wearhouse/room because she didn’t even try to hide it? also probably.
Furthermore:

Trying to work on lineweight.
The way I originally learned lineweight was “try to thicken lines at places where lines meet at near-90 angles, and also at places that would be shaded anyway.” This never worked for me.
What I’ve done here is make a p. even lineweight, and then go back and add weight to lines that I want to call attention to. Bangs that frame the face, the back of the bun, and the tips of the ponytail
That gap at the back of the head works on basically the opposite idea. No one is caring about that part, so don’t even draw it. I’ve never been able to think about not drawing a thing that, if this were tangible, would be there.
I’m not used to thinking of things as just composition and eye movement (I never really even understood what they were talking about in all the 200 different times I’ve heard it explained). I normally approach everything as just “what is this form, what is the view of it, so how do we render those?”

But I have made a cutie here, so I need to try this more often.

First off:

  • Kinzie Kensington is a cutie and probably the best character in the Saint’s Row games.
  • Is this because she wears a hoodie, sits on computers all day, is bad at social norms but doesn’t feel ashamed of it? Probably.
  • Are all those reasons just fancy ways to justify liking that scene where Pierce finds a giant dildo in her wearhouse/room because she didn’t even try to hide it? also probably.

Furthermore:

  • Trying to work on lineweight.
  • The way I originally learned lineweight was “try to thicken lines at places where lines meet at near-90 angles, and also at places that would be shaded anyway.” This never worked for me.
  • What I’ve done here is make a p. even lineweight, and then go back and add weight to lines that I want to call attention to. Bangs that frame the face, the back of the bun, and the tips of the ponytail
  • That gap at the back of the head works on basically the opposite idea. No one is caring about that part, so don’t even draw it. I’ve never been able to think about not drawing a thing that, if this were tangible, would be there.

I’m not used to thinking of things as just composition and eye movement (I never really even understood what they were talking about in all the 200 different times I’ve heard it explained). I normally approach everything as just “what is this form, what is the view of it, so how do we render those?”

But I have made a cutie here, so I need to try this more often.

I don’t know.

Here, have a Youmu doodle.

I hate sketching digitally. Lines just never get put where I want them, and I think it’s because of…screen ratio changes or something. I don’t even know.

I don’t know.

Here, have a Youmu doodle.

I hate sketching digitally. Lines just never get put where I want them, and I think it’s because of…screen ratio changes or something. I don’t even know.

Listen, something will come out of this.

Fingers crossed it’s a Formula D track. And not like, dust and ghosts.

Listen, something will come out of this.

Fingers crossed it’s a Formula D track. And not like, dust and ghosts.

Just for my own reference (and I’m sure there’s better ones of these out there, my brain just has to build things itself.)

in an environment, there’s rarely (if ever) such thing as a pure color. The light you view something in will have color of its own; there will be an ambient color that changes the entire palette of what you’re viewing. Our brains just auto correct so that we know something is blue even if actually in the light it’s closer to what we would consider a pure green.

So in the center are the “pure” colors, and around the outside is the same palette, but with every color affected by the color in that direction. So if you’re coloring, (in theory?) you should never pull from the center square. decide the color of the scene, and then pull from the palette that is adjusted to that color.

I dunno, I’m still bad at this.

Just for my own reference (and I’m sure there’s better ones of these out there, my brain just has to build things itself.)

in an environment, there’s rarely (if ever) such thing as a pure color. The light you view something in will have color of its own; there will be an ambient color that changes the entire palette of what you’re viewing. Our brains just auto correct so that we know something is blue even if actually in the light it’s closer to what we would consider a pure green.

So in the center are the “pure” colors, and around the outside is the same palette, but with every color affected by the color in that direction. So if you’re coloring, (in theory?) you should never pull from the center square. decide the color of the scene, and then pull from the palette that is adjusted to that color.

I dunno, I’m still bad at this.

trying this box logic thing I saw the other day. I’d say it works p. well.

And man, you want to meet a guy who can look at people as a collection of abstract geometric shapes, you’ve come to the right place.

Can we talk for a second about how designing my characters’ rooms is generally way more satisfying for me than to actual draw out any of the scenes that take place therein?

Anyway, here is a floor plan for the office of Nick Korn, Private Eye. A piece of design for a work in progress comic I’m doing work for. If I keep up, you’ll be hearing more about it soon.

Can we talk for a second about how designing my characters’ rooms is generally way more satisfying for me than to actual draw out any of the scenes that take place therein?

Anyway, here is a floor plan for the office of Nick Korn, Private Eye. A piece of design for a work in progress comic I’m doing work for. If I keep up, you’ll be hearing more about it soon.

So one more thing before I pass out.

I never really considered myself an artist. What an artist does is recreate or capture something in their works. An emotion or a message or dream.

It’s rare that I do that in my works. I try to recreate dreams sometimes, like I did with that restaurant album art from the other day. But I have no message to express, and my relation to emotions almost always comes out (strangely) through words and descriptions. Trying (usually pretty successfully) to pin down and label emotions and their causes and how they manifest, and really just attack the whole thing as a logic puzzle.

And my art has always been a tool for that. a way to play around with an idea, but not with the end goal of creating a work that expresses that idea. For an artist, that expression is the goal. I find graphic designer is a more fitting title for me: the graphics are a means to the end that is the design.

So the thought occurs to me: If I want my works to be memorable, to be the kind of thing people like and want to share, then I need to be creating things that have some sort of impact. And the stuff I normally put out are just the scribbles of me slowly working things out, not me trying to share the things that I was struck by. How can I expect an audience to react with awe to something, when the creator was never awestruck by the subject in the first place?

I’m overall a pretty stoic person. But after thinking about it, I was able to come up with two things that I have a sense of awe for. Not just fascination or obsession, but an honest to goodness reverence for.

Space, and city skylines at night.

So this is a step towards creating something that might catch people. If I keep these as my subject matter, my whole working attitude should be different, and a different type of result will be rendered. There is something that strikes me, and I can try and show you all what it is that strikes me.

You know, try and be an artist.



(By the way, you’ll notice that a lot of the stuff I’ve put out lately is busty girls. For me this definitely falls under the headers of “figuring things out” and “obsession”.

I am not someone who is awestruck by beautiful people, and honestly I’m becoming more and more sure that I’ve never even experienced full on sexual attraction. But I do get caught up staring at certain sets of breasts and hips and muscles and even fabric that drapes in such a way to suggest these things that are underneath. And I have no idea why.

I have no idea why, and when I don’t even know what direction to go in for understanding, I get frustrated and I get obsessed. I will work on it and try to recreate it and try and weed out what specifically is happening. That’s the science and logic approach. Have a control case, and then create an experimental test case that you can tweak until you get the same results.

But in this case, it’s clear enough that I’m trying to explore something embedded deep within instinct and the subconscious, and is so core to the human experience that it is excellent at eluding the conscious mind.

It’s like trying to build a Ferrari when your only experience with them is when they blow past you doing 60. “Alright, well I’m all but certain it’s a car, so gonna go ahead and assume for wheels… how far apart are they? Fuck I don’t know! And it might have had pop-up headlights? I might have totally imagined that. Fuck it, throw some on there and let’s get building while we wait for another one to come screaming by.”

But that’s my own problem, and I will find an answer in time. But again, that is obsession, and obsession is quite different from reverence. There are not many people like me who would rather see the author’s notes over the final book they led up to.)

So one more thing before I pass out.

I never really considered myself an artist. What an artist does is recreate or capture something in their works. An emotion or a message or dream.

It’s rare that I do that in my works. I try to recreate dreams sometimes, like I did with that restaurant album art from the other day. But I have no message to express, and my relation to emotions almost always comes out (strangely) through words and descriptions. Trying (usually pretty successfully) to pin down and label emotions and their causes and how they manifest, and really just attack the whole thing as a logic puzzle.

And my art has always been a tool for that. a way to play around with an idea, but not with the end goal of creating a work that expresses that idea. For an artist, that expression is the goal. I find graphic designer is a more fitting title for me: the graphics are a means to the end that is the design.

So the thought occurs to me: If I want my works to be memorable, to be the kind of thing people like and want to share, then I need to be creating things that have some sort of impact. And the stuff I normally put out are just the scribbles of me slowly working things out, not me trying to share the things that I was struck by. How can I expect an audience to react with awe to something, when the creator was never awestruck by the subject in the first place?

I’m overall a pretty stoic person. But after thinking about it, I was able to come up with two things that I have a sense of awe for. Not just fascination or obsession, but an honest to goodness reverence for.

Space, and city skylines at night.

So this is a step towards creating something that might catch people. If I keep these as my subject matter, my whole working attitude should be different, and a different type of result will be rendered. There is something that strikes me, and I can try and show you all what it is that strikes me.

You know, try and be an artist.

Read More

Here is some of Pinez’s Julienne. I’m sure I’m all wrong on colors and stuff, and I’m sure I over did all the shinnies, BUT HERE YOU GO.

Here is some of Pinez’s Julienne. I’m sure I’m all wrong on colors and stuff, and I’m sure I over did all the shinnies, BUT HERE YOU GO.

I don’t know. You tell me where I’m going wrong.

My guess is step 2. And also step 4.

So when my desktop cycles to a new image from my inspirational art folder, sometimes my immediate tastes will line up with it, and I just go ahead and try to recreate some part of whole of it. It’s an alright exercise, and when something p. good comes out of it, it’s a p. good confidence boost too.

So here, have a cute oni girl.

This was fast, but I still basically inked it, so i really don’t know what a sketch is for me still really…

So when my desktop cycles to a new image from my inspirational art folder, sometimes my immediate tastes will line up with it, and I just go ahead and try to recreate some part of whole of it. It’s an alright exercise, and when something p. good comes out of it, it’s a p. good confidence boost too.

So here, have a cute oni girl.

This was fast, but I still basically inked it, so i really don’t know what a sketch is for me still really…

About:

An art stream for Nick Korn. Everything else can be found at Oleetku Studios.