I always draw with Steve Ahn's Ultimate Brush or KNKL's Chalk brush, but I thought I'd try using this flat brush, directly to the right of the Chalk brush. I was just free-sketching planless, and this curious scene emerged.
I often see artists using a square or rectangular brush, so I thought this might get me in that ballpark, but gotta be real, the whole time I felt like I'd rather have the Chalk brush if I'm going for a pressure-sensitive sketch brush.
SAUB's great for non-pressure-sensitive drawing, but the Chalk brush feels so much more expressive. I presume I'm using this square brush incorrectly, though. It was neat nevertheless, and I got this out in about two hours, which is pretty fast for me.
I've always wanted to make a fake film still, and this is my closest swipe at it, but here's the plain version, too.
The idea for this came from random sketching, when I suddenly thought of a motherly pokemon and her pup/cub/dingobaby.
Additionally, I love how those realistic snapshots of everyday pokemon life, for instance, like during the ending TV credits or during the movie openings: you see pokemon just existing in the real world, as opposed to "normal" scenarios like being in a battle.
So, what if you saw a pik in the wild, not in a battle context, but like a wild pikamom trying to keep its kid from running off into the middle of the street?
It would be gruff, as moms tend to be when they've had enough of their kids' nonsense, so the neck-scruff grab seemed like a great pose.
I wanted to make it feel like this is just an everyday encounter, like how you sometimes see stray cats just wandering around.
However, I was thinking more along the lines of a raccoon while drawing this. I also went overboard with drawing the dirt under the grass...
Just saw this sitting around right where I left it years ago. It's one of the earliest art pieces I can find...I painted this little Hopi guy when I was 8 or so.
My "new" winter banner, by the way, based on Snoward. Should probably update it at some point...
This is notable because for the first time in 10 years, I've re-drawn the text. Still kept Z, though. I replaced the chalk brush for Steve Ahn's Ultimate Brush. Scandalous.
Today is the 10th anniversary of Removal, which means I've been posting art online for ten years! To mark the occasion, I thought I'd recreate, with minimal tweaks, the very first art I ever posted online, though I did swap in a bluer tone since it felt more fitting for Yale.
My first post was a drawing of my very first series's characters, Ben and Marty, while they were watching the season premiere of 24. I still have the original drawing and (97kb?!) digital file stored somewhere...regardless, my goal was simply to recreate the piece with my present, all-digital process, but not to trick it out with colors and stuff. Looking at the (3MB) update, I feel I haven't progressed enough in 10 years, though I do recognize I've gotten better in some areas.
Marty was inspired by my suitemate, Ryan, who loved Back to the Future, and these two were to star in my very first series, called Four Best Years, which was based on the wacky hijinks of my suite.
The series never got past the planning stages, though, because I soon lost my suitemates to room draw and then spiraled into an abysmal, seemingly unending vortex of self-hatred'n'stuff, but hey, all's well that etc.
A little Nyao sketch because we're short on time (5/9/17).
I'm trying to post daily on Instagram and Twitter again, but I've only been starting on those posts after dinner, so only about 3 hours per post at most.
However, I do spend some more time polishing them for Removal and Removal Too, my archive sites.
The majority of the day is spent on training and my main project.
But for this post, I couldn't think of what to draw; having learned that Comey just got fired, it's hard to think straight.
After frantic doodling, with an hour to spare, I finally came up with a Nyao sketch, and inked it with KNKL's neat, gruff "Reptar" brush.
I also tried getting a little more experimental with my layers, too, using pushed saturation, darkness, etc. layers but aggressively masking away to yield additional tones, meanwhile still relying heavily on the Reptar brush.
