from the photobooth pics on louise’s mirror
2025 on Tumblr: Trends That Defined the Year

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Stranger Things
Sweet Seals For You, Always
Game of Thrones Daily
trying on a metaphor
todays bird
"I'm Dorothy Gale from Kansas"
Monterey Bay Aquarium

@theartofmadeline
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let's talk about Bridgerton tea, my ask is open
Not today Justin
Xuebing Du
d e v o n
Keni

Andulka

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One Nice Bug Per Day

Product Placement

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seen from Malaysia

seen from Yemen
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@singfromthesea
from the photobooth pics on louise’s mirror
geena davis, 1984.
Florists on Fény street market, Budapest, 1986. From the Budapest Municipal Photography Company archive.
Sarah Lancashire as Caroline Dawson in 'Last Tango in Halifax' [2012 - 2020]
for all the artists out there, here are my favorite resources i use to learn!
Files
The Complete Famous Artist Course
Art Books and Resources
Art, Anatomy, and Color Books
PDF Files of Art Books
Internet Archive
YouTube
My YouTube Playlist of Tutorials
How to Draw Facial Features
Drawing and Art Advice
Drawing Lessons
Art Fundamentals
Anatomy of the Human Body
2D Animation
Perspective Drawing
Websites
Pinterest Board for Poses
Another Pinterest Board for Poses
Pinterest Boards for References
Reference Angle
AdorkaStock
Figurosity
Line of Action
Human Anatomy
Animal Photo References
Humanae - Angélica Dass
Fine Art - Jimmy Nelson
Character Design References
CDR's Twitter Account
iamagco's Twitter Account
taco1704's Twitter Account
takuya_kakikata's Twitter Account
EtheringtonBro's Twitter Account
Drawabox
Color Wheel
Color Palette Cinema
Free Images and Pictures
Free Stock Photos
FILMGRAB
Screen Musings
William Nguyen Light Reference Tool
SketchFab - 3D Skeleton Model
Animation References - sakugabooru
Animation Screen Caps
Animation References - Bodies in Motion
I made a Room Building tutorial! Lemme know if it helps! 🧡
Tip me here| Commission info here!
How to do make comics??
I’m terrible at making lines between them
here's my paneling process, under the cut because it's long :)
a tutorial-adjacent thing about how i make comics
this is just a general guide on how i personally do things, and i'm gonna keep it pretty simple. let's get into it!
for this tutorial i'm gonna be drawing some trainers trying to find a particular pokémon.
i'm gonna jump ahead a little here and show my finished sketch for the full page, so we can see the end goal.
the best advice i have is to treat panels as part of the composition. make them work for you. reading a bunch of comics will help inspire you--there are so many creative things you can do with panels.
next, placing dialogue bubbles! these are a bit more complex than they seem at first glance.
once you've got all that sorted, you can move onto the fun stuff, like lining and coloring. keep in mind that you can partially cover dialogue bubbles, break panel lines, etc. do whatever gets your message across. like so:
you can also apply these guidelines to much simpler comics, too. really, flow is the most important thing, in my opinion. it's like a line of action when you're drawing poses. here's a comic i did that's basically just talking heads, but the bubbles and art still flow together to draw the reader's eye along a path. here's a jokey little scribble comic that does something similar. making a good comic is not about polish at all. it's more about readability, composition, and making your dialogue and art work together.
scott mccloud's book making comics has a lot more useful information than what i can fit on one post. it's been a hot minute since i read it (and by that i mean like. twelve years) but it's a solid resource. you can also just read comics or webcomics that you like and see how those illustrators do it. one of my personal favorites is cucumber quest. it starts off very simple, but by chapter 3 (especially near the end) the artwork, panel choices, effects, etc all work together to make every page a stunning work of art.
anyway, as always please feel free to reach out if there's any part of this that you'd like elaborated on, clarified, if you just have questions, etc. i'm not a teacher by any stretch of the imagination but i love helping people with this sort of thing, so please don't hesitate!
[this post is for @tanlotts <3]
How I make comics
Plan Out The Comic
The first thing you want is an idea. Start with something simple. Write it down or sketch it out really fast. As long as you got your idea down somewhere to guide you. I recommend writing yourself a script. It you have dialogue (talking) in your comic, typing it up on a device will be a big help. This will help with spelling checks.
Script
Here is an example of how my scripts look. You can write yours in anyway you want as long as you understand it. This is just how I do mine.
_______________________________________________
Panel 1#
Nya tells Jay that Lloyd isn’t playing. We see a little mud monster figure jammed into a pipe.
Dialogue:
Nya: Um Jay Lloyd's out of the game. His character got sucked down the drain pipe of eternal woe, remember?
Jay: Oh yeah. Well it's his fault for picking to play a mud monster.
_______________________________________________
Paneling
Panels are the boxes that make up the comic. There are a lot of ways to do them. You’ll have to play around with them and see what you like. Starting out don’t worry about this too much. I encourage you to just make your comic and not worry about all the technical stuff yet. Just have fun with it. Be goofy and just let your imagination guide you.
A few things to keep in mind when planning paneling.
The average comic page has 5 to 6 panels. You can do less or more, it’s up to you. How many panels there are on a page effects how the comic reads.
1. More panels on a single page can make it feel Fast or Chaotic. Like a lot is happening very fast.
2. Fewer panels can make things feel slower. It also makes the things happening in the panels feel more important. These are things you want your readers to notice more.
3. A Splash page is when you fill a page with just one image. These are for really important maybe shocking things. These can also be used when there is a new location. This is called an establishing shot. You could use this for when a new character comes in too. Anything you really want to stand out, use a splash page.
Splash Page Examples
First one is Location aka the establishing shot. The next one is for a shocking moment.
Gather References
Now that you know what your going to be making you’ll need references. Images of the characters, backgrounds and or props you’ll be drawing. If you’ve made sketches or character sheets use them too. You can always jump right in without references if you know your subject really well but its a good idea to have them on hand if you need them.
Canvas size
You’ll want to decide your canvas size. Pick what ever works for you. The shape is more important. I normally use rectangle for mine. You can take a screen shot of your phone screen and use it for your canvas size. It should fit your screen nicely.
Boarders
You can add boarders to your canvas. You could have the boarders at the very edge of the canvas or in the middle. Like a big rectangle. This leaves you with some space outside your panels. If your drawing it out on real paper, this can give you some space for your hands to work. It can also give a place for your word balloons to spill out if you forgot to make space for them in your panels.
Examples
Border on the edge. Border in the middle.
Sketch it out
It’s time to draw your comic. I do this in a few difrant ways. One of the ways is what I call the brainstorm page. I’ll draw out the whole comic on one or two pieces of paper. This can be really rough and sketchy or pretty clean. It’s just the characters mostly. The backgrounds I leave out unless it’s important. I’ll then take a picture of them with my tablet. I’ll put it into my drawing program. I use ibispaint. I then use the select tool to drag the images where I want them. Remember when arranging them to make room for the wordballoons.
If I’m drawing the comic right on the paper, start to finish then I do things differently. I put the panel gutters down first. (The gutters are the lines that separate the panels.) I sketch it as cleanly and as close to the finish as possible. Basically with this I want to be looking at a pencil version of the comic.
Brainstorm pages examples
Messy: needs lots of clean up. Clean: ready to be inked.
Example of how it looks when I've arranged the sketches how I want them
Rendering
After you make sure you got things looking how you like them you can finally do your art. Color and do the line work just the same way you’d do any other drawing. However if your comic has more then one or two pages or has a lot of panels you’ll want to simplifie things. You may want to keep your shading very simple or leave it out altogether. The same with lighting. The point is so you don’t overburden yourselves with details and never finish your comic. If you just have one page or very few panels you can go a little crazy on the details.
Wordballoons
Make room for these at the very start. If possible add these balloons in your sketch. I’m still not too good at these but I’m getting better. You don’t want too much text in one balloon. You can brake up a longer text into two balloons or more. You can change how the balloon looks to show how the thing is being said. If the speaking is scary and threatening try making the balloon black. I do this with Garmadon sometimes when he’s using his evil voice. You can give the balloon spikes if someone is yelling. Just play around with it.
Fonts
You need to pick a font (text face) that is easy to read. You’ll also want to have it be big enough to read without zooming in. If you can get a font that looks a bit like handwriting do it. I use Walter Turncoat now. If you don’t have a font like that and can’t download one just use what you have already. Not the end of the world. If you have good handwriting you could just hand write it.
You can use different types of fonts for a different mood or voice. A drippy spooky looking font for something evil. You’ll want to make sure all your spelling is right before you add your text. If you got internet you can use quill bot for this. I also like to have something read it out loud for me so I know I got it right. I use google translate for this.
Word balloons and font examples
Black balloons with drippy white hand written front.
Walter Turncoat font with normal balloons. Spikey balloons with hand drawn lettering.
I hope this helped any of you looking to make your own comics. If you have questions ask me. I'll do my best to answer. I'm still learning myself though. Here are some links to good videos about comic makeing.
I wanted to ask you an art question. I was self taught and I start drawing people with the circle head but even tho it does give me the emotion i want when the expression is done I feel like it limits the movement of the character. What do you suggest when drawing
This is a really good question! I’m also self taught haha.
The main thing I focus on when it comes to drawing expressions is capturing the life of the person underneath. Your face holds a very watered down version of what’s actually going on inside of your head, so I try to emulate the thoughts and anguish of a character as if I’m writing their emotions on their face (if that makes any sense haha.)
Several emotions and thoughts can be happening on your face at once as well. Your eyebrows could be shocked while your mouth is angry, your nose can be disgusted while your eyes are happy, your forehead could be confused while your cheeks are thoughtful, stuff like that. Your face is a marionette for your characters thoughts and ideas
Some real life examples of how to break down and simplify the face into something you can control
Note to Self - Speaking without Words with Word Balloons
Word gallons are for more than just words. They can be used to emphasis and even add emotions and to a scene
Feeling dizzy? About to pass out?
A lilting playful swirl (Time and Time Again by Deo I)
The white and black of the text has been replaced with a sinister black and the words are off tilter (Sword Interval by Benjamin Fleuter)
The voice is coming from a place deeper and more unsettling and the text is uneven and handwritten
A dismissive comment literally (metaphorically) stabs someone (Marionetta by Míriam Bonastre Tur)
Being interrupted before finishing what is being said
A withering and icy reply (The Secrets of Soulford by the Quincil)
Wobbly uncertain bubbles that even break apart in some parts from dizziness (The Blind Prince by cozycroww)
Pain almost appears to be breaking the usually round bubble into uneven and broken balloons. The little smaller balloons around it are reminiscent of sweat or tears (Heir’s Game by suspu)
How I save time on backgrounds as a full-time webcomic artist
Hi! I make webcomics for a living, and I have to be able to draw a panel extremely fast to keep up with my deadlines. I draw about 50 panels a week, which gives me about 45 minutes per panel if I want any semblance of a healthy work-life balance.
Most webtoon artists save time on backgrounds by using 3d models, which works for them and is great! but personally I hate working in 3d... I went to school for it for a year and hated it so much I completely changed career paths and vowed never to do it again! So, this is how I save time without using any 3d, for those of you out there who don't like it either!
This tactic has also saved me money (3d models are expensive) and it has helped me converting my comic from scroll format into page format for print, because I have much more art to work with than what's actually in the panels. (I'll touch on this later)
So, first, I make my backgrounds huge. my default starting size is 10,000 x 10,000 pixels. My panels are 2,500 pixels wide, so my backgrounds are 4x that, minimum. Because of this, I make them less detailed than I could or that you might expect so it doesn't look weird against my character art when I shrink portions of it down.
I personally find it much easier to add in detail than to make "removing" details look natural at smaller sizes, but you might have different preferences than I do.
I also make sure to keep all of my elements on separate layers so that I can easily remove or replace them, I can move them to simulate different camera angles more easily, and it's simple to adjust the lighting to imply different times of day.
Then I can go ahead and copy/paste them into my episodes. I move the background around until it feels like it's properly fitting how I want.
Once I've done that in every panel, I'll go back through the episode and clean up anything that looks weird, and add in solid blacks (for my art style) Here's a quick before and after of what that looks like!
This makes 90% of my backgrounds take me just a few hours. This is my tactic when I'm working in an environment that an entire scene, or multiple scenes, will take place.
But many panels will inevitably have a location that's used exactly once, and it would waste time and effort to draw a massive background for those. So in 10% of cases, I just draw the single panel background in the episode. I save all of these, just in case I can re-use it later (this happens more often with outdoor locations, but I save them all nonetheless!)
I generally have to draw about 2 big backgrounds per episode, and 3-5 single-panel backgrounds per episode! At the beginning of an arc/book the number is higher, but as the series is continuing and I'm building up an asset library of indoor and outdoor elements to re-use for the book, the number generally goes down and I save more time.
My series involves time travel and mysteries, so there's a lot of new locations in it and we're constantly moving around. If I were working on a series that was more consistent in this aspect, this process would save me even more time!
Like I said earlier, this also saves me a lot of pain and gives me a lot more options as I'm converting from scroll format to print format!
panels that look like this in scroll format...
can look like this in print!
because I drew the background like this, so I didn't need to go through the additional effort to add in the extra detail to expand it outwards at all.
Anyways, I hope this helps someone! As always if it doesn't help, just go ahead and disregard. This is what I do and what works for me, and I feel like I only ever see time-saving tips for comics that involve 3d models and workflows, which don't work for me at all! I know there's more people like me out there, so this is for you!
Enjoy!
Also obligatory "my webcomic" if you want to see this in action or check it out!
Huge 750 years old sequoia tree, California. Photo: Michael Nick Nichols
adrianne lenker photographed by alexa viscius
In ain’t one to draw a perspective grid and then place figures in it; it’s never worked for me. So here’s my method!
My how 2 make comics is out now, for anyone that wants to start a comic but has no idea how or where 🤓
Get it here! ☀️