Damn bro your art is freaking awesome. Never stop
This extremely externally motivated individual appreciates your ask immensely. Thank you and will do!
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Damn bro your art is freaking awesome. Never stop
This extremely externally motivated individual appreciates your ask immensely. Thank you and will do!
who's Felicia??
Who is Felicia? Why is Felicia? What is Felicia?
In all seriousness, Felicia is a missing person from my story's setting of Cape Falmouth. Existing in dreams and other equivalents of limbo as they are neither here nor there, they help the local cold case detective with his cases (AKA Lawrence, he shows up a lot here), in exchange for finding out what happened to them. The two have a deeply stained history that's been obscured by a promise.
An eel has carved a home in their body, mind, and soul. From how Felicia talks they doesn't seem bothered by it, but they are separate yet conjoined entities. Eels are often in their entourage and serve as "eyes" and other senses. Other fish such as wolffish, groupers, and guppies revere them, and are in their service as well. They're something of a new form of life, attracting the attention of the local abyssal beings.
A mercurial trickster, eager to watch a plan fall through. Sentimental, but isn't sure what about when they think about it. Wicked and feral, elated at their newborn fangs and claws. Slowly melting, sloughing away the longer they're apart from the ocean. Unfathomably rage-filled.
Felicia goes by any pronouns, is 5'8'', and their theme song is The Yawning Grave by Lord Huron. Some more samples from their playlist:
That Unwanted Animal by The Amazing Devil
IN MY MOUTH by Black Dresses
Human by Daughter
Good Intent by Kimbra
Seven by Rainbow Kitten Surprise
The Angry River by Sl Istwa & Father John Misty
How are you so active? I feel uneasy when I don’t have any art in progress and feel the need to draw all the time but I struggle to make art frequently
Apologies for projecting insane levels of productivity, it is a complete illusion.
I'm currently posting all my older work I'm proud of or feel has contributed to my style, mostly my art school senior portfolio work and everything from then on (anything before that is... rough). So like 3-4 years worth of art, which allows for a post every day habit.
As an aside, a lot of my drawing energy is devoted to freelance at the moment and I assure you it's a slow process. I'm not a fast worker at all, sometimes sketches alone take me a day or several to nail down. It's very rare I finish anything major within even a week.
Definitely faster than I used to be though!
YOUR COLOURS ARE BONKERS HOW DO YOU PICK EM
Ahh thank you so much, this is high praise! On an ideas level, most of my palettes have the color = emotion/symbolism tradition at the forefront. I don't think that's changed really in the years I've been drawing. "Red means you're incorrigibly murderous" or "blue = this character" simply makes me happy.
I usually gravitate to complimentary color schemes because I love the friction I see in them (although triadic is a close second for me, three guys in a stable face off). Color relativity and tricking the brain into thinking the colors are, lets say, "white" but actually completely not is huge to me as well.
Technically speaking, I usually tell people I tend to "see" better in tones, or from white to black, so I usually organize colors that way while I'm working on something. A huge part of it is experimental, using color balance, curves, or hue/saturation until I get the readability + feeling I want. If I'm painting I'll use gradient maps primarily. Other times I play with color schemes I find and enjoy (shout out to @color-palettes), which I then tweak to my personal taste.
Thanks again for the ask and the compliment, it means a lot! I look up to a lot of artists for color work, it's cool to know my sense stands by itself.
Hi there! Hope you're having a great day. I was curious—do you ever take requests to draw other people's OCs, or do you mainly handle that through commissions? I really like your art style!
Thank you! Aside from commissions, I currently don't have time to take requests. But I appreciate you asking! I would like to do a raffle/DTIYS little giveaway across my socials though, it's been over a year since I did something like that!
I absolutely adore your usage of colour in your work and I was wondering how your creative process looks as well as if you recall or know who your inspirations are? I always feel really inspired by your work and just have to stop and appreciate it
Thank you so much! I usually contribute Death Note, Yu-Gi-Oh!, and D-Gray Man (the manga) as my art trinity in terms of inspirations, and ultimately the biggest roots of where my style came from.
I get a lot of inspiration from movies as well, such as The Iron Giant, Prince of Egypt, Atlantis: The Lost Empire, 101 Dalmatians, The Land Before Time, and The Incredibles. Lots of David Fincher movies too. I'm pretty sure these are where I got my taste for expressions, emotion, and finding those golden moments of character through the spaces in-between.
Hate to ask but how do you do your lines? In love with them
would also love to know what brushes you use if it’s fine to ask
I'll answer the last half to better answer the first half of your ask!
While I revolve or go through phases, my bread and butter for lining is the MaxU 600 Series Pencil from the gouache Max Pack. It allows a lot of control over how opaque, thick or thin I want my line work to be. I'm also very picky about how my lines look, and if it's too digital feeling, I get ick. So I gravitate toward the pencil texture.
Other stapes are the sharp render from Jingsketch for great general use in blocking in colors + gradients, and the watercolor Maxpack is responsible for a lot of my texture and coloring.
As for the specifics of my line process: line variation and black spotting are almost how I "see," if that makes sense? Inking was the first thing that hooked my mind when looking at art. I remember wanting to become the best at it. Many of my art inspirations incorporate heavy, expressive, or intricate linework.
And shading is my least favorite step. It always looks muddy to me and I tend to be very biased toward flat colors. So to mitigate how much work I have to do in the shading/coloring department, I usually always aim for a level of dimension and volume in the linework to the point where if there was only flat colors, you could still tell a form of light logic (gradients help a lot too). In my brain, lining is almost a type of shading.
Regardless, once I'm happy with my lines, I usually use a gaussian blur on a duplicated line art layer. Then that blur layer gets an overlay layer mode (although sometimes it's darker color/soft light/multiply, whatever effect I want).
The 600 pencil gets particularly awesome here because usually when I do this blur layer, it lights up some of the less opaque parts of the lines. So with the red blur on overlay, it gives my lines warmth and luminosity, like it's glowing.
A bit long winded, but thank you for the ask! It's nice to talk about process--it helps to remind me of where I come from, artwise. I hope this was helpful!
So sorry I spam liked your post ;^;
Your style and work is striking and gorgeous! I had to stop myself doom scrolling so I pay your blog steady visits to see your portfolio!
Hope you’re having a good day and be safe <3
Well I'm more than happy my humble blog helps break up the doom a bit! I don't mind the spam at all, it's always very flattering to see people enjoying my work. Thanks so much for coming by!