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Robin_

@jellyfeeshjam.bsky.social

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Memerot Archive ❤️‍🩹 @memerotmoe.bsky.social · 10/01/2025

I need to know if this works #memes #meme #tech #tips #anime #magical #sempai #tejina-senpai #tejina #senpai #what #is #your #wisdom

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Harrie :: Commissions Open @diosmaden.art · 24/12/2024

[ #comics #tutorials #arttutorial ] Yesterday I revisted an old post I wrote about how I approach planning/panelling/thumbnailing comics. It's a long post, best read on my website (diosmaden.art/tutorials/co...), but I'll also post it here as a series of screenshots! 🧵[ 1 / 2 ]

Step 1: Script

Rats squeak and scrounge around on the cold, damp stone floor. There's a leak in the ceiling, and their wet fur does little to help with the dank, musky smell that permeates the air.

A delicate ear twitches, and the rats scatter—disappearing who knows where.

A door swings open and the dim lantern light flickers in casting a warm glow on the cold hard floor, "Don't try any funny business, demon," a voice spits, accompanied by heavy footfalls that echo through the cold corridor.

"Why," another voice responds, "I wouldn't dream of it, darling." A playful lilt dances its way through the words.

---

I write my script in prose format, but it really doesn't matter what it looks like—just that you write one at all! It's super important in my opinion!

I read a tweet once, aimed at indie game devs:
"New ideas only seem better because you haven't started making them yet"
It's about the common tendency that independant creators have of starting projects, then getting a new idea that seems more exciting than the one that's currently being worked on.

It's also the concept that while an idea is in your head, there's infinite possibility—there's so many different things that it could be, because it isn't anything yet.

When you start working on it, it ceases to have infinite possibility because now, it already is something.
You could jump right into drawing a comic. I've done this many times—I'd think, "it's only going to be like 4 pages, I don't need a script for this!"

But, in going from idea straight to comic, all those infinite possibilities have to suddenly become...just 1. & if you find that you didn't pick the best option for that page or that panel..

Take it from me, it's much harder to rearrange panels you've drawn than it is to rearrange sentences in a text document!

So, imo, it's worth it to confront the different approaches for an idea as early as possible with the least amount of commitment to one way.

Write it down, feel your idea out!!

Step 2: Find your beats
The script from before, highlighted into 8 different sections.

This is, obviously, a section from a larger script, but I cut it here because it felt like just enough to fit on one page without being too much.

It ended up being 8 beats which, in my experience with the dimensions I work at, at most on a single page I can only fit about 14 panels. That's really pushing it though, on average my pages will only have 7-8! This one being 8 hits that nice comfortable zone

I prefer to keep the higher panel counts for high activity pages—the more panels you have, the smaller they have to be and thus the less time readers will be focused on them.

If there's a lot of high action content happening, lots of smaller panels will create that du-du-du rapid fire high action feel, but if it's a low action page, having lots of panels might make things feel hectic and rushed when it doesn't want to be!

Too few panels though, and things will feel very slow. I have some pages that only have one to four panels, these are during very slow moments when I want there to be a lingering feeling.

Just something to think about when dividing up your script! For me, 8 is a nice average not-too-much is happening, without being too slow to progress things.

Step 3: divide the page & arrange your beats
A blank comic page has been split into panels, colour coded to match the previously highlighted beats, with the corresponding beats in the matching panels. I explain my thought process for what I will be drawing in these panels.

So when I'm thumbnailing my comics and figuring out the panel layout, I don't think of panels as boxes I'm arranging on the page—instead, I'm splitting the page up into sections.

It's worth bearing in mind, as you read a comic, panels in a row will be read one after the other, but when you go to an entirely new row, your eyes have to go all the way back to the other side of the page.

That means there's a slight disconnect between the panel on the right side, and the next panel on the left side.

If a series of beats are connected to each other, I try to keep all of them on the same row, and if a beat is not very connected to the other beat before it, I might put its panel onto a new row. As well, I'll split a panel in half horizontally if they're directly connected to each other, or if they're happening at the same time!

But, grouping beats together, then dividing the page into rows that can hold these beats together is how I approach panelling a page

For further reading, I recommend picking up Scott McCloud's Books "Understanding Comics" & "Making Comics"! He has a lot of very useful things to say about the different types of panels, how the progression of time works in comics, and stuff like that... essential reads for anyone making comics!

Step 3.5: A short detour on composing interesting pages
I'll let you in on a little (not so) secret—the version of Heart of the Storm that ultimately went live in May of 2024 is not the first attempt I had at drawing it.

My first attempt at drawing it was in 2020, and that version never got released to the public... because I went into it with zero planning! No thumbnails, nothing. Before long I found myself incredibly frustrated with the pages I was drawing, but I'd drawn so much and reworking it all was incredibly difficult! Ultimately I stepped away from it to explore making comics differently with some low stakes fancomics.
Image 1: A comic page featuring Tangled characters. Cassandra is about to strike down Eugene with her sword.
Image 2: Another page, this time featuring Cassandra and Rapunzel, who is offering Cassandra her lady's favour.
Image 3: One last page, this one still a low resolution thumbnail. It depicts Cassandra reaching into the waters of the lost lagoon while lines from La Belle Dame Sans Merci caption each panel.
Caption: Some pages from those short comics. I think the third one was when I really started to get a handle on things!

I learnt a lot from these little comics, and critically with these comics I thumbnailed them and I wrote a script before I drew the final pages, something I was not doing before. I meant it earlier when I said I think it's important to figure out all the different ways to approach things early on... I was speaking from experience! A lack of planning made comics difficult and frustrating and the results were just not what I wanted.

So after a much more pleasant comicking experience by planning things out from the start, I decided that with HotS I should start again with a more concrete plan this time. And so I did, and I never regret it!

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MallBat! @mallbat.bsky.social · 10/12/2024

How To Get Electrocuted in Blender ⚡️

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SG 🏳️‍🌈🍉 @scrapegoatt.bsky.social · 07/12/2024

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LuLuYam➡️ LLY LIVE 🪳🌷 @luluyam.bsky.social · 17/11/2024

Normalize inconsistency in your art. Normalize not making every art piece super detailed and intricate. Normalize just creating art for the sake of it.

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🥖Kekeflipnote🥖 🔜 NFC @kekeflipnote.bsky.social · 06/11/2024

My page on Bluesky is a safe space and you will always be welcome and safe here 🏳️‍⚧️ Please, be careful everyone 🙏

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lave ⋆.˚⟡🦋 | learning how to draw again 🦋 tablet pen broke @lavellyne.bsky.social · 19/10/2024

fuck gatekeeping so imma share a few lineart tips: • outer lineart/silhouette first, then add in details. (makes lineart process 10x faster). • ready to line? make the sketch non-black. i preferably use sky blue but make it anything you want. • vector layers + snap eraser. do bigass strokes & erase.

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