
At 1/15/26 04:41 PM, PinkyTelephone wrote:When making comics, do you prefer to work out your story/dialogue/pacing through traditional scripting? Or do you prefer to do it more visually by doing sketches and storyboards? I've found myself going the storyboard approach 'cause I struggle with words,
Both really, I couldn't imagine doing only one of the two.
I start with a loose script and then draw a very rough version with stickmen to see how it could fit onto the page, how much space the dialogue occupies and where I want to add or substract a panel for reading flow. There's certainly no preference here, both tasks have to be done.
but I've found it kinda difficult when planning out larger storylines and behind the scenes lore stuff.
This is a different layer of the writing process, I feel like the difficulty comes from defining things just enough, but not tying them down too much until they are relevant because things always change as you produce more pages / chapters. Making a flexible, but durable mesh instead of setting everything in stone.
At 1/14/26 04:17 AM, Dirkalicious wrote:How do I fix this?
Tricky hair to work with, I'd either avoid that angle or do something like B here:

Viewers won't question slight inconsistencies in the way hair is drawn from different perspectives if the stylized result still has all the elements there and looks nice and balanced.
At 1/12/26 08:46 PM, Nyarkll wrote:Nah, it will slowly substitute the first one
That is what I expect to happen, too. Each big release like Zelda, Smash or (a potential) Animal Crossing will move more people over.
At 1/7/26 03:04 PM, Kecchi wrote:At 1/7/26 09:48 AM, kmau wrote:Drawing and photography have some parallel subdisciplines like composition and lighting, but the actual creative manufacturing process is entirely different. Makes sense that the two communities would be very different as well. Still, a Discord server may be a bad primary reference for the average social behavior of an interest group.
If I were to argue in bad faith, I would say that a photographers method of image production is much less laborous and in some cases more opportunistic, so there are fewer moments that could grind their egos into dust.
The painters and draftsmen, meanwhile, spend hours of work on a single image where they can get humbled by every line they draw, haunted by their perceived lack of skill. This is what I used to think, but there's no doubt that photographers also have struggles during their process that I am not aware of.
In my opinion, both require a lot of dedication but the difficulties they have are different. I'm guessing people are already familiar with how challenging drawing is so I'll hold back on that. For photography, most of the obstacles are outside of taking the actual picture.
A majority of photography work is of people (fashion editorials, family photos, band event photos, weddings, etc.). The logistics for these are complicated. For drawing, you just send emails and never have to meet in person. Photography is different where there's more friction and is possibly also unsafe since you have to meet clients on site.
First of all, this can put you in danger. A shady dude was offering 50 bucks an hour to my photographer friend without looking at his portfolio. This dude was unemployed on LinkedIn and refused to disclose where they're shooting photos and just gave a location to meet up. But minus these edge cases, photography requires you to have exceptional social skills. Anybody who feels awkward around you will not look natural on camera and if your job is to take good photos, you better do everything you can to make the people in your pictures comfortable. I don't think drawing has this requirement to this extent.
If we want to talk about logistics around candid street photography which makes up most of the remaining photography space, there are none. But you risk legal battles and possibly assault if your subject catches you lmao. But if we're just talking about the image production alone, photography is actually just as time consuming as drawing. In a different way though. Taking the picture is the easy part, but the bulk of the work is done in post-processing.
Drawing, you're working on every nook and cranny of one singular picture. Now, I don't have experience with film so I can only speak for digital photography. But for digital, you're culling hundreds and even possibly thousands of photos (I've been there!) from a single session. 95% of the time, no matter how skilled you are, the pictures you get straight out of the camera are not good so most photographers out there use Adobe Lightroom to color grade, add color masks to adjust lighting, tweak the composition by changing the crop, change white balance, etc. It's a whole mess. Each picture you choose to edit will usually take 5-15 minutes but that's significant especially when compounded by the tens to hundreds.
On average, I have spent maybe 3 to 5 days gleaning and editing all my pictures from a photo session which is about the same amount of time it takes for me to complete a drawing anyways. Out of all the photos you take, only maybe 10% of them at most are decent and so you need to shoot a lot out of necessity. You can't exactly walk out of that session with only 5 good pictures. And this is not just me, seems to be even more of the case for more skilled photographers who have tighter criteria for good photos and better eyes.
Now I say that I find photography and drawing equally difficult since both are equally gruelling but it's different with drawing in terms of detail and focus and photography in terms of safety risks as well as scale in both the post-processing workload and the soft skills you need to acquire. I think we're getting into "dogging on art forms" territory but I'll leave this here just to add transparency. I want to keep this to communities so hit up my DMs if anybody wants to respond.
This was just the concise elaboration I needed to fully wrap my head around photography. The social aspect really seems gruelsome, at least from the perspective of an introverted artist. In the end both disciplines have to set up things in a certain way to get a good result - for the photographer it's the staging and social stuff, for the artist it's drawing thumbnails, proper construction and such.
At 1/7/26 07:10 AM, Pixline wrote:At 1/7/26 06:51 AM, kmau wrote:Define progress.
It's the growth of the channel or account. I may be one of the artists who wants a bunch of likes, but I'm wondering why I constantly get 0 to 1 like on X and on Tumblr. I wanna spot some mistakes I did and some advice for this
The algorithm of X is messed up beyond repair and Tumblr is probably dead outside of dedicated groups, so I wouldn't expect to gain a foothold in those places.
Some of your works have really good color palettes and bold shading, I agree with Skoops that it is time for some fundies to get your anatomy up to par. This isn't a matter of where and what content you post, it is time to level up.
Drawing and photography have some parallel subdisciplines like composition and lighting, but the actual creative manufacturing process is entirely different. Makes sense that the two communities would be very different as well. Still, a Discord server may be a bad primary reference for the average social behavior of an interest group.
If I were to argue in bad faith, I would say that a photographers method of image production is much less laborous and in some cases more opportunistic, so there are fewer moments that could grind their egos into dust.
The painters and draftsmen, meanwhile, spend hours of work on a single image where they can get humbled by every line they draw, haunted by their perceived lack of skill. This is what I used to think, but there's no doubt that photographers also have struggles during their process that I am not aware of.
You can search for comics on the Art Portal by selecting them in the Category menu:

It's still difficult to hunt for ongoing series specifically, your best bet is to check artist profiles for custom lists like these:
Are those questions rhetorical?
I had this page in my head for a year, which explains how it got done so fast with minimal changes from the sketch.


We have a long-running topic on Bluesky where people shared their thoughts.
At 12/30/25 05:25 PM, PsychoStatic12 wrote:If i told you the guy below was an axe murderer who hides his victims in a dingy wooden shack, on a scale of 1-10 how willing would you be to believe me?
Hm 3/10 as well. I would consider the possibility, but I've seen too many characters like this that subvert expectations and turn out to be a gentle giant or unexpectedly intelligent and reasonable. There's an intelligence in his facial expression that can be seen at a glance and his body language seems relatively timid and sensitive, leaning away with that flower.
His body language probably needs to have something that plausibly sets people off, like unintentionally staring or having tense body language even when doing normal everyday things.

(I've drawn this very over-the-top, but imagine someone like this calmly ordering something in a rest stop)
At 12/28/25 07:48 PM, Dirkalicious wrote:I've been wanting to play with a new artstyle for one of my stories since my current one doesn't seem fitting for the story's tone. I really want the art to look more like the old Star Wars Clone wars cartoon from Gennedy since I think the string geometric shapes and strong lines of action really suit what I'm trying to go for so here's my attempt along with the original design
To replicate the styles featured in Genndy cartoons, you must first understand the underlying rules: When to apply concave or convex lines? How complex does a shape need to be to communicate what it represents? And so on.
The Obi Wan image below is composed of bent rectangles with the occasional fold, and that's all it takes to say: "This is a sleeve made of cloth".
Your sketched attempt still contains many superfluous lines that don't really flow into each other (I drew simplified variants of her leg to demonstrate), which ironically moved it further away from Genndy than your original character design in the top right - that one is actually close to what I'd imagine the Genndy style to look like if it relied mostly on rounded shapes.
My personal suggestion would be to tweak the og design instead of completely reinventing her entire structure. A few edges may be enough, maybe at the elbows and lower outer part of her pants to add an accent - but no matter what you do, continued analysis and experimentation will help inform your design decisions.

At 12/27/25 06:17 PM, Dirkalicious wrote:Is this better?
Her hair still looks a bit flatter compared to the neutral pose, but aside from that I'd say it works!
At 12/27/25 04:00 PM, Dirkalicious wrote:Can I use your sketch as a reference? I'll try to resketch it to see if I can get it better
Feel free to use it as a springboard, it's just a redraw of your sketch anyways. I would still recommend doing some attempts from scratch to keep the character design on-model (looking at your 2nd reference image featuring their neutral pose).
At 12/27/25 02:38 PM, Dirkalicious wrote:I really need help with this angle, I really wanna use it for one of my sprites in my psuedo visual novel
Here's the character I'm drawing for reference
It is tricky and I don't have much experience with it myself, but I made an attempt:

Lago discovers a new form of traversal.


As one can guess from the sketches, I reworked the bottom row several times before I arrived where I wanted:

There must've been another exodus since I gained some new followers from the Newgrounds starter packs. I still haven't looked into what exactly this new image-editing thing they added to X is yet, but I can only assume that it's terrible and drove more artists away.

Merry christmas everyone, let's see what the new year brings.
Yes, you should totally spend 5 months on a small fishing minigame 80% of your players won't touch.
At 12/19/25 07:52 PM, Anigator101 wrote:At 12/19/25 07:18 PM, Czyszy wrote:
I'm not mad that this because that generally is me (saw this a bit late due to having to fix a baby walker lol)
You shouldn't feel bad for realizing the obvious either, you saw the tools laid out before you and arrived at the logical conclusion.
That's pretty much the universally agreed-upon way to do it in any app with layer functionality. Doesn't matter if you do comics, illustration or animation, you're drawing in all three of those disciplines.
Maybe there's a Hollywood in-group forming around the TGA. Keighley constantly reaffirms his support of indies, but I feel like the term "indie" is slowly being appropriated by multimillion dollar studios who only seem small compared to the bloated AAA bigshots.
One thing that made me laugh was one of the GOTY nominee compilation videos that were entirely composed of footage of 3D cutscenes with voice acting. They had no idea how to fit Silksong in there so they only used 1 second of Hornet staring into the camera in silence.
When drawing a sideview for a reference sheet, I recommend adding a socket for the arm since the position of her shoulder informs the rest of her torso and posture. It's a good point of orientation when designing an exaggerated torso like this one.
Below is what I would personally do: Squashed the torso while still keeping it beefy, tilted her waist forward and made her back and stomach curve into it more naturally. The waist tilt is a matter of preference, I thought it gave her a more elegant, athletic look. The best reference for such cartoony bodies is still real life, I inferred how to draw the back curve from knowing how a real back would curve (albeit exaggerated).
The chest area was kept neutral because I'm a bit stumped here, there seem to be pointy bits in the front view? Maybe I'm reading those wrong.

At 12/6/25 11:50 PM, Wegra wrote:League of Legends, Overwatch, Marvel Rivals. The holy trinity of games-
League has to be in its own trinity, one step below even Overwatch and its competitors. Think of it like the different circles of hell:
1st circle of hell: Call of Duty, Battlefield..
2nd circle of hell: Overwatch, Marvel Rivals, Paladins..
3rd circle of hell: League, Dota2, Dead by Daylight
...
500th circle of hell: Full loot PvP survival craft
At 12/3/25 07:56 PM, Cipower3 wrote:I need to know how long certain shots should be held so it can sync up with the voice lines and sound effects.
To put it simply: Record the voice lines (and do retakes until you're satisfied with the performance), then drop them into the project and adjust the length of your shots - maybe add additional keyframes at this point if the voicelines inspire more character acting.
would recording each sentence individually and placing them into the timeline be a good option, of should I record evrything in one go and edit it in my editing software.
You'll want most lines as a separate file, unless a character has a longer text or monologue (spanning multiple sentences). In that case, the flow of speech could be disrupted if you chop it up.
At 12/2/25 03:00 PM, Darkinjection wrote:I've been promoting my work for about a year now, trying to make money from it. I have my own characters, and I'd like to draw content featuring them, but unfortunately, it's not watched and people aren't interested.
So, I have to draw fanart for popular games, TV series, anime, and sometimes even ones I don't like. I tried experimenting by drawing my characters in different popular settings and universes, but it still didn't get any views.
You probably guessed it already, but people will always care more about things they are already familiar with, like popular characters - that's why you see many hustling artists draw the current flavor-of-the-month characters or memes to ride the engagement train. Fanart can be seen as a gateway to grow your audience while you shoehorn in your original stuff here and there. If your original stuff has enough mass appeal, it may catch on and you can do it more.
Naturally you have some exceptional success stories with original content out there, but those usually involve winning some algorithm lottery.
It's a very competitive and unstable field, your best bet is to approach your artist career more with a "How far can I get?" mindset instead of having the fixed end goal of a living wage doing art exclusively. Make sure you hold an alternative, stable source of income while you're still growing.
I've seen people do both. Some (like me) place the tablet where their mouse would be, which is arguably nicer for accessing your keyboard but putting it dead-center is also viable, especially if you have one of those fancy shortcut mini keyboard things. Do whatever feels best to you, as long as you don't sit like a goblin.
I was so happy with my profile, I completely forgot to put in those effort-benchmark references until now..
We had a good discussion about the term OC earlier this year, I'll link to it since I shouldn't copypaste my reponse.