La Engine

Sequential artist
I did this a while ago, but they are my fave<3

I did this a while ago, but they are my fave<3

laengine:

laengine:

Devil’s Cake Volume 3 Pre-Orders are Open!
Until August 1st, midnight.
You can Pay for your order HERE

Entering week two, art improvements are under way from last year and mini comic strips exclusive to to book go into production today too&lt;3 Working towards getting that hard proof copy to photograph for you guys!

Cleaning up the final chapter, and prepping the cover art.
Added links to where you can pay for your pre-order on Paypal to these posts too @_@ sorry about that &gt;&lt;;;;

laengine:

laengine:

Devil’s Cake Volume 3 Pre-Orders are Open!

Until August 1st, midnight.

You can Pay for your order HERE

Entering week two, art improvements are under way from last year and mini comic strips exclusive to to book go into production today too<3 Working towards getting that hard proof copy to photograph for you guys!

Cleaning up the final chapter, and prepping the cover art.

Added links to where you can pay for your pre-order on Paypal to these posts too @_@ sorry about that ><;;;

Dusk in Kalevia | Sparkler Monthly

sparklermonthly:

laengine:

Oh-Kay guys! *claps*

You see this series? I am currently working on a short comic for this series.

It will be available for purchase in the Sparkler Monthly shop in August!

Kalevia is written by Emily Compton and Illustrated by Onorobo~<3

If you haven’t been acquainted with this series yet, I emphatically suggest you amend that!

We just got the pencils in yesterday, and it’s looking terrific! 

(plus I got to share a bunch of photos of me and my friends at the Los Angeles Gun Club as visual reference for the story. :-) Including photos of Dead Endings author, Jess Chavez, who is the person who taught me to shoot!  My Quaker grandparents are giving me serious side-eye on that one, though…) 

Cutest bunch of shots I ever did reference

maxkirin:

Hello, writerly friends~ ♥︎

You asked for a Writing Advice Masterpost, so here it is! Below you will find a collection of the best questions and answers from the last two years. Not only that, but they are also organized so you can find the answers to your questions quickly and get on with writing.

But wait, there is more!

This post is more than just a collection of advice, it’s a nexus for writing advice, resources, and information! That’s right, this post is going to grow over time. I will be updating this masterpost WEEKLY with new answers, writing advice videos, playlists, and more! So, make sure to bookmark this page and follow my blog (maxkirin.tumblr.com) so you don’t miss a thing~ ♥︎

Prompts

Virtual Writing Academy

Motivation & Inspiration

Planning, Outlining, and Getting Started

Dialogue

Editing & Revision

Hot Button Issues

General Advice

Publishing

Writing Music & Playlists

Last Updated: 07-11-14. Click HERE to see the latest update.

(via svetlania)

UPDATE: 7/11/2014
You can skip to paying for a pre-order HERE.
From June 28th, 2014 To August 1st, 2014 at 12:00 midnight

(Borrowed) iPad for comparison 

So I was pleasantly surprised to find that my sketchbooks are the same size as Volume 3 will be.
So until I have the hard proof to post: here is size comparison.
The Volume 2 is from lulu’s print program. But I have switched to http://360digitalbooks.com
 They have done books for Naminational and Kit Seaton and more of my comrades. And they don’t take a bunch of the profit like the former >_<. Hence how I could order a Hardcovered, shiny, gold foiled, glossy dust cover book for only 30$ cost to a customer!
And again, these are LIMITED EDITIONS. Only available to preorders for this one time only. (Collector’s item, ya see?<3)
Each copy will be signed and drawn in too<3
I am polishing up the pages as quickly as possible so I can order that hard proof copy and have an actual photos for you<3
Have a good week!
~Angi

goddessofsax:

Here’s a handy dandy color reference chart for you artists, writers, or any one else who needs it! Inspired by this post x

Painting teacher kept saying “taupe, taupe” and I had completely the wrong color in mind!!!

(via scotty6000)

isaia:

samati:

skeletales:

This is unexpectedly not about make-up haha

reblogged before it was even finished.

SUPREME 

*Crying with laughter and enlightenment*

(via laurbits)

laengine:

Devil’s Cake Volume 3 Pre-Orders are Open!
You can Pay for your order HERE

Entering week two, art improvements are under way from last year and mini comic strips exclusive to to book go into production today too&lt;3 Working towards getting that hard proof copy to photograph for you guys!

laengine:

Devil’s Cake Volume 3 Pre-Orders are Open!

You can Pay for your order HERE

Entering week two, art improvements are under way from last year and mini comic strips exclusive to to book go into production today too<3 Working towards getting that hard proof copy to photograph for you guys!

For the lovely brooke-alden&lt;3 If their lovely characters: Cleia &amp; Pirash 

For the lovely brooke-alden<3 If their lovely characters: Cleia & Pirash 

18 tips for comics artists by Moebius "brief manual for cartoonist "

  • My 8house collaborator and impressive dude, Xurxo g Penalta translated this Spanish Moebius list of advice for artists. I thought would be cool to post. (Thanks Xurxo)
  • http: //www.jornada.unam.mx/1996/08/18/sem-moebius.html
  • 1. when you draw you must clean yourself of deep feelings (hate, happiness, ambition, etc)
  • 2 it's important to educate the hand, attain obedience, to full fill ideas. but careful with perfection, to much, as well as too much speed, as well as their opposites are dangerous. to much looseness, instant drawings,aside from mistakes, there's no will of the spirit, only the bodies.
  • 3. perspective is of sum importance, it;s a law of manipulation in the good sense, to hypnotise the reader. it;s good to work in real spaces, more that with photos, to exercise our reading of perspective.
  • 4.another thing to learn with affection is the study of the human body, the positions, the types, the expressions, the arquitecture of bodies, the difference between people. the drawing is very different when it come to a male or a female, because in the male you can change a little the lines, it supports to have some impressions. but with the female precision must be perfect, if not she may turn ugly or upset. then no one buys our book! so for the reader believes the story, the characters must have life and personality of their own, gestures that come from character, from their diseases; the body transforms with life and there's a message in the structure, in the distribution of fat, in every muscle, in every fold of the face and body. it;s a study of life.
  • 5. when you make a story you can start with out knowing everything, but making notes (in the actual story) about the particular world of that story. that way the reader recognizes and becomes interested. when a character dies in a story, and that character has no story drawn in his face in his body, in his dress, the reader does not care, there's no emotion. and then the editors say: "your story is worthless, there's only one dead guys and I need 2) or 30 dead guys for it to work" but that is not true, if the dead guy, or wounded guy or sick guys or whomever is in trouble has a real personality that comes from study, from the artists capacity for observation, emotion will emerge (empathy). In the study you develop an attention for others, a compassion, and a love for humanity.
  • it's very important for the development of an artist, if he wants to be a mirror, it must contain inside it;s consciousness the whole world, a mirror that sees everything.
  • 6. jodorwosky says I don't like drawing dead horses. it;s very difficult. it's very difficult to draw a body that sleeps, that's abandoned, because in comics you're always studying action. it;s easier to draw people fighting thats way Americans always draw superheroes. it;s more difficult to draw people talking, because there are a series of movements, very small, but that have a significance, and that accounts for more, because it need love, attention to the other, to the little things that speak of personality, of life. the superheores have no personality, all of them have the same gestures and movements (pantomimes ferocity, running and fighting)
  • 7. equally important is the clothing of the characters, the state they;re in, the materials, the textures are a vision of their experiences, of their lives, their situation in the adventure, that can say a lot with out words. In a drew there's a million folds, you must chose 2 or 3, but the good ones.
  • 8. the style, the stylistically continuity of an artist is symbolical, it can be read like the tarot. I chose as a joke the name Moebius, when I was 22, but in truth there's a meaning to that. if you bring a t shirt with Don Quixote, that speaks to me of who you are. in my case, I give importance to a drawing of relative simplicity, that way subtle indications can be made.
  • 9. when an artist, a drawing artist goes out on the street, he does not see the same things other people see. what he sees is documentation about a way of life, about people.
  • 10. another important element is composition. the composition on our stories must be studied, because a page, or a painting, is a face that looks towards (faces) the reader and that speaks to him. it's not a succession of panels with out meaning. there's panels that are full and some that are empty, others that have a vertical dynamic or a horizontal one, and on that there is intention. the vertical excites (cheers), the horizontal calms, an oblique to the right , for us westerners, represents the action heads towards the future, and oblique to the left directs action toward the past. points (points of attention) represent a dispersion of energy. something places in the middle focalises energy and attention, it concentrates.
  • these are basic symbols for reading, that exercise a fascination, a hypnosis. you must have a consciousness about rhythm, set traps for the reader to fall on to, and if he falls, and gets lost and may move inside them with pleasure because there's life. you must study the great painters, the ones that speak with their paintings, of any school or period, that does not matter, and they must be seen with that preoccupation for physical composition, but also emotional. in what way the combination of lines on that artist touches us directly in the heart.
  • 11. narration must harmonize with the drawing. there must be a visual rhythm from the placement of words, plot must correctly maneuver cadence, to compress or expand time. must weary of the election and direction of characters. use them as a film director and study all different takes.
  • 12. careful with the devastating influence of north american comics in mexico, they only study a little anatomy, dynamic composition, the monsters, the fights, the screaming and teeth (grin). I like them as well, but there are many other possibilities that must be explored.
  • 13. there's a connection between music and drawing. but that depends also on the personality and the moment. for perhaps 10 years I've been working in silence, and for me the music is rhythm of the lines (the music he listens to).
  • to draw is sometimes to hunt for findings, an exact (fair, just) line is an orgasm!
  • 14. color is a language that the artist (drawing artist) uses to manipulate the readers attention and to create beauty. there's objective and subjective color, the emotional states of the character influence the coloring and lighting can change from one panel to the next, depending on the space represented and the time of the day. the language of color must be studied with attention.
  • 15. especially at the beginning of a career, one should work on short stories but of a very high quality. there's a better chance to finish them successfully and place them on a book or with editors.
  • 16. there are times when we are headed to failure knowingly, we choose a theme, an existence, a technique that does not suit (convene) us. you must not complain afterwards.
  • 17. when new pages are sent to editors and see rejection, we should ask for the reasons. we must study the reasons for failure and learn. it's not about struggle with our limitations or with public or the publishers. it's more about treating it like in aikido; the strength (power) of the attack is used to defeat him with the same effort.
  • 18. now it is possible to find reader in any part of the planet. we must have this present. to begin with, drawing is a way of personal communication, but this does not imply that the artist must envelop himself in a bubble; it' communication with the beings near us, with oneself, but also with unknown people. Drawing is a medium to communicate with the great family we have not met, the public, the world.
  • august 18th 1996 compiled by Perez Ruiz
Best Wishes for the sweet sweet wonderful gentle amazing drawlequin on this day

Best Wishes for the sweet sweet wonderful gentle amazing drawlequin on this day