Inktober 2015- Frankette

Trick, Treat….or both?


You guys may remember a teaser I posted not too long ago, of my first Inktober sketch in progress–

FrankensteinsMany people thought this was two people, getting a little intimate, as was intended, when seen from a certain angle, but instead of two, it’s just one, and her name is Frankette!

Frankette is technically the piecing together of a male and a female– and There were three sources of inspiration that lead to her design.

  1. Anyone recall the movie from 2002 called May?

    Well if you haven’t, I wont spoil too much– it’s a story about a socially awkward girl who just wants a friend…SPOILER ALERT—-  She decides to make one by sewing together the body parts she admired most about the people in her life who shunned her. Seriously, has to be one of the weirdest, creepiest horror films I’ve seen.
  2. This little number!
    Zombie 2
    A very old zombie sketch, that looks very weird to me now, but is basically a bride and groom who loved each other so much– they fused, and not in the cool Steven Universe way >_< So, I wanted to redo it, but in a more practical way.
  3. And last– This gem of a piece I found while looking up references for my burlesque piece–

    This picture threw me for a loop because I thought it was two people until I realized it was one model, in a split outfit, posed in a way that made her appear like two. I loved it– and I thought the concept was perfect to build Frankette off of.

Now I’d like to sit here and pretend that I just whipped my ink drawing out on a whim, but I didn’t. I don’t usually work with pen and ink, for one, and for two– I cant help but plan out my concepts before I get into them– UNLESS I just so happend to be drawing from life. So, here is the original digital sketch of Frankette–

FranketteI posed her, so that if you look at it from the bottom up, your eyes may be fooled into believing it’s two people, aka, the trick. But when you get to her face, you realize it’s one– and she’s pretty, so, lol that’s the treat >_<! Another fun thing a bout Frankette is that the green areas of her body are female,and the blue are male– though mostly covered in the tux side of her body.

When it came time to draw and ink it, I worked in a small 8.5 x 5 moleskin sketchbook, so even though my lines were sharp, the scan came off a bit muddy because of the small scale, so I had to do some touching up on the finish piece in addition to adding a few splashes of color, but if you care to see the bare sketch as in my book, Here ya go 😀

FranketteWell I hope you guys like Frankette! She was a joy to draw! Teasers coming soon for the next monster in progress. Till next time, Enjoy!

Monday Evening Post

Good evening folks! Or in my case, after midnight, so morning, where I am. I stayed up late after making arts all day, to share with you guys some exciting new projects– one personal and one commissioned that I was given the okay to share my works in progress for.

Like many of my posts, these will include sketches, and concepts and animations, along with some notes I’ve been taking to help me through the completion of each piece, especially since I do a lot of study while I draw.

With that said, lets start with the personal piece. I wont say much of what it’s for, because that’s kinda confidential at the moment until it’s officially released, but it is a portfolio piece, and a first attempt practice piece at doing animated illustrations. Introducing, my first animated sketch!

StrikeA few things about this one- for a while now, especially since this year began, I have been making a very conscious effort to improve my rendering abilities, my ability to draw faces, and create work that is, overall, more dynamic/energetic. Usually the end result is multiple sketches that I challenge myself to make better, more powerful, more energetic, until I have a concept I can roll with.

For example– the first sketch of this piece– while energetic it was impracticable in how weird the pose was. The dress hides it, but her legs would have to be broken for her to stand like that >_<. Definitely something to pay attention to, when drawing figures is to make sure the pose actually works, and if it doesn’t, create one that does– hence, the changes in her pose.


In the process, while working through the composition of the sketch, I’m also practicing different techniques that I’ve been learning, to understand how some of the pros do things, and to ultimately develop methods that work for me.

One of my sources of study is Imagine FX. a magazine designed to help digital artists/illustrators, like myself, and has proven to be a wonderful resource for learning tips and tricks of the trade in almost every area you can think of. In this case, the workshop I’ve been studying is  from Vol 92’s Paint a Backlit Manga Character by Krenz Cushart, featuring the process to his illustration Vampire.

Because the main feature of this illustration is going to be the lightning strikes, which means it requires some extra ordinary painting of lighting. Understanding how to backlight  my character seemed like the best approach to bringing this idea to life.There’s still a ton of work to be done with this one as you can see, but so far, off to a good start!

Now on to the main attraction! 321 Comics Vol 2, Pinup Panorama Sketch, Commissioned by Felipe Cagno!

FelipeSpreadFirst off, Norman Rockwell! The inspiration behind both this one and the first  321 Pinup, have been his diner paintings, and this one in particular will be serving as my reference.

Soda_Jerk_Columbus_paintingThe goal is, to paint it in a way that’s similar to Rockwell’s style, and to keep the figures, energetic and full of personality while still being sexy enough to be considered pin up, sooooo prepare for cleavage!! Lol, I’m kidding….not really >_<;

All in good fun though, if there’s one thing I love about drawing women, it’s the curves, babeh!

Alright, enuff foolin’ around, back to bisness! This is going to be a stretch, but the goal is to have both of these images completed, or near completion by May 31st, which is my birthday, so, expect huge changes by time the next Monday Evening Post rolls around. Updates to be coming soon also for the Katzenworld Cats too.

On a side note, just a personal wish of mine, I do hope to someday be in a position where my work is featured in Imagine FX, or that I too can impart some of what I’ve learned  in the various studies I do in this growing process of mine. Wish me luck guys 😀

I hope you enjoyed this post, till next time, Enjoy!

321- Pinup Released!


Yay it’s finally finished! The Article following the making of this Illustration is below

The Making of 321-PinUp — Studying Rockwell

I feel so old saying this, but I remember when the internet wasn’t a thing– at least not in my house! But when we got it– oh boy! I was already a fan of Japanese animation because I grew up watching Toonami which featured shows like Dragon Ball, Speed Racer… Sailormoon- TO WHICH I’M A HUGE FAN!– Sailor Jupiter foreva!!! *Clears Throat* So when we got the internet, those were the things I looked up. Naturally these searches introduced me to other anime like NGE, Tenchi Muyo– and also, Comics. I was fascinated by the photos of comic covers I would find, and in my search I discovered artists J Scott Campbell, and the late great Michael Turner of Fathom Comics. These two artists are the reasons I wanted to become one, and I begged mom to find me a comic store where I could purchase every title with their names on it just to have their art at my finger tips.

I studied Michael Turner’s work in particular, even learned how to draw like him at one point because I was soooo sure that if I became good enough, I’d get to meet him one day, and maybe even work at his side. Mind you I had no idea how comics worked, so that was my idea of things. I was heartbroken when he passed, but the dream was alive in me, and I was determined to figure out how to become an artist like him. The thing is, back then, it wasn’t easy to find tutorials or how toos on the net, so I developed a skill that allows me to pick art apart, by looking at it closely. This is how I learned how to draw, up until college.

Now we live in a day and age where many artist have how toos and tutorials, providing intimate details on the process they follow. What I’m doing here is much the same, only it’s going to be less about how to draw, but more about fleshing out an idea finding the right inspirations, and applying tips and tricks and problem solving. Overall, I’ll be siting sources, dropping names and links to the people and things that help me through the creative process and I hope what I have to share is helpful! With that said, lets get into the making of 321-Pinup, a Study of Rockwell.

Learning from Rockwell

Normally I would have taken a more dynamic approach with pinup, but since I was doing it in Rockwell’s style, and I had limited time, I made a conscious decision to keep this one simple. Fortunately for me, Rockwell has a relatively simple painting style. His compositions are usually straight forward and dead centered, his figures are a bit exaggerated and gestural, which breathes more life into them, and aside from the figures in his paintings, the backgrounds or surroundings have very limited shading– as if the flash from a camera washed out most the shadows and details.

Edge Control

One thing I had to pay attention to, when learning from Rockwell, is his Edge control– which is his ability to manipulate edges to create sharp contrasts between his figures and their backgrounds. Speaking of Edge control, it is an important tool an artist can use to create form, atmosphere and believability.
In general, edges are:
Harder in the light, softer in the shadow
Harder in the foreground, softer in the background
Harder on smooth forms, softer on textured forms
Harder on still forms, softer on forms in motion (on moving forms they are harder on the leading edge and softer on the trailing edge)
Harder at the center of interest, softer as you move away
Read more Here

In Rockwell’s work, you’ll mostly find his figures against a white background. Usually the strongest colors have the harder edges– and the brighter colors, like whites, creams, and grays have the softer edges– so soft in fact they almost blend into the white background. Putting this into practice actually helped me understand how to control my edges better making my work look cleaner. Definitely something I’ll continue to practice going forward.

The Feels!

How you display emotion in your work can be the difference between a nice drawing, and a nice drawing with soul. Faces, particularly the eyes are the most important feature, in my opinion, because of their ability to say so much. I’ve studied a many artists- SakimiChan, Kronprinz, Nebezial— all of which have one thing in common– they can draw some dang good faces full of personality. Body language is the second most important tell of emotion. When I was painting 321-Pinup, the leading lady went through at least 3 changes in her face and body. At first she was stiff, upright and smug, not a very welcoming character to meet coming into a diner. The second one was a bit more loose in her body language, but her face wasn’t quite right. Her stare seemed blank and void of emotion. Overall she was still pretty stiff. Third time’s a charm I guess. She loosened up more, leaning on the counter, and finally I could look at her face and hear her saying “Hey there!” Comparing the 1st draft to the final product, I’m glad I put in the extra work to give these characters some feels! After toiling away for almost a day on the lady’s face, I had learned so much that the guy’s face was a breeze. YAY! progress!!

Work through your Mistakes

I could have gone with a cleaner approach– smoothed everything out to make it look polished, but I deliberately left a sketchiness to it. I call it, showing strokes. In a way I think it adds to the personality of a painting, when you can see where the brush leaves its mark. A tip I learned from Cliff Neilson in one of his workshops, is to try to avoid using the eraser tool, in your digital paintings. Instead, treat it like real paint. If you make a mistake, paint over it, instead of erasing it. The residue it leaves after only adds to it.

There were some things I had to change. The background was altered to be more straightforward. After much consideration I decided the image would be stronger with one light source, and to keep the color pallet simple to mesh with Rockwell’s style. Overall, this was a wonderful experience. I honestly learned a bunch ! To close, I added a little gif, for your viewing pleasure! I’ll try to get better at making these