(Reblogged from collarpoints)

small ambiguous comic noodle, about 3” wide

here are some crops from my piece in Blood and Chakra: a Naruto Fanzine! PREORDER IT HERE

god I love ninja dogs


I finally received my proof, so the "Of Blood and Chakra" zine pre-orders are officially open! So, so happy that this project finally pulled through, you guys are AMAZING. 

featuring works by:

ybee, viivuscat-monster,rockleaf, wuzidan, vickisigh, lingpingpong, kei-tea, strawberryjamm, snairmair, nanbamutta, runespring, bobademon, jununy, seasting, spicybara, suchirolle

organized by Yves and Addy

note to the artists: I’ll be mailing your copies of the zine to you soon. Thank you so much for participating! 

Preorder the zine here!

HEY GUYS CHECK OUT THIS SWEET ZINE, IT WAS MADE WITH THE FIRES OF YOUTH AND AN UNYIELDING PASSION FOR NARUTO!! EVERYONE WORKED HARD AND MADE SOMETHING AMAZING! Also, my picture is the one in the second last image that contains a total of 4 dog ninjas and 13 ninja dogs.

(Reblogged from bloodandchakrazine)

Some smallish sketchbook watercolour studies! The odd brownish clumps in the first image are what gold ink looks like scanned. Normally I take photos when I use gold ink, but I didn’t really feel up to it today.

thebluecanary said: I have a Q if you don't mind! I was wondering, how do you get the gold ink to show up nicely in scans? When i scan my pieces with gold ink, it tends to just look a solid flat color. But also I'm using a different brand, so if you don't do anything, that might be it.

I don’t! Don’t get gold ink to show up nicely in scans, that is. None of my pieces with gold ink are scanned, they’re all photos taken with a fairly high resolution camera (it also helps that my drawings tend to be on the small side).

Scanning is useful for getting a flat image with no lens distortion and the appearance of having a sort of ambient light source, but that basically makes it useless for getting metallic accents, no matter what brand you’re using. My lighting setup for gold ink is one softened ‘fill’ light to light up the paper, and a smaller light source (I always use a cheap desk lamp) pointing to the paper at an angle, so that I can see the light reflected in the edge of the gold ink. Obviously, because the light reflected by the metallic parts is brighter than the light reflected by the paper, it will tend to darken and flatten the rest of the image. Some of that can be fixed with a little post-production, fiddling with the exposure, curves, etc., but hey, just experiment until you find something that works for you!

Commission of an OC for speedduck! Go look at the non-blinding instagram photo over here

instagram dump, PART VI(vi)

Commission for Joanna!

I don’t know if the 100% meme is still going around, but I got a question about what resolution I usually work at/how big my files are for digital illustration, and the answer is, fucking ridiculous resolutions. These are some 800x500 px, 100% resolution crops of recent work that is either digital or has enough digital finishing done that I can’t call it traditional. I also captioned each image with the pixel dimensions of the images the crops are from, but let it be known that the smallest image was originally 2000x2000 px.

Of the work that started in traditional media, the largest piece was roughly 6x8”. I scan everything in at 600 dpi (which turns into a 3600x4800 canvas, if you’re too lazy to work it out, except for the deer - for stuff with gold ink, I take photos, but it works out about the same) so that I have some paper texture to work with. They are so huge that you can see little blooms along the edges of lines where the ink bled into the paper.