Psychic: *reads My Mind*

Alright I know everyone is going to be sharing the hell out of that screenshot with Tracer and her girlfriend (I know I will) But I also REALLY want everyone to enjoy the fuck out of this page because:

Genji looking so good concentrating on writing his letter with zen being a NERD with his snowballs

Fareeha on a date? Or her dad? who is they? :0

TORBJORN HAS A WIFE? She’s gorgeous and I love her and they are cute.

Reinhardt is the best uncle/grandpa

Mercy being a good doctor on the holidays-WAIT A SECOND IS THAT GENJI’S LETTER?

Hanzo is looking good and I want that outfit as a new skin (also a confused looking child with a dead stare in the back?)

Yup. bout what I expected from these two.

fuck…

fuck

FUCK

Wait what??? Did they just happen to be in the same bar? Mccree handle your liquor better jfc.

and Bonus of Tracer, Emily, and Winston being a cute happy family:

Best comic yet 12/10

COMMISSIONS ((OPEN))

Commission Info

Comission email: thismightydimo@hotmail.com

If for some reason I don’t answer there, send me a secondary message here aswell or vice versa in case you send one here

The Commission

The EXTRA CHARACTER cost HALF of the final price for ONE CHARACTER

If you want your request in a very specific way I gonna need references, especially if are OCs or oscure shows and series

I will draw monsters, robots or in general unnatural creatures!

I take nsfw request in both sexual stuff or violence of many types, but please ask first just in case!

The options for humanize and spectrum slip are about me designing that particular version of the character you want, that’s why the extra cost, have in mind that this means I will be creating the new designs according to my perception of the character, which can be drastic or very minimalist, if you commission one of these extras then I can give you a fast idea of how I imagine the character if you desire so

The Payment

PAYPAL ONLY

I will begin working on the commission after I receive the payment, I will be working according which requests I get first, I will send you a message to make you know and an invoice for the payment request

Use the “pay for goods and services” option for payment

Extras

You get a free BW version of your commssion!

The commission orden is only open for minor details changes the first day after making it

The time I take for each commission will depend on the complexity of the request and my own irl schedule

Commissions for specific dates, have to be made 2 weeks in advance, thanks beforehand!

Contact me at my email or send me a message for any further details or any questions in general! (not asks because tumblr is not a kind one on that aspect)

Oh also, I have a Patreon now! please consider pledge to it to helping me on my current living situations!

Thanks for reading!!!

SHORT STORY/ONE-SHOT/ONE CHAPTER/COMICS 101 CRASH COURSE RAPIDPUNCHES’ STYLE

I’m NOT an expert but I have some working experience I can share. You need experience to become great. Here is my set of instructions, tips, and notes towards making a 12-page comic.

My method is to work backwards. Personally I work “backwards” because the end is the only wholly necessary page or set of panels in the story. Everything in between is open to editing and hacking as the most important moments are emphasized and chosen.

I even plan/draw the end page first. The end is the last page a reader sees- so spend your freshest energies on making it as epic, memorable, poignant, and beautiful as #$%^&.

If you draw the pages from 1 to 12 sequentially you run the risk of fresh to burnt out- an uneven distribution of drawing skill. (treat the first page and the 2-page splash as you would the last).

Roughly… the steps to making your comic is

WRITE

PLAN THUMBNAILS

DRAW

…BEGIN THE WRITING (DO NOT SKIP NO MATTER WHAT) like this, in this order:

How does it end?

Does the protag succeed or fail?

What is the turning point of their story?

What the protag do that led them there?

Where does it start?

Who is this protag?

EXAMPLE:

Guy gets mauled by a bear.

This is a fail on the guy’s half.

The bear must eat something or he’ll starve to death.

It’s the guy’s fault the bear can’t find other food. He caused the avalanche that buried all the cabins.

The guy is yodeling in an avalanche zone.

The guy is some guy.

CREATING “THE BEAT SHEET” Take the above stuff and reorder it to make sense.

This guy yodels.

Echoes roll.

Snow slides down.

Avalanche buries the mountain.

Cabins are engulfed.

This bear has no access to cabin food and garbage.

Bear eats this guy.

Expand. Blow up important beats for emphasis. Keep less important beats brief.

This guy is hiking in the snowy mountains.

He comes across an avalanche warning sign.

There is nobody around but him.

A dumb expression forms over his face and he yodels.

Echoes roll but nothing nearby is moved.

At the top of the mountain the snow drifts twitch.

Guy, satisfied, hikes away from there still yodeling.

Frozen snow cracks.

Snow puffs billow and great slabs of ice crash down the mountain side.

Guy sees this and hightails it to safer ground.

Animals, people, are all panicking and getting pushed over by the rushing snow.

Cabins are destroyed.

The guy takes cover by an outcropping of rocks, fastens himself securely to the rock face, and waits for the avalanche to die down.

Avalanche dies down.

A lone bear shambles over from the other side of the mountain.

The bear goes to where a cabin used to be (only roof tiles are left). Bear sniffs a dish satellite.

Bear forlornly eats a food wrapper.

Bear tries to dig.

Guy comes down from the rocks he as climbing and sees bear.

Bear stops digging and sees him.

Guy runs.

Bear chases him down.

Bear eats the guy.

BEAT SHEET COMPLETED!!!

After the beat sheet, write up all the sound effects and speech bubbles and conversation/dialogue you want to be in your comic.

Since comics are a visual medium, highest priority is given to the beats. If a story can’t be told with the art without the dialogue– you messed up and it’s time to rethink your life choices.

Try to keep all your text chunks as short as a tweet. Professionally you don’t want more than 25 words per speech bubble and no more than 250 words per page.

Next is translating the beats to pages…

STRUCTURE OVERVIEW:

[1] point of entry, in media res, hero intro

[2][3] conflict. establish conflict, setting, and mood by the third page. [4][5] rising action/false resolution to conflict/investigation

[6][7] turning point/plot twist/epiphany (this one epic image, to page spread is pivotal, spend a lot of effort into creating this)

[8][9] aftermath/“darkness before dawn”/struggle [10][11] recovery/“rise and conquer”/“fall”

[12] resolution/final end/cliffhanger

[front cover][interior] [interior][back cover]

——————–

My maximum per page is nine panels but I’ve seen pages that have way more. I like to have about 3 to 4 panels per row or less but I’ve seen the “rules” broken before. Advanced comic book artists manipulate time with the number of panels and the size of each panel.

remember, DIAGONALS!!! open up an issue of batman, superman, spider man, deadpool or whatever youre reading theyre everywhere.

———-

…DRAW IN THIS ORDER:

Page 12,

Page 6 and 7 (this is typically one large image that takes up the space of two pages),

Page 1,

and then the rest.

ONLY “DEVIATION” ALLOWED:

Page 12 and 1*

Page 6 and 7,

and then the rest.

*Draw the first and last page as a spread in situations where the beginning of the story mirrors the end of the story.

Cover is dead last.

———-

(If at the very end you find out you need more pages and it’s absolutely unavoidable and totally necessary you have to add them in fours. Try to stick to 12 pages for this crash course.)

——————–

FURTHER NOTES:

Plan and draw the pages in spreads (the twos) since this is how it will appear in print and when you submit them to an editor for review guess what, the pages with an exception to the first and last will be reviewed as spreads.

You at most only need one establishing panel of the setting and environment (scene) per page.

Forget “true to life” perspective outside of the establishing panel). Practice diagonal composition of objects and subjects within panels. For dynamism.

You don’t have to present the text all in one go (one paragraph or bubble). You can and should break up paragraphs, sentences, and if you need to single out words– to make smaller, more easily managed bubbles to scatter through the panel.

Less important moments have smaller panels and or lesser detail. More details (or more word bubbles) slow down time. More drawn detail also creates a concentration of values (it’s darker and sometimes combines together as one shape or mass)

Know your light sources. Control the blacks. Control the values.

TIPS | COFFEE? :3 | dA | IG |  ♡ |  ❤ |  ⋆

(more coming soon 11/22/2016)

VERY SO CUTE😍😍😍😍

MAUI, YES!

A ‘Handy’ Tool Row 1 & 2 Row 3 Row 4 & 5(Left) Row 5(Right) Bottom Image

Fic: I Want to See You (Jack Frost/Sandman, NC17)

A little while back jacksandy was feeling down and I figured “I know what I’ll do! I’ll write them fic!”

Well, it may have taken a week to do it, but I hope this suffices my dear.

(in which Jack has body image issues, Sandy doesn’t, and they are ridiculously in love with each other)

Title: I Want to See You

Fandom: Rise of the Guardians

Pairing: Jack Frost/Sandman

Original prompt:

“I adore all the chub!love Sandy prompts on this meme; I’d just love to see something where Sandy adores his skinny boyfriend’s body as much as they adore his. + Sandy has more body confidence than his boyfriend. ++ Love of knobbly knees and collarbones as well as belly love. ++++++++++++ SMUT. God, please, smut. I would kiss your feet.”

*

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👍😎cool

😂😂😂😂

“If you start singing, I’m gonna throw up.“