happy holidays!! a gift for @justawizardwithafrog 🎄 for D20 Christmas Exchange 2025! i heard you really like ayda and adaine 👀✨️ i hope you like it!! @d20exchange
this is my "luck runs out" illustration for the epic the musical fanzine!
if you haven't yet, please PLEASE check out everyone's art and download the zine at @epicthezine 💙✨️ ITS FREE!!
Reblogged
Hark! His homecoming foretold — to Ithaca, and dear Penelope!
EPIC the Musical Fanzine is now FREE TO DOWNLOAD! With 30+ artworks, 9 poems, and digital merch, follow our hero Odysseus through 9 sagas on his twenty year journey back to home and hearth.
✦ DOWNLOAD HERE! ✦
IT'S FINALLY OUT!!! im so grateful and honored to be a part of this project with the most talented artists 💚✨ to all epic the musical fans, this is COMPLETELY FREE GET WILDD!! catch my illustration on the ocean saga 👀🌊
here's a preview of my piece for @epicthezine !! everyone's art in this is soo good yall aren't actually ready
check it out once it drops on december 1st!!
After seeing your cloudward ho pieces I gotta ask- what’s your method for placing harsh blackout shadows in your inks? I’ve been trying to implement this into my own style but it always feels improperly placed or too subtle. What influences your choices when placing blackouts?
Hi Wren!! Great question! I'm one of those who love doing lineart more than coloring or rendering so doing those blackout shadows are always my go-to when I wanna draw fast and don't want to focus on coloring as much. But by giving up the intricacies of color, you lose depth and the 3D-ness of your piece - and this is where those shadows come in! By playing with shadows, you gotta find your source of light and keeping it all consistent. In faces or just the skin in general, I use little to no blackout shadows (e.g my art on Max) unless the theme I'm going for is something darker and noir because those types of shadows affect the feeling of a piece in its entirety. What you can play with are the clothing because that's where the folds come in, the wrinkles, and the shadows beneath coats and cloaks. For the Cloudward Ho pieces, some of the shadow strengths vary because of the differences in their clothing as well the poses I chose for each. For example, Wealwell's coat is pretty much almost black in the original art, maybe a really dark blue, but since I'm not using those colors I relied on using the huge blackout shadows to translate that as well as to show the wrinkles and folds that his coat can make with his dynamic pose. A different example would be Monty's and Pappy's, which were very tricky, because they have a lot of details in their clothing but the colors are very similar in values - and so, it was mostly deciding on what to keep or give up in terms of the details. For Pappy's, I gave up the details on his inner wear and chose big shadows instead because it added a cooler aspect to his pose; while for Monty, I focused more in giving the lil details on his clothes because his pose is more open and curious. TLDR: there are many aspects I consider when using the blackout shadows, but the most important thing is choosing a direction of your light source and sticking to it! I didn't mean for this to be too long a read, but I hope this sort of answered your questions!!