Horoxycons

[09/25] I found new renders of kunoichi in other poses in stage outfits (official artworks w/o background). You can use them to create cool edits =^_^=

Hinata Hyuga 

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Ino Yamanaka

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Tenten

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Actual Shinobi Sisters (click) event information, photos, video, renders

Bonus: Clean official Shinobi Sisters cover

Why Incorporate Graveyards?

Graveyards have always been associated with the supernatural and metaphysical. In both ancient and modern cultures, funerary rights and the dead have always held great significance in society. When working in these spaces, the most important thing to remember is respect. The dead are not as mutable as the living and it may take longer to rectify a mistake and earn their trust again than it would have been to learn the proper etiquette from the start.

Which begs the question, why work in these spaces and with these spirits? Well lots of reasons, some people choose to only work in graveyards that they have a direct ancestral connection with (ie. family members or distant relative are buried there). Others, like myself, find it a good way to honour the local spirits. Even spirits of people you don't know and have no connection too are worth honouring. Some people believe that since all of humanity has a common ancestor, we are all related and so even cemeteries you have no direct connection to, are connected to you by our common ancestor (another reason I am quite fond of). Maybe you just think it's cool, which is valid. Whatever your reason, just make sure you have one and are not going there with insincere intentions.

What is Graveyard Etiquette?

Graveyard etiquette are the ways in which we should behave when entering and visiting a graveyard in order to be respectful to those resting there. Although there are general rules of thumb which many witches follow, as you develop a relationship with a particular graveyard, those customs can change. Here are some I like to follow:

Leaving an offering- I always bring an offering of coins or flowers. If I'm visiting a graveyard that I've never been to before, I will leave coins at the gate, for the guardian and at some of the older and unkept headstone (also graves of young children if I find any). During regular visits, I leave offerings with the guardian and at headstones of spirits I've developed a relationship with.

Walking the entire graveyard- this is not something I do every time but I like to walk around the entire site and introduce myself especially if I plan on having a working relationship with the spirits there (this may be more difficult for larger sites, I recommend picking an new area each time you visit if that is the case).

Entering and leaving through the same gate- this is not one I stick to every time if I know the spirits really well. If I've never visited before I will always leave through the same exit that I entered from.

Throwing salt or spinning- I heard this one from ChaoticWitchAunt (on TikTok) and it's something that I've just always done. They recommended spinning around three times before leaving to prevent spirits from following you home. I've also thrown a bit of salt over my left shoulder outside the entrance for the same purpose (beware: salt is not good for the earth). This is definitely something that just resonated with me after a bad experience and that's why I continue to do it.

A Note on Necromancy & Death work:

Necromancy is often a term used in many scary movies and cult fiction. It is actually a form of divination which utilizes the dead. Anyone can learn necromancy however it is an integral part of death work. Death worker (practitioners who practice death work) are involved with crossing spirits over. The job requires some level of mediumship abilities and can be very taxing on your mental health. Some death workers take on the lingering emotions of the deceased (pain, fear, anger, etc.) in order to help that spirit. Death work is much more than the small bit that I've described but it is important to note that the path is not for everyone. You can still work in cemeteries and utilize necromancy without doing death work (& a big thank you to the death workers who continue on their path despite the toll it takes, we love you!).

(Sorry, I know that’s a big ask, especially busy as you are! I would be grateful for even the smallest nugget of wisdom!)

Hey! I know you're specifically referencing Robber/Robert, but all of the tips I gave in my How To Draw Sakana series still mostly apply to the way I make comics!

I plot out important story beats first (and the ending) and fill in little jokes between those mostly on the fly.

Even though RR is mostly digital (unlike Sakana, which is totally traditional), I still thumbnail RR traditionally because it's easier for me to see the whole page that way, and really get a sense of how big each panel and each element within the panel needs to be. All other details are basically omitted at this point, it's really just figuring out page composition. I also write out the dialogue traditionally. Even if I have a good idea of what I want the characters to say in every panel, trying to come up with exact dialogue later in the process always spells disaster for me. So I try to figure out dialogue and thumbnails at the same time.

The 5 in 5 rule is still what governs my panel/page layouts! I feel like the last [5] rule is worded a little poorly: what I mean is that hands can also add a lot to character acting and should be present as often as possible to avoid having too many "talking heads" panels. Even if a page is dialogue heavy, at least having the character gesture with hands or even do a small task (like make coffee or something) during a conversation or monologue will be more satisfying to read. ALSO, BACKGROUNDS ARE GOOD. I know I'm in the minority of people who LOVE drawing very complicated backgrounds, but even a few little lines or shapes or colors here and there behind a character can keep them present in the environment. I always try to Avoid The Void, but it really depends on how important the setting is to your story. I only draw comics with very specific important settings for some reason lol.

RR is in an American comics format (so roughly 10"x15", which is a 2x3 ratio and can scale down to 6x9 for print.) Again, I think it's important to get as much of a sense of how the page will look in the thumbnail stage as possible, without bogging yourself down with too many details. Often characters will just be pegs with circles for heads (and in Rob's case, two little antenna lines that make him look like a cricket), but where they are and how big they are are most crucial. I'd even suggest thumbnailing two consecutive pages right next to each other so you can really see the flow from one to the next.

The rest of the pages only really apply if you're thinking about doing your comic completely traditional. Penciling, inking, and lettering DON'T need to happen on the same page/paper, but I'm used to that workflow so that's how I do it!

LETTERING IS STILL VERY IMPORTANT THOUGH. I'm sorry to be harsh, but there's nothing worse than bad letters on a great looking comic. If you're not feeling great about your lettering capabilities, I'd suggest taking some time with tutorials and practice to get something that really fits your comic style.

FINALLY, it's important to go out there and find comics that you LIKE and really study what they're doing, how they're doing it, and why it speaks to you. Currently I'm looking at a lot of Franco-Belgian comics, which are bigger than american or manga sizes, and CHOCK FULL of backgrounds usually. Some day I'd like to make something that looks similar, so I'm using every comic project I make as practice to get closer and closer to that style.

Here’s the thing.

I read a lot of scripts.  A lot.  From professionals to aspiring writers to complete newbies.  Features and pilots.  Specs and treatments.

And 8 times out of 10 the fan fic that I’ve read over the last, oh, 15 years is leagues better than this stuff.  It’s more inspired.  It’s more compelling.  It’s genre bending and creative and heartfelt.  It’s well-paced and intense and funny and sexy and meaningful.  It’s smart and thoughtful and good.  It’s novel-quality.  Better than, sometimes.

Rare is the script I don’t want to put down, but how often have we stayed up until 3am to get to the last chapter of a 100k fic? And it’s not even a fan fic author’s day job.  This is what they do on the side.  In their spare time.  For free.

So my point is, fan fic authors, you’re good.  You’re good writers and great storytellers.  I know it doesn’t always feel like it, especially if you’re one of the authors who’s not a BNF and doesn’t get the notes/hits that a few do.  And  because some people still view fic as “not real writing.” You guys know the shit that gets made into movies.  You’re better than that.  So be better than that.  If writing is what you think want to do, then just know you’re already doing it.   You’ve already started.

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A guide on my process for colouring like in the Arcana which I developed through studying the style.

Now, this is just for sprites or for neutral lighting. In the case of most memories/CGs, you have more interesting colours to use, but the process is identical. There are just extra steps.

Using my favourite memories for each character as examples (hopefully, you can tell which ones) you can see this process. All of this happens on layers above the base drawing.

Usually, you set a colour-filled layer to the setting “multiply” over the entire drawing, then using a “screen”, “add”, or “hard light” layer, you add the lighting. Depending on the intensity of the lighting, the outline will be coloured to be lighter.

The shading colour rarely changes, aside from slight hue changes.

Misc advice/tips/tricks below. I may update it depending on if I get further questions.

My online Storyboard and Drawing Workshop Bundle: Audit Version is on the biggest sale ever, 25% OFF for the New Year!  Don’t miss this great chance to grab my workshops and begin your 2019 with some intensive studying on the storyboards and drawings.  *The sale continues till January 6th, the end of the first weekend. 

This online workshop audit version BUNDLE provides 8 Storyboard Workshop lecture videos (Total Running Time: 18 hrs 30 min) and 8 Drawing Workshop lecture videos (Total Running Time: 24 hrs).

The workshop is available at selz.co/VJsroWVWU

In Storyboard Workshop, I share basic principles and fundamentals of cinematic storyboarding and demonstrate how to apply them into an actual storyboard execution. From story beat breakdown to composition to laying out camera lenses to character acting and more, from basic technical skills to the creative process, I share the important key knowledge of cinematic storyboarding. And I demonstrate to you, step-by-step, how I storyboard.

And in Drawing Workshop, from basic human anatomy, figure, acting, gesture, expression, design, developing own style and many more in depth studies of the character drawing will be discussed. Students will use critical thinking on drawing and design to help develop basic drawing skill sets.