Things have been pretty quiet around here lately. I’ve been stuck in a pretty bad art rut lately, specifically a drawing line art with actual real pens and stuff rut. To try and break out of it, I’m going to be doing random doodly scribbly things to amuse myself/get back in the habit of arting/regain skills lost due to slacking/stretch brain muscles/etc and so on.

Here’s a girl and her awkwardly disinterested robot boyfriend, inspired by Royksopp and Robyn’s “Girl and the Robot”.

sagaston:

Layout and scribbles for Clockworks page 0178. Hoping to get the line art drawn tonight so I can do a livestream of making the comic tomorrow. I’ve hidden the text layers. Speech balloon (and especially speech balloon arrow) placement is in no way shape or form final.

sagaston:

Art from Clockworks 0177: Wake
http://shawntionary.com/clockworks/?p=2315
sagaston:

Art from Clockworks 0177: Wake
http://shawntionary.com/clockworks/?p=2315
sagaston:

Art from Clockworks 0177: Wake
http://shawntionary.com/clockworks/?p=2315

sagaston:

New show poster for Beggar’s Carnivale, by yours truly. This is the first Beggar’s poster I’ve done, and I’m pretty happy with it. It’s a complete knock off of Rene Gruau’s Parisian cabaret posters. It ended up coming out somewhat Frank Miller-esque, which wasn’t my plan but eh the guy knew his negative space. 

I’m really happy with how rough and lose it came out, was a nice change from trying to make polished pieces. All of the line art was done with an extra wide chisel tip Sharpie. 

It’s meant to be lolavanella, and I think that comes across even with how heavily stylized it is.

sagaston:

Detail of my current WIP. Pretty happy with it so far.

sagaston:

Art from Clockworks 0176: Eaves
http://shawntionary.com/clockworks/?p=2308
sagaston:

Art from Clockworks 0176: Eaves
http://shawntionary.com/clockworks/?p=2308
sagaston:

Art from Clockworks 0176: Eaves
http://shawntionary.com/clockworks/?p=2308

sagaston:

Update to the comic panel/establishing shot/photo collage thing I posted last night. I’m pretty happy with it.

sagaston:

Making a comic. This photo collage building shot is the first art thing I’ve done in like a month, aside from a couple of sketches.

Here’s a face I haven’t drawn in a long time. #art #makingcomics #Clockworks #steampunk http://ift.tt/1yyjrjG

While I’m at it, here’s a bit of a look at this panel without some of the various overlays and such.
Pic 1: the panel as it appeared in the recent comic.
Pic 2: without the Standard Grunge Layer I’ve been using on almost every page for the last 50 pages or so.
Pic 3: without the gradient overlay I’ve been slapping on every panel for the last 20 pages or so. (These are different colors or shapes based on the location the heroes are in and the mood etc. This one was a warm golden glow. I’m still very much experimenting with these.)
Pic 4: without the other gradient overlay that’s over the background, as well as without the background shadows. The background overlay might go away at some point in my Comic Making Process. Everything’s basically an experiment as the style of the comic continues to refine and evolve. The middle two panels look weird to me, but I don’t mind the simplicity of the last one.  While I’m at it, here’s a bit of a look at this panel without some of the various overlays and such.
Pic 1: the panel as it appeared in the recent comic.
Pic 2: without the Standard Grunge Layer I’ve been using on almost every page for the last 50 pages or so.
Pic 3: without the gradient overlay I’ve been slapping on every panel for the last 20 pages or so. (These are different colors or shapes based on the location the heroes are in and the mood etc. This one was a warm golden glow. I’m still very much experimenting with these.)
Pic 4: without the other gradient overlay that’s over the background, as well as without the background shadows. The background overlay might go away at some point in my Comic Making Process. Everything’s basically an experiment as the style of the comic continues to refine and evolve. The middle two panels look weird to me, but I don’t mind the simplicity of the last one.  While I’m at it, here’s a bit of a look at this panel without some of the various overlays and such.
Pic 1: the panel as it appeared in the recent comic.
Pic 2: without the Standard Grunge Layer I’ve been using on almost every page for the last 50 pages or so.
Pic 3: without the gradient overlay I’ve been slapping on every panel for the last 20 pages or so. (These are different colors or shapes based on the location the heroes are in and the mood etc. This one was a warm golden glow. I’m still very much experimenting with these.)
Pic 4: without the other gradient overlay that’s over the background, as well as without the background shadows. The background overlay might go away at some point in my Comic Making Process. Everything’s basically an experiment as the style of the comic continues to refine and evolve. The middle two panels look weird to me, but I don’t mind the simplicity of the last one.  While I’m at it, here’s a bit of a look at this panel without some of the various overlays and such.
Pic 1: the panel as it appeared in the recent comic.
Pic 2: without the Standard Grunge Layer I’ve been using on almost every page for the last 50 pages or so.
Pic 3: without the gradient overlay I’ve been slapping on every panel for the last 20 pages or so. (These are different colors or shapes based on the location the heroes are in and the mood etc. This one was a warm golden glow. I’m still very much experimenting with these.)
Pic 4: without the other gradient overlay that’s over the background, as well as without the background shadows. The background overlay might go away at some point in my Comic Making Process. Everything’s basically an experiment as the style of the comic continues to refine and evolve. The middle two panels look weird to me, but I don’t mind the simplicity of the last one. 

While I’m at it, here’s a bit of a look at this panel without some of the various overlays and such.

Pic 1: the panel as it appeared in the recent comic.

Pic 2: without the Standard Grunge Layer I’ve been using on almost every page for the last 50 pages or so.

Pic 3: without the gradient overlay I’ve been slapping on every panel for the last 20 pages or so. (These are different colors or shapes based on the location the heroes are in and the mood etc. This one was a warm golden glow. I’m still very much experimenting with these.)

Pic 4: without the other gradient overlay that’s over the background, as well as without the background shadows. The background overlay might go away at some point in my Comic Making Process. Everything’s basically an experiment as the style of the comic continues to refine and evolve. The middle two panels look weird to me, but I don’t mind the simplicity of the last one.