Miscellaneous ramblings and headcanons. Lots of reblogging, especially Punch-Out!!.
A height chart I made free to use. This chart is intended for character artists drawing characters who can be of far above average adult human height, such as athletes and fantastic races.
HOW TO USE: The chart goes by American feet and inches; feel free to convert metric measurements or modify the chart yourself. The thicker dotted line indicates the 6 inch line, meaning the height is halfway to the full foot in measurement. The thinner dotted lines indicate 3 and 9 inch lines above the 6 inch, should your character be taller or shorter. You can then roughly guess where to place your character’s height should they be on any other measurement such as 2 inches, 4 inches, etc.
The rest is simply eyeballed. Draw your characters side by side, in however order you want, to compare each others’ heights. Not only is this useful in designing diverse heights, but especially to maintain consistent scale between characters should they interact.
THINGS TO KEEP IN MIND:
As much as possible, keep the characters’ feet flat on the bottommost line to keep heights accurate. Avoid drawing thick heels. If your character MUST wear heels, the heels of the feet themselves (not the footwear) must be drawn along the bottommost line and then you can just extend the feet below that line accordingly.
Dynamic poses are fine, but bear in mind they often tilt the character or have them bend their hips, legs, or spine, which can shave off some height. Keep your poses fairly simple and static, or at least their backs straight and head high.
Hats and other headwear don’t count. You can, though, include an outline or copy of the character with and without the headwear.
Hair is not indicative of height; even someone with unstyled straight, thin hair can deceive the eyes of true height. Draw your character “bald” first before adding the hair to maintain height accuracy.
If you are drawing anthros or some other fantastic races, head height is what you should use to indicate true character height while other physical attributes such as long ears or attanae are to be added accordingly.
And that’s all there is too it! If you can’t fit all your characters in this chart, you are more than welcome to adjust it accordingly, or even crop off some of it if none of your characters reach higher than the 6 feet range. How you use this chart is entirely up to you.
I would appreciate credit and a reblog/link of your work if you choose to use this!
Now that my Paypal issues are covered, my commissions price list is adjusted for my current skill level and tools, now that I use FireAlpaca and a WACOM tablet as opposed to pen and paper while colored via Paint Shop Pro 8.
I basically follow an Initial Payment method in which my client will give me the first payment indicating they are willing to pay me at least partially for the commission, then the rest of the full payment is paid via time spent on that project, as opposed to elements of that commission such as color, style, props, and so forth. All commissions will be done live, usually sometime in the late morning or evening/night hours, when I am available to sit on the computer for at least one or two hours and draw. I highly recommend the commissioner attends the art stream so they can provide input on how their art piece will turn out, if they would like any adjustments made on the lineart, or if they’d like anything removed or added. If you cannot/prefer not to attend the art stream, or you have no problem with placing full trust on my ability in the project, then I will screencap a timestamp taken from my channel or give you the clocked time once I give you the full invoice.
Charges are made by the half hour/30 minutes; any spillage into the next half hour will be rounded up to the next. If the project is complete before 30 minutes are up, no additional prices will be added; however, if I am to work overtime within that next half-hour, I will charge the minimum additional payment only. I do not charge for added characters, but rather, the time spent on drawing them instead.
PRICE LIST (Flat rates), in USD:
A.) Black and white; no color, no background.
A1.) Unshaded:
A1a) Bust Portrait:
Initial Price: $15
Half-hour additional pricing: $5
A1b) Full Body:
Initial Price: $18
Half-hour additional pricing: $5
A2). Soft Shading:
A2a) Bust Portrait:
Initial Price: $18
Half-hour additional pricing: $5
A2b) Full Body:
Initial Price: $20
Half-hour additional pricing: $5
A3). Hard Shading:
A3a) Bust Portrait:
Initial Price: $18
Half-hour additional pricing: $5
A3b) Full Body:
Initial Price: $20
Half-hour additional pricing: $5
B.) Graytones; no color, no background.
B1.) Unshaded:
B1a) Bust Portrait:
Initial Price: $20
Half-hour additional pricing: $7
B1b) Full Body:
Initial Price: $23
Half-hour additional pricing: $7
B2). Soft Shading:
B2a) Bust Portrait:
Initial Price: $23
Half-hour additional pricing: $7
B2b) Full Body:
Initial Price: $25
Half-hour additional pricing: $7
B3). Hard Shading:
B3a) Bust Portrait:
Initial Price: $23
Half-hour additional pricing: $7
B3b) Full Body:
Initial Price: $25
Half-hour additional pricing: $7
C.) Colored; no background.
C1.) Unshaded:
C1a) Bust Portrait:
Initial Price: $25
Half-hour additional pricing: $8
C1b) Full Body:
Initial Price: $28
Half-hour additional pricing: $8
C2). Soft Shading:
C2a) Bust Portrait:
Initial Price: $33
Half-hour additional pricing: $10
C2b) Full Body:
Initial Price: $35
Half-hour additional pricing: $10
C3). Hard Shading:
C3a) Bust Portrait:
Initial Price: $30
Half-hour additional pricing: $10
C3b) Full Body:
Initial Price: $32
Half-hour additional pricing: $10
D.) Black and white; no color, with background.
D1.) Unshaded:
D1a) Bust Portrait:
Initial Price: $20
Half-hour additional pricing: $5
D1b) Full Body:
Initial Price: $23
Half-hour additional pricing: $5
D2). Soft Shading:
D2a) Bust Portrait:
Initial Price: $23
Half-hour additional pricing: $5
D2b) Full Body:
Initial Price: $25
Half-hour additional pricing: $5
D3). Hard Shading:
D3a) Bust Portrait:
Initial Price: $23
Half-hour additional pricing: $5
D3b) Full Body:
Initial Price: $25
Half-hour additional pricing: $5
E.) Graytones; no color, with background.
E1.) Unshaded:
E1a) Bust Portrait:
Initial Price: $25
Half-hour additional pricing: $10
E1b) Full Body:
Initial Price: $28
Half-hour additional pricing: $10
E2). Soft Shading:
A2a) Bust Portrait:
Initial Price: $28
Half-hour additional pricing: 10
E2b) Full Body:
Initial Price: $28
Half-hour additional pricing: $10
E3). Hard Shading:
E3a) Bust Portrait:
Initial Price: $28
Half-hour additional pricing: $10
E3b) Full Body:
Initial Price: $25
Half-hour additional pricing: $10
F.) Colored; with background.
F1.) Unshaded:
F1a) Bust Portrait:
Initial Price: $35
Half-hour additional pricing: $10
F1b) Full Body:
Initial Price: $38
Half-hour additional pricing: $10
F2). Soft Shading:
F2a) Bust Portrait:
Initial Price: $43
Half-hour additional pricing: $12
F2b) Full Body:
Initial Price: $45
Half-hour additional pricing: $12
F3). Hard Shading:
F3a) Bust Portrait:
Initial Price: $40
Half-hour additional pricing: $12
F3b) Full Body:
Initial Price: $42
Half-hour additional pricing: $12
I can draw the following:
Humans, animals (anthro and non-anthro), just about any alien species
Static and dynamic poses of almost any kind (given I have references)
Action scenes (including fight scenes)
Kissing/shipping of any kind (I don’t discriminate)
Fashion of any time or location (including armor)
Tasteful nudity
Mild naughty (Must be minors-friendly)
Most props and appliances (tables, swords, guns, TV sets, computers, etc)
Some vehicles and/or architecture (PLEASE provide references)
Some interior shots (usually kitchens, car interiors, bedrooms, etc)
Some blood and gore (especially if done comically)
I can/will not draw the following:
Smut. Especially if I can’t verify your age.
Overt violence/blood/gore
Any discriminatory or hateful imagery (racist, sexist, religious discriminatory, etc)
Overly complex props/appliance, vehicles/architecture, or interior shots
Anything else that makes me very uncomfortable to draw (which says a lot). I reserve the right to refuse a project if I find a major problem with it in any way.
Ordering a Commission
1.) Either contact me via Skype, Tumblr Ask/Submit, deviantART Notes, or email [[email protected]]. DO NOT SEND PAYMENT JUST YET.
2.) Include the following in your message:
What type of commission you hope to order, which is coded in the price list. For instance, if you want a full body drawing of your hero character with just graytones but no shading, the order number will be B1b.
References and detailed descriptions of what you want. The more references and details you provide me, the better. If you do not have references for your character, face claims in lieu of them will do. If you have no idea of a face claim or you wish to give me full freedom on how to interpret this character, please specify this and, if you can, attend the art stream so you can voice any changes you wish to be made if the art isn’t going the way you’d hope.
A time you can attend the art stream. This can be negotiated in the email/IM/private notes.
3.) Once I accept the commission, please send the payment via Paypal. I will provide you the email there (it is NOT [email protected]). Select the option “Send money to friends and family” as opposed to “pay for goods or services”. Trust me, it’s less a headache on both our behalves.
4.) If you feel the price is too high, we can negotiate prices or payment methods, but please take note that I, too, am a working person who is barely scraping by from paycheck to paycheck. I base my prices on my skill level as well as intended clientele (usually everyday folks who want nice artwork for their favorite characters, not animation studios and companies). If I am to provide discounts, they will be for friends/family or young students with no jobs.
Thank you for taking time to consider service from me. I will do my best to produce a final product of high quality. For more art samples on Tumblr, check out my blogs artofimmy and releasethebarrelroll, or visit my deviantART page.
Clown is 27 to Hondo’s 28 and Tiger’s 29, I AM NOT KIDDING. Sure, it’s a year apart each, but…. JUST LOOK AT MAD CLOWN.
So I’m making a spreadsheet on national timelines as a general reference for the boxers and…. well, imagine my surprise when I learned Mad Clown’s age.
To be fair, Hondo and Tiger, you two are Asian, we just about never age until we hit 70 :|
I actually started this sketch a while ago but only finished it today. This is more OC art. The second one is actually older, but I still like it and decided to repost it anyway.
Arnoldo Gallo was born and raised in Padua, apprenticing as a cobbler when he conscripted to Bonaparte’s army during his occupation of Italy. Though he survived the Coalitions he served, Arnoldo was hardly ever battle-hardened; while an actually good fighter (he was quick and nimble, and proved to be an excellent shot, knife fighter, and scout), he was seldom recognized by his superiors and, thus, never rose the ranks… likely due to his habitual sniveling, incorrigible alcoholism, and problems with getting along with authority. By the time the wars ended and Bonaparte was exiled, Arnoldo was out of work and without any other notable skills, even as a cobbler. He ended up pursuing mercenary work, though due to his snivelling and toady disposition, he is seldomly ever taken seriously.
Sometime during the Wars, Arnoldo forced himself into a marriage with a woman he impregnated; after being unable to stand each other for some years, the wife left with another man, leaving behind two young children with Arnoldo. Raising his children was no easy task, especially as they were left behind while he went to war. Even when the wars ended, Arnoldo was hardly a competent parent; he would sink into bouts of depression and drink, neglecting his children for long periods of time. When the elder daughter, Viola, died of malnutrition, the younger child, Velia/o (the gender of the child is up in the air) ran off in hopes to fend themselves. Arnolod then embarks on a quest to find that child in hopes to make amends, learn from his mistakes, and be a happy family.
What he didn’t know is that the child ended up hiding among the allies of the Angel Servant, the man whom Arnoldo is hired to capture.
This is one of many OCs I hope to draw for The Angel Servant. More will come later.
@jamieaiken919, @demandezglassjoe, whenever someone asks me to do the same exact pose after doing it at least once, I would do a variant on the pose rather than the exact same one over and over again (2B is particularly popular, but no one way I’d draw everyone laughing the same way). But rather than just do them separately, why not combine Joe and Kaiser being extremely excited at the same time?
Perhaps, despite their defeat in the hands of Little Mac, they otherwise cheered the young boy his whole career, and this is their excitement watching him overcome Mr. Sandman despite the terror he instilled within the ring.
Yes, I draw other characters besides Great Tiger. Although I ought to doodle Hondo more too despite these. While Tiger is my favorite character, I’m more attracted to Hondo.
These are actually a couple months old, but I was hoping to post them alongside my Hondo project. While I still have my notes and PLENTY of observations and speculations to submit, I decided to drop it. Why? Because I have other projects to focus first. I may pick up on it later, but I want to focus on those first.
But I am proud of these, though, especially the second doodle. First doodle is just Hondo in a kimono and bottom is my interpretation of his outfit from the “Outsiders” comic, all while keeping in mind his face/hair design from the Wii game.
Mang, I love my 80s outfits, I need more 80s Hondo. Please, Punch-Out!! fandom. Give me more 80s-outfitted boxers. I want my neon colors, mixed tapes, baggy short jackets, and beeping arcade games. We still have pink-jogging-suited Mac, why can’t we keep the other boxers in the 80s?
No, I haven't abandoned Tales of the Ba'tala. Far from it. I just.... well. I needed time to step away and reflect what I wanted with this work. To reflect on why I design the inhabitants of the world the way I do, why the environments are the way they are, who my target audience is, and how I am to approach everything. It took me about 4 years of not touching Ba'tala and lots of personal reflection on who I am as a writer and an artist, especially one who is POC. Didn't help that at the time, two films were coming out that really made me develop doubts that what I was doing was worthwhile.
I'm glad to have overcome my insecurities, as well as realizing why it's taking me so long to get Ba'tala off the ground. Basically, I learned that if you are going to write a 400 page poetic epic, you need to learn how to write short, simple humble poems first.
Tales of the Ba'tala has been going through some major overhauls the past year or so, with reworking the story outline, mythology and lore, worldbuilding, and characterizations of the tales' many individuals. Rather than write a massive linear epic, I've decided to go with an anthology of sorts, with various Tales focusing on specific individuals or locations as a stand-alone, complete story. Oh, there is still a massive myth arc, but it's told through multiple perspectives instead. Thus, if I were to, let's say, fall off the face of the Earth and never return, the Tales would be okay left alone without a conclusion. Like how Greek myths never have a "conclusion".
Right now, the biggest focus I'm on is the outline and narrative scripts. Artwork is for studies and concepts. By focusing on just studies and concepts, I'm actually able to feel less overwhelmed with trying to improve my art at an unrealistic rate. Note how I improved how to draw trees and leaves.
The artwork of the characters are that of Bu'hay, God of Life, in one of Its forms, while the two plant-dog things are updates on the main Taong Gubat characters, Magugat and Madahon.
