Day 102: This is the drawing, more than any other drawing, which I need to take into thumbnails and find the illustration it wants to be. Because this? This is something I want to explore.
103: This one, not so much. I really don't know how to draw wings
without reference, so while I do like her body and the general feel of
this, the wings are just wrong.
The gesture of the figure, especially above the hips, worked out real
nicely here. Things like this - moments of intense personal drama - are
what I really want to explore with my art, so getting it in a sketch
like this gives me a good feeling about taking other figures with other
emotions forward to finish.
Day 105: Sometimes, you just gotta draw a naked lady with a ferret and weird hair.
Day 106: And then I drew one of Lauren Cannon's ladies without realizing. (Well. Needs more creepiness and less softness to actually be one of Lauren's. But still!)
107: I think there's something to be said about a person who enjoys
doing brickwork as much as I do. But hey at least there is a lot of
Day 108: This feels like a cop-out, because
all of that intricacy in the halo? I can do that stuff in my sleep. It's
a null-space time-filler for me. It looks nice, though, and further it
apparently looks impressive?
Day 109: So I broke the poor girl's neck in this, and what, just what re: the spacial relationship between her and the boy - but even so, I'm... surprisingly fond of this.
110: I asked my roommate to give me a prompt; she said, 'a monastic
order of a fictional god'. So there's this. Those are meant to be
braids, for what it's worth. There's a whole lot of untapped potential
111: So many of my ladies are soft and sad and flowey, that I decided
to take a day to do a lady who looks like Business. Also, drapery.
Day 112: ...and to follow up a badass, I do one of the softest, flowey-est ladies I've done in a
long time. Oh there are no regrets, because as much fun as it is to draw
hard-edged women, this right here will always be at the core of my