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The title comes from this haha ([ HaiKaveh ] Undisciplined Scholar from January!)

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I made this illustration using the "new technique" I had mentioned in [ Various ] GI+HSR doodles & sketches, while I was working on it I kept thinking "wow this is so much different than what I usually do!!" but in the end it turned out so similar to the illustrations I draw with the usual process haha
This outcome actually reassured me - I don't want to revolutionize my art to the point it doesn't look like me anymore but simply improve it, if not in the outcome, smoothing my process! I had done tests in the "wrong direction" before (e.g. I feel like in [ JingLuo ] Seat with a Divine Sight I've over-rendered some parts too much and cared for realism more than the emotions/expressions) so it's good to find a promising new path! 

The most fun part of this illustration has been the time spend deciding the extra effects and textures! I'm going to work on a tutorial for ⛲ FOUNTAIN tier covering all of those effects + others explored in previous illustrations!

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Sapphire

HAITHAMS HAND PLACEMENTS

Incarnadine Queen

I am sure you have answered this many times, but with the new technique how long did it take you to complete this and was that much longer than it normally takes? It looks amazing and I love the depth, one of my faves for sure. I don't know how you get so much motion into an image but something about the angle and depth of field really makes it feel impactful.

KiraShion

I'm not often asked questions on the process actually (though you're very welcome to!!) - let me reply: Usually I work on layers (one or more for shadows, one for highlights, one for reflected light...) and each layer has its layer mask which allows me to quickly edit anything. Another pro of this process is that you can decide to stop at any level of detail (using more or less layers) - before sealing the progress and painting the final details of a layer on top of all. This process works wonderfully in comics when you gotta be efficient but make sure there are the juicy details!! For illustrations I know I want to go in details - I've practiced the above process for them too, but you waste time with layers only to paint over everything for hours regardless of how precise you've been with layer masks... because only 1-2 layers for shadows aren't enough to create a satisfying depth, so you'll have to paint it over later... the new technique instead is faster because I simply choose the flat colors and then paint shadows, highlights, EVERYTHING on a single layer! I still paint over everything for the last details and it still takes a hour or so but I saved time avoiding the layers and this process is more fun and less "mechanical", so I enjoy it more!! Also this technique leaves all the linework visible doing justice to the hours I spend on it and all the other more I had spent perfecting my lines through the years haha The only warning I feel like giving is that painting everything on a single later takes more practice and knowledge - layering helps focusing on each component at a time, in this other case you gotta have everything clear because you're mixing all together! If not expert enough, you risk of wasting time painting over and over again to get the right shapes, colors and lights... As for time... leaving the sketching/inking part aside: coloring process 1 (with layers) takes me 1 hour for colors setup, then 4/5 hours of polishing and rendering, coloring process 2 (the new technique) takes 3/4 hours in total! One last thing because you mentioned it: I think most of the dynamicity is created by the angle. Since the Zhongtham piece 1y ago I understood the power of a crazy perspective and I've been trying to improve it! Getting the right proportions it's not immediate but eventually rewarding and super fun! This month I've done some of the most dynamic and angled poses in the Sampard comic, Renheng, this HaiKaveh and upcoming Wriolette illustrations! (Sorry for any Eng mistake, it's late but I immediately got into the hyped nerd artist mood to reply haha 🙈)