7 thoughts on “klinh comics: 4”

  1. I’ve been shipping Kousei with Tsurumi.

    I think your insert is trolling him.

    Thinking back, I’m also pretty certain one of his character elements is not understanding how people see him.

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  2. Personally, I’m wondering how long it’ll be before… let’s say Suyin’s the most likely, tells Kousei to go into one of the girl’s bedrooms. Either her own, or Tsurumi’s. And how Honoka reacts to that request.

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  3. After admiring your artwork, yet again, I find it impressive how you manage to demonstrate the different fabrics of their clothes. While it’s not as obvious in the last panel, in the first panel it’s really easy (for me) to see. Makes me a little envious since I have less than zero drawing ability.

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    1. I’m a firm believer that 80% of drawing is learning how to see things accurately.
      To get better at drawing, officially I’d say do still lifes and life drawing, but … my actual stance is: start copying photos online to train your eyes (which is completely taboo in le art circles, but my art style also got blasted for being too ‘anime’, so screw the rules).
      Yes, learning anatomy and characteristics of items are important, but people let what they think something looks like override what they’re actually seeing, and when the latter is put on paper, then it looks off but it’s difficult to understand why until it’s compared to a photo.
      The other 20% of drawing isn’t talent, it’s muscle memory.

      I totally believe everyone can learn to draw; maybe not the mona lisa, maybe it’s just a super simplified style of drawing, but everyone can draw something… I know some friends who think I’m out of touch with reality on this subject though, so you know…

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      1. I can believe it. I improved my drawing some after learning some stuff along the lines of ‘how to see’ from some drawing books. (I’m bad at drawing; poor dexterity and don’t practice.)

        With pictures and text, we take it in, process the details, and summarize it into some meaning. Look at the author’s insert depicted in panel 3. Break it down into details, you have blobs and lines. Very simple components. But we process the whole instantly and see the perception that the artist desired.

        If you try to use the perception as the detailed specification to organize the work from, you’ll get lost at organizing the details. So, some will be wrong and mar the work. So, learn to understand the details, consciously seeing them directly, before using that knowledge of details to understand what someone will process them to perceive. Then one can use knowledge of the desired perception to apply now trained intuition to organize the necessary details.

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