Keeping in touch with the fundamentals of perspective, anatomy, color theory, and all that good structural stuff is so crucial to every successful webcomic. Today, we're going to talk about ways you can practice better to make drawing your webcomic better and faster in fun ways!

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Episode Release Date: February 21, 2024

Episode Credits:

Ally Rom Colthoff (@varethane) - she/they, chirault.sevensmith.net wychwoodcomic.com

Renie Jesanis (@renieplayerone) - she/they, kateblast.com

Rae Baade (@overlordrae) - they/them, empyreancomic.com

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The Intro "DO IT (feat. Shia LaBeouf)", and the Outro "It's Good To See You Again!!", both by Adrianwave, have been used and modified in good faith under the Creative Commons Attribution-Share Alike 3.0 Licensed. Edits include: Fade IN/OUT, and a repeat added to the beginning of "It's Good To See You Again!!". For more information on this creative commons use, please reference https://creativecommons.org/licenses/by-sa/3.

Transcript

00:01.88

Renie

Hello and welcome to Screen Tones: A Webcomic Podcast, where we talk anything and everything webcomics! Today we're gonna be talking in a little jam session about drawing exercises and fundamentals. I'm Renie, I use she/they pronouns and I make the webcomic Kate Blast!

00:22.37

Rae

I'm Rae, and I use they/them pronouns and I make the webcomics On Empyrean High and Overlord of Ravenfell.

00:28.26

Varethane

And I'm Varethane, I use she/they pronouns, and I make the webcomics Chirault and Wychwood.

00:35.67

Renie

So if you're just starting out making a comic, or even if you've just been doing it for a while, it's a great idea to incorporate drawing exercises into your schedule on a regular basis. It keeps us in touch with the fundamentals of perspective, anatomy, color theory, and all that good structural stuff that really gives our visuals the impact that we want. And it helps us avoid the distracting mistakes that we don't want! So let's get into our favorites and recommendations. So what kinds of exercises do you do to practice, and what are some good resources for those practices?

01:18.36

Rae

I would say that figure drawing is probably really vital to webcomic making, since usually people are the focus of it. I personally use just like either Clip Studio poses to make some challenge out of perspective, or I use a website called Line of Action which… that refers to the animation term “line of action” where you can get the flow of the motion, and I tend to find that really good as a digital alternative to a figure drawing class that you might not be able to afford or be able to go to in person. I also tend to do a lot of self-study and online tutorials for something that's my focus at the time. Like for On Empyrean High, I wanted to get better at pushing my boundaries for color, and in that regard, I tend to do cool colors, and I wanted to push into a bit more into warm.

02:42.21

Rae

So I would go and self-study a lot on gradient maps and see how my artwork would look in different kinds of colors, and then try to paint something with those colors the next time that I did something. There's no real like… linear way to work with it.

03:13.46

Rae

I would also say that when you're using a new tool, I love to see like all the kinds of ranges that you can get with it. And that usually includes the boring stuff like coloring cubes, and triangles and doing gradients and stuff like that with the tool that you are thinking of using, and that way you don't have like a gagillion downloaded brushes in your CSP file like I used to.

03:54.40

Varethane

And yeah, the notes about colors are interesting, because I've seen all kinds of funky exercises that you can do to kind of analyze the colors in pictures that you see, and one of my favorite little quick games to play, I feel like I've never incorporated this into my actual work, but I've always wanted to, to get a quick color palette that can be appealing, is find a photograph where you really love the colors and lighting in it and using… Photoshop is the software that I know, Clip Studio might have something like this too. But use the Mosaic filter on it at a really high setting, and it'll reduce the whole entire color palette of the photograph into like 5 or 10 swatches of pure colors that kind of match the palette of the overall image. And it's kind of a neat way of looking at something that like... with a photo it can be overwhelming how many colors are in it, but then just instantly, you could be like ”Oh it's like this nice like peachy color and a teal and then a darker green” and all that, and then you could kind of use those to build up a new image. When it comes to my own art and the practice that I do, I do try to do life drawing weekly. There's a group that organizes in my area where every week, it'll be hosted at a different member's house.

05:17.95

Varethane

And they're very active about finding models to pose for the group, which is all free. The models are basically paid in snacks and getting to hang out with a bunch of nerdy artists and seeing themselves getting drawn and it's not like… it's definitely super unofficial, pretty casual in terms of vibe. But it's a great regular thing for me to attend and kind of keep practicing that like, looking at how people look from different angles and in different poses. And like they'll often have cool clothing on, so you can figure out the way fabric drapes and stuff. This is obviously something like… I live in a pretty large city. This is the kind of thing that might not be accessible in other places. But there are often schools and things, and I definitely recommend taking at least one kind of formal life drawing class, even if it's an online one, at some point, just to get a sense of the basics and going through the poses and stuff. When it comes to online resources, there is a website called Posemaniacs which uses 3D stuff, and it has like a game on it where you can set it to thirty second poses and then 1 minute long poses, and it can go through basically an entire session of changing up the pose regularly.

06:45.68

Varethane

I find that fast poses are really helpful for really forcing you to figure out which part of the pose is the most important thing to nail down immediately, so you don't get caught up in the details, because you only have 30 seconds, you can really only draw maybe the line of the back, the hips, the legs and like, are the arms up or down, here's a circle for the head. But doing a lot of that will kind of help you get faster and faster at nailing down the action and selling what's happening, which is something that's important for any comic or narrative work. Another fun online resource to look at is SenshiStock which is… it's a collection of stock photos, but there's so many poses, and just like browsing through them is so great. Feel like if you're having trouble with a pose and you can't make it yourself in the mirror or get a friend to do it for you, going through their galleries and seeing if there's something that's close is a really good way to see how that might actually look in space.

07:53.59

Renie

Yeah, and I know they recently rebranded to AdorkaStock, which is great, and they have a sketch site that similarly has that timer that you can set to multiple different things and they've just they just have a wealth of just great figures to study and from all different poses.

08:08.95

Renie

I know they like to go out in the world and use trampolines and mattresses and get weird angles. It's great. They're awesome.

08:20.75

Varethane

And I think they did a series, like the two that impressed me the most were the one that was like poses taken underwater, so like models were weightless, and then the other one was through glass.

08:25.91

Renie

Yeah, oh my god.

08:32.64

Varethane

So you could get these crazy angles, like completely below, but from like two meters underneath and stuff like that.

08:38.64

Renie

It’s really cool! I also like to figure draw, figure drawing is just in general a number one practice for you to incorporate it. The other thing that I like to do for studying figures in anatomy is I have a book that if you went to art school which I didn't but I found out from someone who did um, it's the constructive anatomy by George Bridgman it's like a hundred year old book first published in like the like 1920 s or something. Um i.

09:18.94

Renie

Another great resource for studying anatomy is this book, it's from the 1920s, it's Constructive Anatomy by George Bridgman. It's really ancient, but it's got tons of diagrams and information on how various different muscle groups interact when you're drawing them, how poses work, and even though it's like 100 years old, it still holds up, and it's a great resource to just flip through like “Boy, I'm really struggling drawing elbows”. And you can just dive right in, and it's I mean it's a really good resource for high detail. And that's the other thing to think about too, is when you're doing fundamental studies is… everyone always has that moment where they're like “Well, I don't really want to draw realism, I draw more cartoony, or I draw anime, so I got to study that.” and it really comes down to, you have to really study the basics of human form whether it's realistic or not. You got to really get the realism down before you can sort of break it down into your own stylized version.

10:46.24

Rae

And I think one resource that's really good for that particular part is a Twitter account called Manga Materials. They do a really nice breakdown on their personal anatomy studies and why some things for that get stylized often look weird and ways to make it look more natural. So.

11:13.14

Renie

I love that Twitter account.

11:16.66

Rae

Yeah, I would really recommend giving that one a look if you are trying to stylize something, and you're going “That doesn't look quite right?”

11:26.89

Renie

Oh absolutely, yeah, it's great that there's just so many resources online too, because as Thane said, I also get the benefit of living in a big city. So I'm able to go and take maybe a class or two a year over at the Museum of Fine Arts, or at one of the other local community colleges. But there's all these resources online or in book form that you can obtain, that are just really good to have to sort of help with that. The other resource I really like having a physical form, to sort of talk about the comics making process specifically, is the Making Comics series by Scott McCloud. It’s a fantastic little resource for talking about panels and perspectives specifically from a comics perspective.

12:40.69

Rae

So how do we distinguish between art that's breaking the rules for stylistic purposes, and art that's breaking the rules in a distracting way that maybe we need to practice?

12:56.20

Varethane

I feel like this one is always going to be kind of subjective, because my personal answer is like, if it distracts me! I know that that's just kind of… well the definition of this word. But really I think what it comes down to in comics specifically, because of course we are talking about comics, is that if it gets in the way of the reader understanding what's happening, or if they can't focus on the intended tone of the story. Like if you're trying to tell a really dramatic and serious story, but maybe the character expressions are just looking goofy, and it's hard to pin down why. But it kind of wrecks the mood that you're trying to sell, then I would say that that is definitely something that practice is going to have to come into play to to help address, because it is definitely... you can convey a whole story and it can go totally well with art that might seem kind of rough or unpolished or whatever, but it still has to communicate what you want it to the creator, and that's where practice can really help, at least for specific things.

14:18.76

Renie

And it's interesting because you can see that a lot in comics and manga, where the creator definitely has a strong grasp on anatomy and on the drawing fundamentals, and then they get into a silly scene and they just draw like.

14:37.60

Renie

Noodle arms and like everything's all broken, but it still looks like it belongs in that comic, and a lot of that just comes from the practice, because they've had practice and they know “Okay, here's how I can break the rules and have this pool noodle look and things still look like an arm and have everyone recognize it.” Because if you've tried drawing in that noodly style, it's hard to get it right.

15:06.97

Varethane

And it really is surprisingly hard to draw, a good… even those super silly TVs and stuff in a lot of manga, they can look very awkward and it's hard to pin down. So I feel like it's a bit of a cliched phrase, but you have to know the rules before you can break them, and to some extent this doesn't mean like everybody needs to go out and get a Bachelors of Fine Art or something, but spend a bit of time figuring out what things actually look like when you look at them for real.

15:23.46

Renie

Absolutely.

15:39.36

Varethane

Instead of only reading other cartoons and seeing how other people have simplified things, and not actually going back to like what those things look like for real, so that you can find your own take on them.

15:55.60

Renie

Oh absolutely. It's really hard to get into that, because that just takes time, and that can be very hard for people too.

16:11.57

Varethane

And there's all these weird little… I've been doing design work for props and things like that a lot as kind of my full-time occupation now, and this means a lot of looking up references, things like jars and doorknobs and megaphones and stuff like that. And often the way I would draw that thing before I look at a reference is going to be pretty whack after I actually look at a reference and draw it out and I'm like “Oh! I didn't even realize that there was this attachment here and like, oh it's got like these extra lines and like, that's how those pieces fit together!” Just little things that when I'm going in and drawing them for my own comic, maybe I'll decide to leave those things out anyway. But knowing how the actual thing functions can help me kind of build a mental library of those objects or character designs or costume pieces or whatever in my mind, and then it's easier for me to draw them in the future.

17:15.79

Rae

And that is undoubtedly good advice. I always tend to draw things a lot better if I know why they are the shapes that they are, and it really does help. Even if you don't draw the thing, you at least know the function. I find for me, I'm kind of like Thane, if it's distracting, then it's distracting. But overall, I try to view comics as a whole, and it really depends on if it breaks immersion for me in the actual storytelling, if it's just like a “Oh. This person drew 6 fingers on this character in the background,” I'm not going to really care. But if you have this super cool zoom-up of this character doing an action pose, and they have 6 fingers, that might be a little bit distracting for me.

18:20.95

Varethane

And their hand is like right up in the camera zoomed in, too.

18:21.30

Renie

Yeah, and it looks like one of those AI drawings.

18:32.69

Rae

And if it's not the princess bride, we don't need 6 fingers.

18:36.12

Renie

Intend your 6 fingered hand.

18:42.10

Rae

But yeah, overall,I find that as long as you're clearly telling the story for a comic, I don't really particularly care how polished artwork is. But you do need at least some illustration overlap to be able to tell a visual story clearly.

19:05.31

Renie

Absolutely. And I think that one of the things that comes with a lot of the fundamentals practice is like when you've done those enough, then you can go back to those same studies and go, “Okay, how do I now translate this into my style?” And you have to really think about it with intention, and you can't really do that from the start. So that's where going in doing, once or twice a week, doing these studies and that helps you build that bank of information that you can dip back into when you're having an artistic block, or if you're struggling, and it's a lot easier to figure out what's going on when you have that structure in your approach.

19:59.74

Varethane

Yeah, definitely. So for the last question that we have in this episode: What is your advice to people who are struggling or might be reluctant to take time out of their busy comic-page drawing schedule to practice things on the side?

20:17.21

Renie

My first thing is to just slow down, because when you rush through um, trying to because I know webcomics is a long game… you're playing the long game when you start a webcomic. So if you're looking for something fast that you can get done in three weeks, maybe pick a different thing than a webcomic! But where with webcomics, you have that time as a benefit because then you can be like, “Okay, I can just pick a day and be like ‘Okay this is my studies day of the week where I don't touch the comic, this is just when I draw for myself or do figure studies’ or ‘I'm going to study how to do a limited color palette’” And once you make it part of your routine, it becomes part of a practice. The other way to really help that become a part of your routine is to grab a couple friends to do it with, like they must say and with their figure drawing, or join a class. A lot of local libraries will also do figure drawing, maybe not on a weekly basis. But if you see it coming up, sign up for it, or drink and draws are a great place to sort of go in and practice fundamentals in a lighthearted setting with other people.

21:44.79

Renie

Definitely getting people involved in your process helps you, because it's a lot easier to go to the gym if you have a gym buddy, so it's the same thing with drawing practice.

22:02.53

Rae

For me, I'm all about multitasking. Want to push color? Well, maybe try that next scene to push your color, and just make that entire scene a challenge for you. Or want to do figure drawing? Well, don't put too much detail in it, and then make it your character later. I actually did that quite a bit when I was taking in-person figure drawing classes. Or you know, want to practice expressions? Well, you can always make a bank of character expressions you can sneak into panels later, and that will be less drawing for you to do in the long run as well. So I’m of the mind that no practice that you do is necessarily a waste in general. But if you can save yourself some work, or multitask in some sort of manner, then definitely go for it. And, in my opinion, webcomics in general are supposed to be for experimentation anyway. So even if you want to drastically change styles for like, an April Fool’s joke or something, just go for it.

23:27.93

Varethane

And honestly my approach boils down to… I just find ways to trick myself into wanting to do it.

23:37.92

Renie

Artistic Stockholm Syndrome.

23:41.49

Varethane

I like the life drawing thing. It's absolutely become like a social thing for me, where I look forward just to spending time with the group. But outside of that specific context, like among other groups of friends online and stuff, sometimes we'll organize little life drawing sessions just among us. Like a few years ago… I think it was when the winter olympics was happening, and Yuri on Ice had recently come out, and I have a friend who's extremely into figure skating, and a bunch of my friends… like I'm friends with a lot of artists for some reason? I don't know how this happened!

24:15.41

Renie

I know, really.

24:18.22

Varethane

We had an evening where we got skating videos, and we would watch the videos, and we would freeze-frame the skaters, and then we'd all sketch the skaters in the poses that they were doing. Because if you actually watch figure skating, they make some incredible positions. And you only really see these if you're pausing it, because when they're in motion, it all kinds of flows together. But they're extremely flexible and they look really dynamic even in still frames. So I have sketchbook pages that are full of these figure skaters, and it didn't feel like work because I was just spending that evening hanging out with my friends, and we're all having fun like laughing and joking about it. So getting things like that together with buds like ah the SpiderForest Collective has been organizing these regular life drawing sessions that are just held in the public part of the Discord server, where someone will stream like pictures, or they've done sessions about horses and different animals and stuff like that, and then like action poses, and all kinds of fun things like that. So joining in some group activity like that, it can be extremely chill and casual and free. It can be just your friends, or it can be like a group that you kind of pop into and then pop out of after the session, like no pressure or anything, but stuff like that is great to look into.

25:43.80

Renie

And the other benefit of doing it with a group too is that it can remove some weight that you can put on yourself. Because I know sometimes when I'm doing studies and I'm just by myself, I'm a lot more critical of what I'm making, and I get into more of a mindset where I'm like “Oh, well this has to be perfect”. Then I lose sight of… figure drawing is best when you're studying it and you're going through it and it's loose. So doing it with friends can really help you sort of relax your shoulders, and sort of breathe a little easier and have more fun doing it and that will just help you in the long run.

26:20.22

Varethane

And it's also very fun in groups. I mean, depending on the group; sometimes people don't share what they're doing, but very often people will also be sharing what they're doing, and you can see how other people are kind of solving the same visual problem, so to speak. Like how do they handle their lines when you're all drawing the same thing, it can be really informative and kind of help you kind of pick apart some stuff in your own style, just to see like, “We're both looking at the same thing literally in this case and they drew it completely differently. But how did they draw it differently? How many lines did they use to draw the face? How did they render the nose?”, like all these little things like that. Another thing that I like to do, I am terrible at using references as I actually work on comics. Like once I'm getting into the zone of a page I never want to stop and find the right reference because I'm like, “That's going to take me hours and that's time that I could be spending just drawing the thing wrong first.” Um, and so sometimes I do draw the thing wrong, and then later on I have to go and spend 2 hours finding a reference and then redrawing it. But anyway.

27:29.86

Varethane

Sometimes I'll try to think these things through a little bit in advance, and spend some time getting to know what I'm about to be drawing, So there's a setting in my comic which is based on a part of Ontario, the province that I live in. And knowing that this setting was coming up, I played a very long game and spent years doing landscape studies of this place. Just like sitting down and painting in acrylics, like the trees and the rocks and stuff like that, just to kind of get a feel for what it all looks like. And it's all very beautiful, and it's very nice to sit in nature and look at nature for a long time, and have an excuse, because now you're painting and nobody can tell you to come inside right away. And it did help me kind of build… like going back to the idea of having a mental library, like now that's been added to my little rolodex of things that I can pull out and draw quickly.

28:31.54

Renie

And if you can't get into the wilderness right away, what I like to do as well is… I love that you said “Draw the thing bad the first time”, because what I'll often do is if I'm in a panel where I can't quite find the right reference, or I'm struggling with a pose, I'll go into a sketchbook and I'll draw the thing there. And I'll break it down to its fundamentals and I'll just draw it somewhere else, and then when I finally nail it there, then I just take a picture of it or I copy/paste it over. And then, bam! I've got the thing without having to redraw it on the actual page. So definitely take a break from your pages, or even have it like have a separate notebook or sketchbook that is just for this, so that when you open it up, you aren't greeted by like “Oh look at this amazing drawing I just did a while ago, right next to pictures of blobs!” Like have a sketchbook that's just blobs.

29:28.25

Varethane

And it's funny, I forgot to mention that, because I do have separate sketchbooks for different kinds of things. Like my life drawing sketchbook is a completely different one than the one that I use for figuring out comic things and sketching concept art or doing weird experimental stuff, and then I have like a completely different third small sketchbook that I use for thumbnails and layouts and taking notes and stuff like that. And all of this is also separate from where I do the actual final work on the comic itself, which is my computer. But having all these different mediums in which to work can get my mind kind of thinking along different tracks, like it helps me sort of settle into this, “Well I'm holding my thumbnail sketchbook. So obviously I'm about to thumbnail now,” I'm in the mood for it because I'm holding it. I don't know, it's another trick I play on myself I guess.

30:29.70

Rae

And just keeping a sketchbook in general, I feel, is vital, because you can do a bunch of observational drawings, studies, how to break things down without essentially having to do so in your comic.

30:44.88

Rae

And I'll find a lot of ways on doing sort of creative process games with myself. Like I'll go and be like “Okay, so here is this Gatorade bottle I just drank from, I'm going to turn this into a building today.” And it'll give you practice with the silhouettes and shapes, and still coming out with something that is unique and maybe that you could even put in your comic somehow. So I definitely think that creativity is also just a fundamental thing that you actually do need to practice. And part of that is trying to find different ways of looking at things, and you can do that by looking at other people's work, or going in with an intent of “I am going to make this random object into something else.”

32:02.11

Renie

And one of my favorite things is there's an artist... there's numerous artists on Twitter and Tumblr that will take can openers or kitchen utensils and turn them into spaceships and I'm always like “Wow, that's just It's it's such a good exercise and it's just it's right up but right about right on that.”

32:19.73

Varethane

I love those drawings. I know the ones you mean and they're the coolest idea. I will add one caveat to the sketchbook thing, which is that I absolutely recommend getting a sketchbook, but try not to make it a very fancy sketchbook, because those can be scary in their own right. And the ideal goal of having a sketchbook that you just kind of keep on you all the time is that you can just scribble in it, and you can make bad drawings, and you can draw 1 circle in the corner of the page and then turn the page and leave it mostly blank and not feel bad about it.

32:49.27

Renie

Yep.

32:56.13

Varethane

Don't feel bad about drawing in the sketchbook is the goal.

33:01.21

Rae

And the way I get over having a really nice sketchbook is I go and I pick a random page, and I take my most permanent pen, and I just mark over it and ruin that page. And then I have to use the sketchbook, because the sketchbook's ruined.

33:25.13

Renie

That's such a good idea too.

33:25.25

Varethane

And I always plaster the first 2 pages with like as many stickers as I can find.

33:30.37

Renie

Oh that's a great idea too. Yeah I tend to just do like a page. It's kind of like those old DeviantArt comments where it's like, “First I'll do a dumb drawing like that on the first one, and it's always something silly or stupid and poorly rendered, but you know wha,t it's there. It's broken it in. It's now an invitation to get dirty, mess around, and learn too.

34:02.10

Varethane

And something that I think about doing, which I haven't yet, but it's a free suggestion for anyone who like, say, has gotten a new sketchbook that they haven't drawn in yet and they're trying to figure out how to start it, is just to take every pen and like....

34:18.56

Varethane

marker and crayon and weird pencil that you own and test them one at a time with a little line, and then try painting over each line to see how the ink handles and whether it bleeds and stuff like that. I keep getting unpleasant surprises in new sketchbooks when I realized the first time I tried to ink something but like, “Oh the ink bleeds, because the paper's too absorbent!” and then I always wish that I had spent some time testing materials. And that's just a free way to do it that also breaks in the sketchbook.

34:50.61

Rae

Yeah, I highly recommend doing that. That's what I do with any new paper that I work with, because even if a pen is waterproof… depending on the paper, that's not necessarily true. Another thing that I always do, is you always want to test by doing a gradient as stark as you can on one side, and as light as you can on the other. This gets you a feel for the tool and the extremes that you can go with it. And I actually had a teacher that made me do it with every single hardness of pencil lead. And while that was really annoying, I usually only use 2 kinds of pencil lead for anything because I know exactly how dark I can go and how light I can go. But it is definitely a good way to know the range of your tools, especially if you're going to be using it to test things out.

36:01.26

Renie

And it's also a good excuse to do hashmark studies, or shading studies because then you can go “Oh, well I drew the sphere, now I can to shade the sphere and see how the tool works, but you're also studying fundamentals again. And bringing it back into that part of your practice. So it's multitasking. Absolutely that.

36:27.24

Varethane

So this is reminding me of something that… this was never really a part of my practice but I had friends who studied mechanical illustration and fairly hardcore like anatomical illustration for scientific stuff. And there's a series of exercises that people can do which involve on like a sheet of paper, you draw 2 dots very quickly, and then you draw a line connecting those 2 dots and then you draw another 2 dots, and then you draw a line connecting those 2 dots, and you just keep doing it to increase the accuracy of your hand-eye coordination on the page. Because when you're going really fast, it's actually surprisingly hard to land that line exactly on the dots, like you'll always be a little bit off center. Then there was another exercise which I think was, you draw a little circle, and then a slash through the circle, like as fast as you can, and you just fill a sheet with these little circles and slashes. And then there's like another one that's like, hatch 3 parallel lines and then hatch another 3 parallel lines. And the folks I knew who actually spent like, upwards of like half an hour to an hour doing this every day, their control over their lines was absolutely impeccable. I don't have the patience for it. But it is something that people do spend time, and it can make a difference if you make that part of your practice.

37:52.14

Varethane

Ah, however I don't have the patience for it. So if you don't, don't feel bad. It's fine.

37:57.33

Rae

And that actually sounds like a good way to practice if you're hand lettering to me personally..

38:04.46

Varethane

And it probably would be now that you mention it I.

38:08.26

Renie

I Yeah I could totally say that I'm gonna hit pause.

38:15.69

Varethane

Anyway, that has been a goat cheese and roasted red pepper wrap. Thank you so much for listening!

38:51.29

Varethane

I've been one of the hosts, Varethane. You can check out my comics at https://chirault.sevensmith.net/ and https://www.wychwoodcomic.com.

38:56.84

Renie

I've been Renie, and you can find my work at kateblast.com

39:03.30

Rae

And I've been Rae, and you can find my comic On Empyrean High at https://www.empyreancomic.com or Overlord of Ravenfell on Webtoon.

39:14.56

Renie

And we'll see you later! And now to go practice.

39:16.64

Varethane

Yay slappers.

39:19.10

Rae

And we're never done with fundamentals.

39:23.16

Varethane

I'm going to go draw a million circles and I'll become a wizard.

39:23.55

Renie

Our sisyphean cause.