The counterpart to my previous painting of Akemi. This time it’s of her after getting in the time loop. I pondered a bit about the background and decided to go with the scene of her fighting against Walpurgisnacht. I wanted a darker background though so made it with twilight colors. The floating buildings are such a stunning visual that I wanted them present.
Since this will be a pairing for the last painting, I have modified the previous painting. I’ll add them both together at a later date.
The first line art of Akemi Homura has now been painted. I wasn’t too sure about what to do with the background since I want to differentiate them from the timid Homura before becoming a magical girl and the new bitter version after having to live her nightmare over and over. I edited the line art a bit before painting.
It took almost a year, but Momochi’s Ai no Dangan drawing has been painted. I wasn’t planning on making a background but as I was working I wanted to play around with some filters and learned I could recreate a screen panel so I played around with two versions of it. At some point though I might do something else with the background.
I made the love bullet first but felt it was a bit lonely. I then played around with an aura around it which I feel fits. It also reminds me of the Spirit Gun from YuYu Hakusho.
Because I was imagining this as a scene from a movie, I played around with some additional layers of film grain from a 70s movie. Of course I had to change the dimensions of the canvas so I expanded it, and added more background. I feel it gives it a nice touch.
The original line art was done for Inktober 2021 day 14.
With the idea of paying homage to the final scene where Jackie Chan defeats the Eagle clans master, I chose to make the background have that Chinese mountains look. For the Naoko painting I did last time I went for a flat painting style. This time I went for for my current painting style. I started with Tao Pai Pai and then painted Goku. Tao Pai Pai was actually quite simple, Goku’s hair though I had to think about. How could I keep his iconic hair style but also make it not so flat. That’s why I started playing around with crazy hair strands going every which way. I quite like what I ended up with. For the line art, I had an idea that I had in mind for a while. Usually I was selecting the white areas around the line art sot that I could isolate them from the background. But selecting the line art only and making a separate layer and filling it with the paint bucket tool. From there the line art is now isolated and I can modify it any way that I want. This has made the process much simpler. On top of that I started changing the color of the line art so that it’s not just black which I think gives the painting more versatility.
Line art originally drawn on April 7th of this year.
My drawing of Naoko has finally been painted. I went for an 80s anime style. I didn’t quite liked the way the eyes looked so I decided to edit them. I was thinking of adding a fence in the background but I think I’ll leave it like this for now. Maybe I’ll add it at a later date.
As we learned from chapter 5.5 of Astral Buddy, Misaki exercises (or at least tries to) in her apartment. Alone. For this reason I chose this setting. Just using the basic layout in the manga I decided to go with the point of view of looking towards the window. Although it was a cool idea, I wasn’t really thinking about the window at all.
So as I was painting the floor, and the wall I was feeling really good because I was doing it with no references and just instinct. But when I came to the window it finally hit me. The window has to have a reflection… For that I did have to see references to try and learn how I can make it work. So for that I started working in sections, painting over each section at a time. The base layer was just blue, then I started working with the reflections. I started with the floor then the bed which would be in front of Misaki. The second part was reflecting the rooms walls. For that I used the wall’s colors but mixing them with the blue base to get a translucence look. From there I played with lighter light transfer to emphasize the furthest part of the room to a more solid color of the wall to showcase how close the ceiling is to the window. Looking at the references online, the lights outside (in cityscapes) are quite vibrant and go through the reflections. Looking through the To Aru anime, the window lights (from the skyscrapers) are usually turquoise. The final part of the window reflections were about Misaki Shokuhou, but first I had to paint her.
I didn’t have much of a plan to paint Misaki, so I started painting her exposed body first. Whit the vase idea done, I started working on the sweat beads. Luckily I had an idea of how it looks like on surfaces thanks to the painting I did of Momochi.
That can be seen here:
The second section I painted were the shorts, luckily this was pretty straight forward. I decided to work on the shirt next because I wanted to figure out how to do it. I started with a base light warm gray and started playing around with lighter areas (the folds and shirt bumps), then for the areas that are tight on the body, I made see through to simulate the sweat. In these areas I played with the way light reflects off the wet shirt and the areas that are in the shade.
For the third section I painted the hair. With Misaki mainly painted, I started playing around with the painting and added more sweat around the body.
This time I wanted to try out making the line art more translucent (I think I put it at around 30% opacity) and adding an outline in a layer underneath with colors that correspond to each part of Misaki. I’m going to be playing around with this style more.
They really put a lot of details with Marin’s measurements scene. The amount of movement in the animation is amazing. I really wanted to give this scene a try.
When I painted the background and Marin, I felt it was still a bit lacking. When Marin’s body and contours were to my liking, I started playing around with darker shadows and lighter areas to increase the contrast. When I was satisfied, I then added light beams coming from the window behind Marin. I did this with the sergeant brush then changed the layer to hard light.
I’m going to leave the painting as it is now, but I may come back to it at some point later.
I wasn’t too sure what to do with the background, but as I was looking through my screenshot references I came upon a couple of a sunset that I wanted to replicate.
I was wondering whether to change the colors of the outfit from the reference of Kyôko Koizumi:
But I quite liked this color combination so I decided to keep it. As for the color of the sneakers, I was playing around with the idea of various colors like purple but I ended up with this black accent ones.
I know that Kii-chan in the vol. 20 Special edition chapter is supposed to be a BABYMETAL type idol, but I liked my idea of her being punished Kii-chan. So with that idea in mind I went with a Metal Gear parody painting. When I finished painting Kii-chan, I felt it would be kind of funny painting in Tomoko as Big Boss. But not as an active soldier but as a weapons dealer like she mentioned back in her chuunibyo days.
I was kind of worried about the crow, but it was much more straightforward than I thought.