Introduction:

This segment of my portfolio is representative of the best of my more personal traditional artwork, showing what I've learned, and developed progressing my skills in this particular medium in chronological order.

This piece depicting the Legendary Pictures Godzilla was Inspired by my love for the Godzilla franchise as well as the Kaiju genre as a whole, this piece also was a great practice in monster design as well as translating a realistic design into something a little more stylized, but generally keeping the important elements of Godzilla's design by adding some minute details like his gills and smaller jagged edges.

Compared to other Godzilla designs of the past, the main trouble I had to overcome was  It was strangely hard to find a consistent reference for a design, so to overcome this, I improvised a little with his general shape using multiple references massing out the head to be different to the references but also to still be faithful to the source material, this piece was also a great practice and study in body proportion seeing as hes quite a large character.

This piece of the Pokemon Raikou was similar to what I wanted to achieve with the previous Godzilla piece, this time transforming a stylized character into something more realistic. I was inspired to draw this character as I was generally quite interested in seeing what I could do with its design, and making appear more "Legendary" like the source material states, I also just simply enjoy this design for its sharp edges and themes of electricity.

I begun by laying out the skeletal landmarks and general massing, using a circle for the head it gave me a good base to go from, then, so I could asses this characters posture as well as using used a line of action to determine how the character would sit, even if it is only going up to his shoulders. Across of where its face would be I drew the curvature of the head armor so I could properly map out the characters perspective, as well as see where he would be facing, and with that I was able to see where the snout and eye would go. I was generally quite pleased with the result as creature design is something Ive wanted to explore furher.

To continue in my line of fan-art, for a while at the time of drawing this piece I was in a phase of drawing Sonic the Hedgehog, I was inspired to draw this through listening to the numerous sonic soundtracks, especially that of any final boss theme, where this design would be more incorporated. with the music I came up with a pose to represent it.

Circles played a larger role in massing out the characters features as well as only using simple shapes for the mouth, hands, and ears as well as two large circles for the head and torso. Getting the shoes right was important to me as they are a very important element to Sonic's design, making them more pointy, helped in making the design more consistent with the character, almost making them triangles.

This piece overall helped me understand the fundamentals of a characters shape and how it can be utilized to make a drawing process quicker, and with being generally proud of the finished product and how well I replicated the style without a reference whilst also giving it my own visual flare.

For this piece I was inspired by a digital twitter artist, who like myself equally enjoys to draw her own original characters. I wanted to draw this character primarily because of her unique sense of summer fashion, an aesthetic I personally enjoy, and have enjoyed a lot across my previous artwork. I also was inspired at this time to start practicing drawing tiger based characters for a change, and to steer my attention away from mostly canines.

the accessories such as the chains and belt felt rather satisfying to get a realistic result from, only being able to be achieved by an extremely sharp pencil. I felt incredibly proud to have captured the clothing detail the way I did, carefully navigating where there might be a contour, seam, or stretch.

Body types was something I was challenged with as well in terms of this character, I primarily used the use of squares and broad curves during massing to accentuate her semi-muscular. Overall I was quite satisfied and surprised with how well I was able to draw differing body types on the fly.

During the time period when I was fixated on Sonic the Hedgehog, I wanted with this piece to transform an existing character of mine and experiment to see what it would look like in the modern Sonic art style and proportions. Inspired also by the numerous Sonic original characters that swath the internet. I felt it would be fun to create my own and to venture further into adapting different styles to my own, and to aid this, I always kept my pencil sharp for some more striking line work.

This time, compared to my previous sonic artwork. I had a little bit more of a challenge when drawing their proportions, as their hands would reach their ankles, I thought this to be strange, but is accurate to the visual references I used, this initially threw me off from the knowledge of anatomy I was so used to.

Entitled "Magical Cass" this piece was a collaboration between myself and my boyfriend, brainstorming ideas for stories based upon our own original characters, and drawing our own separate interpretations of how they might look in a world inspired by the the TV anime genre of 'Magical girls' wielding magical weapons and destroying evil. This design in particular, while being inspired by the cutesy pastel world of magical girls, had strong influences of punk culture woven into his design, as seen with the spikes, leather jacket, and gloves.

 the punk theming of this character also plays into themes of breaking negative cultural stereotypes, such as gender assigned clothing and cultural stereotypes, especially that of a male wearing a skirt, make-up, and knee high boots.

Another strong driving force for this pieces visual style, was the Anime 'Sailor Moon' I wanted to replicate the unique way their eyes are drawn to better simulate these characters being apart of that world, but contrasting the themes of the show in its design, once again massing the torso with squares to simulate a more muscular frame. The finished result, I feel, is one of my best in terms of concept and line work.

This piece created in tandem of "Magical Cass" Entitled "Magical Jay-Jay" was yet again part of the 'Magical Girl'  story and aesthetic me and my boyfriend wanted to adopt as a fun collaboration, this piece in particular was based upon themes of love, cuteness, and joy.

Japans 'Decora Culture' was a strong driving force of inspiration for this design in particular, being adorned with hearts, bows, ribbons, and what would be bright pastel colours. This design was intentionally made to fit both the magical girl aesthetic, but to also contrast Magical Cass's outfit to better symbolize who represents what as a team.

I was generally very proud of this piece's finished result as it fit the visual style I wanted to go with, utilizing methods of shape theory and shape semiotics, I purposefully used round and smooth shapes in massing as well as his outfit to grant the connotations that this character himself was soft in personality. As for structuring the character as a whole, a line of action attached to the skeletal landmarks was very helpful in this regard as it helped lay out what kind of body language the character would have as well as where it would sit on the page.

As break away from my artistic fixation on bipedal animal characters, I more recently shifted by focus onto more quadrupedal creatures, this most prominently was based upon the 'My Little Pony' television series. This series, as well as its brightly colored and fun, well written characters has been a great driving force to help branch out to different styles, as well as different types of character design.

To fit the softer themes of the source material I softened some edges to make them seem more friendly. Generally, as I did want to make the style of this piece more soft like the show, I also wanted to implement some elements real horses have, like the inward muscle contours on the snout and strong shoulders.

The wings however where another challenge I overcame while drawing, whilst looking at references for the wings, I noticed they would be a little bland if I drew them like they where in the show, so I made the addition to make them bigger as well as more details when including exterior feathers for the sake of style consistency.

The process behind this particular work in progress of my character was primarily inspired by my own personal progression as a person, as well as representing new found confidence I had about body positivity as well as how I expressed myself. Using a line of action that curved at the bottom showed that this pieces intentions was to have themes of "sassiness" as well as romance, this was a new step for my artwork, as I had not previously explored these themes within my art in which felt freeing in a way.

The eyes by far was the most fun thing to draw in this piece as it communicates so many openly interpretive emotions, and inner thoughts of the character. A challenge Measuring out the legs was also important as while they're mostly not in frame, their positioning matters for the overall pose and communicating its body language.

This artwork of the character 'Nightmare Moon' was another delve back into the 'My Little Pony' television series, this time however, focusing my practice on more villain characters as well as more dynamic poses and framing, I was primarily inspired to draw this character by the fact I remembered that I adored her design and voice in the past, and through that I wanted to accentuate what I think this design great, whilst also giving it my own visual flare.

Nightmare Moon's armour was one aspect I very much enjoyed as it gave me an opportunity to experiment with more realistic raised detail on her chest armor and moon on her chest. A challenge I accomplished was making sure the perspective was consistent, especially with the snout, this was accomplished by following a line that went from the horn to the tip of the nose, helping me measure where the snout would stop, as well as finding a position to draw the mouth from and work around that.

Overall, I was quite pleased I got to portray her wicked characteristics through my use of more semi-realistic visual elements as well as how the physics of the pose fell into place.