Just to let my readers know, there’s a huge imbalance of blog articles about artist alley without me actually showing my own artwork. So expect more recent projects or photography here. But don’t expect them to update every week :P

I didn’t get in the Capcom Tribute, but I submitted a piece I really like and wanted to talk about it a little. The Udon crew had an insane amount of competition, so I’m not surprised I didn’t get in (heck, a lot of people who got in that book were veterans or creators of the series). So without further ado, it’s Rose, from Street Fighter!
ROSE_mockup I’m actually really bad at the game, and there’s not a lot of fan art of her, so I was happy just making the piece for myself anyways. She is one of the few characters in the game that I can sort of get a handle on (i can’t do a Z movement on the game stick, and I don’t really know how to handle charge characters, so her limited moves help me out on that). The original illustration is actually markers, but the background, textures, and glowing are done in Photoshop. The piece took about two days to complete, and I currently have them available as a mini print in my store :D

I’m a very late bloomer, but one of the earliest arcade fighting games I’ve ever played was Street Fighter 4. When I first played, I used a game stick, and so when I begged my brother to buy the game for me, I couldn’t figure out how to use the controller, and begged him to buy a game stick for me as well. Best big bro ever!
I really fell in love with the art, and the comics that come with it are AMAZING. I want to give props to the writers of the comic series, the flow is superb.  A lot of my current work was inspired by the game. When the characters pull out their special moves, and the scene changes, it’s so dramatic, and the comic is like watching the game unfold with different characters! I love the sumi-e ink washes that happen when the characters use a focus attack. Anyways, I’m just in my own little world with this franchise.
One of my dream comic jobs is to work for Udon to make a short Street Fighter. That’s such a long shot, but I’ll keep practicing, and hey, who knows! This is my first attempt, I’m sure one day I’ll make more fan comics. 


Arquebeous Dance: A Sio Ogura Fan Anthology


So I’m walking out of conventions for a while to work on this project, which is called ‘Arquebeous Dance’. It is a fan-tribute anthology for a series called Nobunagun by Masato Hisa, which has a VERY small fanbase, but very dedicated fans nonetheless. Which is why I decided to join this project and contribute a small comic for it.

The project is dedicated to Nobunagun:

You can check the anime out here, but I recommend skipping episode six and seven when watching the first time around, which are filler episodes.

Also, you can’t deny this is an awesome opening for an anime:

[You can read chapter 1 and the three most recent chapters in the manga here]

Anyways, a large reason for participating in this project was that the manga isn’t sold in America! A friend lent the Japanese volumes to me, but even though I can’t read anything, I just look at the illustrations over and over to understand (although my friend does clarify some things for me). So I hope, when I finish this project, some of you would be interested in spreading the word around, and if there’s enough of a fanbase, some company might consider translating it :D

Arquebeous Dance is a fan anthology that revolves around the main character SIo Ogura. Since the anime was accurate enough to cut off at around volume 4, I decided to make my comic the branch between what happens at the very end of the volume, and what happens in the beginning of the next volume. That way, it’s not quite a spoiler, but a bridge to understand what the outcome for the future of the series will lead to.

These will be the only two ‘preview pages’ of the nine-ten page comic, but I will also be including 4koma comics, and other illustrations in it too!

(comic is right to left, and no text)

set1_finalA set2aIf you’d like to participate, please check out our tumblr for more information on guidelines, deadlines, and contacting us to be on the list! Deadline for open call of artists is June 1, but completion of art is in September! Also, please only participate if you’re a fan of the series. When you pour your heart into something you love, the work always shows, and we want our anthology to be all about that! Support the series, support Masato Hisa!


Cosdrawing: Love yourself


Lately there have been articles all over the internet about photoshopping, feminism stuff, and young girls being unconfident about their appearance which leads to eating disorders, whatever. I think one of the greatest things about anime/comic conventions is that when cosplayers dress up, all of that crap is ignored, cosplayers are probably thinking ‘fuck it all i’m gonna do what I love’. Although the critics sometimes don’t agree, the initial passion of the cosplayer is always that they wanna be who they wanna be. Ya know, haters gonna hate right?

ALSO I WOULD LIKE TO NOTE THAT EVEN GUYS ARE SELF CONSCIOUS ABOUT THEIR APPEARANCE TOO. There as been more than one guy who has commissioned me to draw eight packs on them. Maybe it was a joke or something, but I mean, they asked me to change their physical appearence in some way. I’d like to also note that I’ve never had a girl ask me to draw her skinnier, taller, or bigger boobs or whatever. Also like to note that in my experience, more girls ask me to draw them than guys. And everyone of all sizes, shapes, racial whatever, I don’t really care blah blah ask me, it really doesn’t make a difference, since the same idea goes on in my head for this concept.  I’m sure it’s different for everyone though.

One of the most rewarding commissions for me is when the person asks you to draw them. Today I actually found a very memorable moment that made me realize how great it is to do it:


Mind you, this was four years ago in 2011 when these lovely two ladies asked me to draw them… but when I made it I was so nervous that the girl on the left would be angry that I made her a little chubby. I mean..well, she asked for me to draw her, and even with my lack of art skills it’s not that hard to see the diff of her size with her friend. But I did it anyway. I would feel more ashamed of faking someone’s appearance on a piece of paper when I was specifically paid to draw who they were, and I did just that.

When they picked it up, their reaction was quite different from what I expected, and I asked just to make sure. They were really happy about it, and the girl on the left said something like this: ‘yea a lot of times they always make me skinny, even though I’m not. I love how you’re so honest about this, I’m very happy!’ Her other friend agreed, and my heart lightened up.

I recall a conversation about the diff between drawing a cosplayer and making them into an anime character. You know, I look around other tables to see how they do it: make the usual anime figure, with the circle, line in the middle, and the upside down rounded triangle, slap some anime eyes, add the same hair color as the cosplayer, voila. It’s their ‘style’, and I have my own too. But I mean..they asked to be drawn, not to be made into an anime character. Do they really want to be skinny-fied and anime-ed into someone else? I actually don’t know the real answer to that question, but after that moment, I had made my own assumptions, and I’d like to share my thoughts:

1) Chubby people are chubby. They know it too, and when you take a photo of them, they’re not being shy to the camera, right? I mean they paid you to do it…

2) People have flaws. So what? We all do. Our nose isn’t a perfect triangle, we might have a few blemishes on our face. People have different skin colors too. It’s what makes us unique.

3) Girls have different bodies, not everyone has sexy D cups, they know it. I mean, unless they ask you to enhance it. Hell, boys don’t have perfect abs and aren’t all seven feet tall.  EVERYONE can get self conscious about their body, but they commissioned you to draw them specifically.

4) Their cosplay isn’t perfect, what do you expect?

5) I always tell them twice to make sure: ‘just to clarify, you want me to draw you, not make you into an anime character, right?’-er..something like that.

Even though I sit in artist alley and do commissions, I don’t know what the hell people do with these pics (and if two people are in it, who the hell gets it), but whatevs. I know one thing though-when people ask me to draw them, I make sure I am seeing the person I’m drawing, not the character I’m imagining.

Even if your ‘style’ is anime, comic, abstract, or whatever, I think everyone should believe that when someone asks you to draw them, you should see the person you’re drawing as a person, not your ideal character. If they don’t like it, I think you should tell them that they commissioned you to draw them as a real person, not a barbie doll. Er….something like that.

I wrote a previous article about it, but anyways I made up the word cosdrawor cosdrawing, which is basically a shortened version of me saying ‘drawing cosplayers so they look like cosplayers and not ideal anime characters’ But like I said, some people really only draw anime characters or very skewed comic book characters, but I still think they should have the mindset that they’re drawing a real person. Even if they’re not cosplaying, you should still think that.

When someone asks you to draw them at a convention, I’m pretty sure they want you to draw the person who just paid you to draw a person. They wouldn’t pay you if they didn’t want themselves on a piece of paper; they like who they are, they love what they look like. I think I like drawing these commissions, because it’s pretty much telling the person who commissioned you ‘I like how you like yourself’. Some things are just hard to put into words. 


I use cosdrawing as a means of figure drawing and studying how clothes work. As you can see, it’s changed quite a lot. At conventions it looks a bit different, but I think it still gets the point of this article across.


Guy in a green power ranger cosplay


I saw a real LIVE DEAD person!


I had the opportunity tonight to walk into a cadaver session in Merritt College tonight. I’m sure none of you care to know, but I went back to college to take courses that I did not have the opportunity to take in an art college. I am currently taking a class called Medical Terminology, and one of my classmates mentioned a class where they had two dead bodies being cut up. The teacher was nice enough to let her walk in, and I decided to take my chances to tag along and draw the dead body. Boy was I surprised. Not freaked out surprised, just….surprised.


First thing that blew my mind was how the textbooks and the real thing do not look alike at all. Well, I kind of know the body parts are all color coded in textbooks, but this dead body, soaked in formaldehyde (I think?), …..well, it smelled a bit. My nose stung a little so I breathed with my mouth and it was a lot better. But back to topic, I had NO IDEA what a real intestine looked like. Wow my textbooks are so different. So just to clarify, your intestine is not some giant tube shoved into your tummy. It actually looks more like a sea anenome, where the tubes are all connected with flaps of cartilage together, so they fit in place. super duper crazy.


They let me uncover her face, and I was surprised how untouched it looked. But it was different. Something about it…it looks like she’s sleeping, but it looks like she’s dead. It was a strange feeling to see someone who would sleep for the rest of eternity. Then I saw the male cadaver, and he had very prominent muscles. The people cutting up the body picked out some veins/tendons, it was nuts. I had no idea that some veins are actually attached to arteries! Anyhow, the male cadaver had a broken arm, and it was an interesting draw:


(top left: piece of rib and cartiledge that was cut open, top right: giant artery that split between the shoulder, bottom: there was a bone sticking out of the tendons in one arm)

And here’s one more of the intestine. The fact that you can barely recognize what it looks like is because in textbooks they usually show the anterior view of the body on the diagrams:


But man….when I saw the teacher just pull out the thing I was so amazed…

And finally, the most intriguing session was when Professor Em took out a preserved esophagus to show me. Many, many things have cleared up in my head about how the throat works. Now that I’ve seen a real throat, it’s so much easier to understand how the epiglottis works (how food and air is separated in the throat). I also learned that taste buds really DO work deep in your throat, which is actually part of the ‘aftertaste’ of some foods. It’s not really that you just tasted it, it’s often that the receptors in your tongue that sense bitter flavors are towards the back, so when you have that nasty aftertaste, it’s actually your back receptors in your throat working!


Anyways, I came home smelling like….I know I smelled like something. Since it was the last day of the class, I will have to wait many months to get the opportunity to do this again. When I do, I think I’ll pay for the six week class session. Even though I probably won’t cut anything, sitting there, poking and pulling the parts to understand the structure of a real thing…really intense experience. I just have to keep saying this, but this is nothing like the textbook. I don’t even think finding photos online will help you. When you cut up, touch, feel, and understand the real body parts, it’s far more intense and different, and truly a very unique learning experience.


Angry Artist Alley! What do THEY want to buy?


So someone asked me on Facebook: Juri Renee  What cons do you sell your comics at that you have found successful?

Juri’s Deviantart: [link]

answer: Many, many years ago it was at anime conventions. As work changed, I did not really fit in to those cons anymore, as demand for original artwork was very low. One of my best experiences was at Hypercon or Kinyoobi Con (i forgot which one). It was one of those conventions that didn’t have much of a reputation but I ended up with more commissions than I could handle in the same day. I decided to pursue my art in another darker direction though, but it didn’t fare too well with my audience. The years after, it was not so great anymore. In fact, I saw a lot of moms dragging their kids away from my artwork telling them ‘not to look’. Sadly, either I had to changed my work, find another convention, or leave. It was a dumb move for me, but I decided to change my work to fit the crowd better. Fast forward years later, where I had a talk with Anthony. After that talk, I reverted back to what I loved to draw and just not care if other people hated it, and appreciate the ones who did like it.

I would love to mention a guy called Anthony Leano for my change in work. He is in charge of finding panelists in Sac-Con and Sac-Anime and I see him all the time. Actually I didn’t know that he was in charge of anything at cons until last year, but I am quite aware that he is more experienced at this than I am. He gave me a small talk:

“The cons I found successful weren’t about how many people were there. Nor was it how well done your work was either. They were the ones where the people who liked your art bought it.” 

Why would I say this? No matter how professional your stuff looks, if consumers at the convention weren’t looking for that, they’d turn their heads and walk away. As my work strayed farther and farther from generic anime-style like artwork to what it is now, the less my work was looked at in anime conventions. Fast forward about two years, when Attack on Titan gets popular for gore and intense action was the new hype for animation, people became more tolerant of my work.

Anyhow, here’s my timeline of work. If I sound sarcastic when you read this, I am not. But take it with a grain of salt, because everyone’s work has a different impact on other people.


Examples: (early drawings like this got me hundreds of bucks by end of the day) (then my work started to change ‘style’) (what my work looks now) This was one of the far more popular pieces. 2009. This was when Gurren Lagaan got very popular. Probably the prime years of my wallet cash, when people would actually start asking me to draw for them. Key Ideas: Find out what’s ‘hip’


.This piece was done in 2011. At the moment, Deadman Wonderland was an underground kind of series. I’d say it’s a decent work of inking, but when people saw it, it looked a bit ‘dark’. People pretty much glanced at it. Around this year, I started noticing a decline in sales. Parents were dragging their kids away from my table because the work seemed a bit too ‘dark’. From earning around a hundred to only fourty dollars at a convention (despite going to bigger ones)

Key Ideas: Drawing an unknown series is risky because people almost always want  the popular generic fanart at anime conventions. When someone really DOES see it and know the series, you can grab attention though. HOWEVER it can also be a double edged sword, as many other tables would be thinking the same. So sometimes having some obscure stuff can allow for better audience for certain niches. In the end, the best way to think about it is to do what you love, and the right people who love it will come.



A year later, when I only earned forty bucks, I took a short hiatus to reflect on what the hell I was doing. I think this was the time when I just stopped caring what other people expected from my work, and just do what I like myself.








I think this was about 2013, when I decided to find inspiration from other artists. One of the artists that I look up to was colorblind, and he introduced me to Pentel Brush Pens. I took inspiration from people like Jonathan Wayshak, Barron Storey, and Mike Mignola, then I played a whole lot of Street Fighter, and watched a shitwad of action anime, and and stuff just kind of brimmed into this mashup.
















Fast forward to 2015, where I realized that illustration never came easy for me, and I loved my nitty gritty comics more. Literally, zero f*cks given that it’s not anime-style, that it’s dark and gritty, there’s almost never color, and it’s a comic. If you don’t like it, well I’m not sorry it doesn’t meet your standards (lol I’ve become so salty).

Food for thought: I stopped selling at conventions around February 2015 to rethink some of my work, toss out most of my old stuff, and also received some very insulting comments from several people online. Although I walked out of conventions, immediately afterwards, projects and commissions opened up. So sometimes, if you need a little break from conventions, it might just be more rewarding to just work at home instead for a while.



(Read this article for even more detail)

You need to make sure you’re sitting behind the right convention to sell your stuff.

The reason I wasn’t selling very well at big conventions was that they were all practically ANIME and indie conventions. Some old conventions actually started off as comic conventions, but because the world of Japanese media grew, people lost interest in my work at those particular conventions.

Specific conventions attract different customers who actually have something else in mind. Of course, sometimes an artist that has completely different work will pop in and grab a ton of attention, but for myself, through experience, it has never happened with my own work, personally. Here are some ideas:

Comic Conventions: Tables here are the most expensive of all other themed conventions. Beginning artists, professionals alike. These conventions celebrate more of the professional/self published, and artist and customer understand each other far better. If your work is unique, and you have a decent knowledge of comics, this is a good choice. You can often meet professionals here if you have questions or you find a hard time with getting into the business. I would like to mention Tone Rodriguez for really bringing my hopes up as a comic artist. Great for the ones who want to break into comics. But if you’re not ready to earn back that hundred fifty for that table (some are more expensive), it might not be the best idea. Commissions are often based on popularity and skill of artist

Regarding crafts, I have seen so much variety (from clothes, masks, steampunk, toys, mugs, etc) that even I can’t tell you about this one. I usually go to these things to shop for comics. But in regards to that, comic conventions are definitely better to sell comics than anime conventions in my opinion.

On a personal note, I find the atmosphere at these conventions much more positive, and I often find myself going to these more to shop for comics and meet artists than actually selling, since opportunities to meet world famous artists are more common here than at anime conventions. My overall experience was that business is just average, but the people I meet is above average. I end up walking out with new knowledge of some sort to apply to my work, and/or just a LOT of swag. 

Anime-specific Conventions: I say ‘anime-specific’ as in the description of the convention IS  an ‘Anime’ convention. Some are not called that, but happen to have a lot of ‘Anime’ artists. I know that word means ‘comic’ in Japanese, and the style can mean a lot of things. But why do I call it ‘manga’ or ‘anime’style? Think about that for a second. Okay you can stop thinking for a second. Or keep thinking. But what’s the first couple things that just popped up in your head? Naruto? Bleach? EXACTLY. This genre of art, this demand. Don’t expect too much commercial exposure here anyways. Few are professionals walking around a convention like these looking to hire people. Places like these are loaded with hormone-rushed teenagers and adults in love with a fictional character a bit too much (I’m one of those as well). There are lots of moms dragging kids there too, so you have to watch out. The first thing that pops out to a consumer is the fanservice delivered on your artwork. Draw Kirito with no shirt and his sword+jacket, the girls AND guys will be flinging at you. I use the word ‘fanservice’ but I also mean very dramatic moments in the series which bring back emotions to the viewer. For example, a death scene, or a character rising up from the ground. Second is if they recognize the series. A picture of Sakura kissing Naruto on the cheek would grab far more attention than a drawing of Gasai Yuno kissing Yukiteru(Mirai Nikki). Also, when you’re asked to draw them as an anime character, slap some ‘anime’ eyes on a circle, put the same color shirt and hair on it, and you’re done (sarcasm). I’ve never seen an unsatisfied customer staring the most pathetic attempt before . Not at my table, not at others. Nope. The whole concept of them being an anime character seems to blow their mind. None of these concepts requires a Da Vinci to handle it.

For craft artists, I can simplify it to this: ‘Kawaii is the way-ee”. Cute stuff is awesome. Nerdy cute stuff, even cuter. I don’t think I need to say more here.

Exception: Yaoi-Con is a 17-years-or-older convention. Because moms don’t bring their kids, and the people are old enough to understand the effort we put in this, original art is a bit more celebrated here. Also, you can put more adult stuff in front.

In my personal experience, my work used to sell really well at anime cons, but the more my work changed, the less business I was making. I’ve tried fanart vs. non-fanart, and for me, fanart definitely sold much better than non-fanart, but when I did art trades, a lot of the time the artists would want my non-fanart prints. I’d still say that my highest business yield are anime prime conventions, just because the fanart usually revolves around anime series or cartoon series often seen by anime fans.

Indie/Craft Cons: These emphasize artists the most. They vary from professionalism to really indie. I will explain the ones that are ‘Indie.’ These are usually handmade work, self published, or hand crafted. Because they’re varied, here is just one idea I picked up: Make sure your work looks ‘hand-made’ and/or ‘unprofessional’. It seems, from my experiences, that things that have been set into online printing presses are barely looked at, while comics that have been hand made/screen printed and stapled sell MUCH faster. Quite a number of them look like shit to me actually (not the art, just presenting it). Even more are the black and white printer paper copies that look rushed. Also, making it unique and artsy helps. It’s hard to interpret that idea, you just have to figure that out on your own. Do not expect many commissions at all here. People are as broke as you, lurking at tables. Unless the customer is aware that they can ask for commissions, don’t expect much from here.

Regarding crafts, these conventions are the most erratic, so I can’t give any specific advice here, sorry. All I can say is that I like buying homemade soaps :3

This is all speculation from my experience and some experience from other artists who have gone to these small ones. 

Exception: LARGE indie comic cons, such as Alternative Press Expo has been regarded more for very serious individuals trying to get into the art world, although it is for indie artwork. These should be regarded more as ‘comic conventions’ and not ‘indie’ conventions even though the intention is for indie artists.

Cultural Events: These sucked for me the most. All I can really say is to keep your work unique. Because it celebrates a culture, there are many other people obviously selling the same thing you are, or can also see a professional company/business/store that has it right in front of the window for cheaper. I can’t say more to this, because I’ve never had a positive experience with it. They’re usually boring anyhow, since people walking by are just there to browse and not buy.

So there you have it. Don’t buy a table where you’re not sure you can earn back enough money to hit the green zone. But it doesn’t hurt to try it at least once in your life to have that experience. Click for article.

Some food for thought:
This is just a personal blurb, but I think if you want to sell fanart themed work, you should like what you make. It shouldn’t be art that is forced on to you because some random person online really wanted you to make it and you didn’t even feel like drawing it. I think artists should make up their mind on doing their favorite things instead of doing something they don’t even know about or even care about. So make something from the bottom of your heart. It may not be the most popular character from the most popular series that you don’t even like, but it’s something you put your heart into, and those are the ones that build friendship bonds between customer and artist. 


And you thought Copics could only do one thing?


Ah, I was once given the question ‘why don’t you use watercolors instead?’
Well, I mean they’re cheaper and can do a lot too, but I guess the only answer I have for that is ‘because it’s different’

I am very angry and disappointed about kids who invest in these fancy Copics without even understanding how much it can do! I mean, I guess I used to be one, but my first set was given by my friends in highschool as a gift (they chipped in to get me a set! d’aaw). I’m gonna say a ton of tutorials online only show you how to do it one way, and well….there’s more than just a few ways to utilize a marker.

First off, recently I decided to invest in a copic aircan set. I got it because I saw some frames from the comic Dorohedoro that looked like it was airbrushed…then had the urge to copy that. For anyone interested, I highly do not recommend you buying it unless you’re REALLY serious about using it, not a noob, or dedicated to learning it. I especially want to emphasize the last one–some people buy copic markers because everyone else is using them, and find out they don’t really use it except to color spots on pictures or draw lines. Get it if you know what you’re doing.

And here is a tutorial about a piece I worked on, colored entirely with Copic Markers:

1. The first thing to any picture is to think of a topic and draw out the idea. For me, I was thinking of Ghost In the Shell, killing robots, cyborgs and just happened to be reading Battle Angel Alita as well. Anyhow, I started with the blue line pencil, because as any of you know, I keep losing my pencils and the color blue just happens to pop out of my pile of pens more than a pencil.

2. I used a dip pen to ink it. Yes, entire thing. Took an entire night and morning, but it was cool.

3. When I scanned it in, I realized the composition was POOR. But I kept going, because I knew I can just crop it to whatever size.

4. I colored in the girl, and started airbrushing (Copic Air Can, adaptor+ 180). I forgot to take a photo of me coloring the girl, sorry sorry ^_^’


5. As you can see, when you’re done airbrushing, it looks awful. BUT, don’t fret!

6. I smoothed out all black/blue areas with grey and more black markers, and the shadows tightened with the markers. I did not airbrush for this. I also didn’t show the part after this, but I had to go to the art store to get another can.

7. NOW you’re wondering ‘no way what the hell are you thinking? Well, I watched simple airbrush tutorials, and I remembered a demo that Edel Rodriguez did in my Illustration 5 class where he masked areas with Frisket and just rolled solid colors over it. Well, here I gave some color and depth, and then..

8. Ta-da! peel the frisket paper!

It ended up looking like this:

sweet, clean, and sexy.

Now, the final run.

9. Again, I put frisket paper on the thing again and airbrushed a peachy background (there was enough grey in it, I had to brighten it up a bit). Then I colored in the basic flag, but it was too clean for my taste.

10. I airbrushed some random colors, but it STILL looked too smooth. So I used my colorless blender, and made spots by just dipping the marker onto the flag for a few seconds. Usually that’s an awful thing to do with your images, but for this particular picture, I wanted that flag to look a little less joyful and a little more nasty. Also, it was blending in with the hair too much.

11. Well, done with the picture, and scanned it in. However, I mentioned the image’s composition is very poor. Plus, I needed to make this postcard size so I can print it at a convention. SO, the final picture ended up like this:

I was going to add some white highlights to it, but I kinda felt the dirty colors gave it a deep mood. I was thinking of adding texture to the saws, but I felt it would blend in too much with the foreground, so I didn’t touch it.

….and there you go. There’s more than one way to use a Copic Marker. Now if only the company could sponsor me…..

Some progress of marker work a year later:



Love is in the…Bar?


Well, it’s *that* time of the year. You know, the most lovely and most depressing time of the year. Well, anyhow, why not bring your loved one or pick up some chicks/dudes up at Raven’s Bar in San Francisco? 

1151 Folsom Street, only a few blocks from Civic Center BART.

Today , Sara and I collaborated on remaking the sign at the to fit the month :]


(taken around 5:45 pm..i’ll try and update a better picture later)


Well, If you can locate the bar, and get a drink on happy hour (while the sign is up), Take a photo of yourself and both of these signs (one on each side)–send them to me, and I’ll mail you a little gift! This is to promote the bar, as well as share the real drawings. This freebie is not hosted by the bar, but by me :]


HERE’S A SIGN (literally)


So anyways, you might have heard me talking about a bar in San Francisco called ‘Raven Bar’. It’s only a few blocks from the Civic Center BART station. The bottom two was a set I drew with a Christmas theme. To my surprise, it’s still standing outside!


here’s the current website:

1151 Folsom Street, San Francisco, CA 94103

So, the thing is, before these things go to waste,


If ANY of you go to the bar and get a photo of yourself next to these signs and send me a photo and post it up, I’ll mail you a special gift!

*one little freebie for each pic of you and each sign. If the sign is gone, then this offer ends, so better get a drink there :] If it’s a group photo, I will send everything to only ONE address, but everyone gets something.


I can’t drink alcohol for several reasons, so if you’re like me, and interested in something non-alcoholic, I recommend their strawberry limeade :3


What is livestream?


I’ve gotten a webcam for a while, and I often post on my facebook page ‘LIVESTREAM IS ON!’
I have been aware that some of you don’t even know what that is, so I will inform you :]


I will either hook my webcam online so that  you can watch a video of me drawing my work (or drawing requests)  LIVE TIME. As in, yes i will be talking to you if you type, or have a question, and you can see me make mistakes and fix them and draw and whatever, you can even give suggesstions. It is often accompanied by music as well. Anyhow, please watch my facebook page for those quick updates:


I also update at the same time on the following pages too :]

my deviantart:

my tumblr:

my twitter:

Basically, on nights where I’m not working on private work that can be shown in progress, I turn on Livestream. I get lonely, and the webcam is watching. You can talk to me while I work, request music, etc. Some days I’ll even just ask ‘so what do you guys want me to draw?’ I recently made a sample here:

 Just a one-nighter using markers and pens to draw Silica from Sword Art Online. I am going back into the comic convention business, so I need to build up a re-vamped portfolio of these things. Maybe after a couple more I’ll be set for here. I’m really iffy about drawing comic fanart, since Marvel and DC have gone wild about these things, and I don’t wanna get involved in a lawsuit (so next best thing? Darkstalkers fanart)


As any person has gone to my tables at anime cons, I’m open for commissions, I always have been, and I always will, you just have to ask me (and well, pay me too).




Women of the Deep Sea (preview)


There was some contest by a friend, his alias is “WenM”. I doubt I’ll ever win his contest, but I might as well enter this thing. Design of a monster.


Digital, Markers, and white gouache

I went to another art museum show called the “Royal Treasures from the Louvre: Louis XIV to Marie-Antoinette” and was inspired to create chimera like creatures. The design is based on a gulper eel (Saccopharyngiformes). I wish there was more material to study about these deep sea creatures, but unfortunately there isn’t much that has been discovered about this stuff.

AND, this is a preview of a small artbook I’m planning. At the moment I am dubbing it as “Women of the Deep Sea”. It will consist of species from the deep ocean floors, homogenized with a human woman (like a mermaid, but not). This is just a sample preview pic, I’m sure I could do a better picture depicting this freaky ass fish. Just wanted to show off a little progress.