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_________________________________________________________________________________
Sorry for taking a while on this one. I did a practice sketch between the last piece and this one like I usually do, but I haven't gotten to posting it yet for whatever reason (I usually save those to post when there's been a gap in my other submissions). Given its importance (and also in part because it's the first time I've drawn popping with the new "digital-but-traditional-esque" technique), I ended up taking a little bit longer on this one than the rest. I'm not sure it made that much difference in the end, but I figure I should at least try. I'm still experimenting bit by bit with how to draw popping, too, though, and in this particular case how to translate my existing style and techniques to a slightly different type of drawing. Maybe I should add popping to my (long) list of things to practice.
This sequence really did take much longer than I had hoped, but maybe I should've expected this when I wrote a script that was fourteen parts long. If each takes five hours (which, granted, wasn't really my hope), that's over a month to finish at my usual pace, even without any other sketches or anything inbetween. I do think I should do more sequences like this for a few reasons, not the least of which being that they allow me to represent something closer to my personal fantasies (which involve a lot of dialogue and are fairly lengthy), but I need to be sensible about how I approach them. It also threatens to make me out of practice with creating finished pieces, too, which I haven't touched in a good long while now. I was actually experimenting with methods of (slightly) speeding up my digital work earlier, but it's been so long since I came up with them without me being able to actually implement them that I had largely forgotten what they were. Just not enough time to do everything, I guess.
There are benefits to doing these, though, and I'm thinking that I should probably do at least one for each of my characters at this point. This was very good practice for drawing Vi's body type (not that she wasn't already the easiest one), and I feel pretty comfortable with her at this point. I'm finally getting to where I have most parts of her (and the sylveon) memorized instead of having to look at a reference or past work all the time. Not having the unease of "how the hell am I going to draw this" coming into something helps morale a bit.
I'm not quite sure yet how sketch sequences like this compare to my finished work in audience reception, though. People have certainly been following this, and a number seem to be enjoying it, so maybe it's about equivalent. It's hard to be certain when anything having to do with Vi always gets more attention than anything else regardless, though. It does admittedly eat at my own morale a bit only making these simpler, less glamorous pieces, but the practice they provide does turn out to be necessary. It's hard to decide how to divide my time between the two things when doing either results in me neglecting the other for so long. Doing both at the same time certainly didn't work out, I don't think, because then the sequence moves along painfully slowly, and I lose interest on the finished piece I've been working on for months.
On to the next thing, I suppose, whatever that may be.",
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