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Description
Once again still figuring things out for my manga.

Firstly this is entirely inspired by this frame from Jojo's bizarre adventure: Diamond is unbreakable.

When it comes to the lineart i used the "felt pen" tool in clip studio paint. It has no size or opacity variation so every line is of uniform width from start to finish.

Where there are thicker lines this was achieved by either doubling up over a line or increasing the brush size, and of course occlusion shadows were drawn first
then colored in as opposed to allowing the brush weight to dictate this as before. This allows for much more control and deliberate line work.

Hatching got a bit hairy on the neck and hand but this will be something i'll iron out over time. Maybe Takahiko Inoe's method of defining shadow shapes first
before hatching could be useful in avoiding this in future.

I wanted to keep the tone simple, so i limited it to 3 values. Or so i wanted - It became four. Black, white, 40% gray and 70% gray.
The texture was achieved by using the "perlin noise" filter in clip studio paint which is preferred over the standard Dot or line screen tone.
Not sure how you would replicate this in other programs as of yet.

Overall i think this method looks slightly more mature, however i do want to try using a bit of line variation in future attempts.
It's definitely a step closer to what i want at least.

There are some minor inconsistencies with regards to the plot, specifically the clothing both characters are wearing and the length of the hair. This is solely because
i thought that making it consistent wouldn't serve the composition as well.

Most importantly, this has mainly been a note to myself, but if you did read this, Thank you for your time.

Description
Once again still figuring things out for my manga.

Firstly this is entirely inspired by this frame from Jojo's bizarre adventure: Diamond is unbreakable.

When it comes to the lineart i used the "felt pen" tool in clip studio paint. It has no size or opacity variation so every line is of uniform width from start to finish.

Where there are thicker lines this was achieved by either doubling up over a line or increasing the brush size, and of course occlusion shadows were drawn first
then colored in as opposed to allowing the brush weight to dictate this as before. This allows for much more control and deliberate line work.

Hatching got a bit hairy on the neck and hand but this will be something i'll iron out over time. Maybe Takahiko Inoe's method of defining shadow shapes first
before hatching could be useful in avoiding this in future.

I wanted to keep the tone simple, so i limited it to 3 values. Or so i wanted - It became four. Black, white, 40% gray and 70% gray.
The texture was achieved by using the "perlin noise" filter in clip studio paint which is preferred over the standard Dot or line screen tone.
Not sure how you would replicate this in other programs as of yet.

Overall i think this method looks slightly more mature, however i do want to try using a bit of line variation in future attempts.
It's definitely a step closer to what i want at least.

There are some minor inconsistencies with regards to the plot, specifically the clothing both characters are wearing and the length of the hair. This is solely because
i thought that making it consistent wouldn't serve the composition as well.

Most importantly, this has mainly been a note to myself, but if you did read this, Thank you for your time.