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Learn Coloring Class by Hestia-Edwards


Hello friends,

The picture above is my current progress in my coloring course, Learn Coloring. The images were drawn by Christopher Kerry, and I am merely following his course and learning the mechanics of color. Color is a lot more complicated, but also more systematic, than I originally thought.

First of all, I have a confession: due to life circumstances (I am in the process of looking for another job) and other things, I have not been working as fervently as I would like to get the sequel comic off of the ground. I have made incremental progress in the sequel comic script, and in learning anatomy, but the enthusiasm isn’t present like before. I have wondered if I am “merely” depressed, or perhaps I am stressing myself out: I have a long list of things I want to accomplish, and when I’m stressed, I get less done than I usually do. Plus, the aspect of marketing myself, and trying to figure out how to improve my art so that it would market itself, has been
tiring exhausting. Marketing in general looks like an overwhelming amount of work: do I have to spread myself onto dA, Facebook, Instagram, SmackJeeves, Patreon, Tapastic, Webtoons, and more that I haven’t yet considered? Do I have to network on each site and hope that people would discover my comics?

I generally do not share my spiritual life on the Internet, but since this is directly related to my comics, I thought this was relevant. I have known along that God wanted my comics to burst in popularity, it could happen: I look at the sad art of Attack on Titan and the (original) One Punch Man, and I know if the content is there, the art won’t prove too much of a hindrance. Yet despite my efforts to show the comic to people online and real life, I haven’t gotten the breakthrough.

Lately, both the art making and the marketing has become a chore. I find myself making much faster progress in French, for example. I wondered about this: am I done with comics? Was I only supposed to draw Concerning Rosamond Grey, and call it good? Was I trying to force something that isn’t there? I recall a time when I tried to force a story into being, and I came up fruitless. At that time I felt God was telling me to take a break from story-making, and the fast lasted about a year. Was it time for another “break”? But I don’t have to force any story for the sequel comic: I am actually bursting with ideas for that, and I already know how it begins, what's in the middle, and how it ends.

But why am I lacking the fervor and enthusiasm to work on my comic, in any aspect? I prayed about this: something wasn’t right. Finally, in a couple of different ways actually, I felt God was telling me: “what if it is My will that your comics will never be famous?”

My immediate reaction was: “…But then what’s the point?”

Well, that reaction’s telling, isn’t it?

When I started my comics, I had the attitude of “Lord, if only a few people benefit from my comic, I will have accomplished my goal”. With a little bit of marketing on dA, I got a few people to read my comic, and I was astounded that people would even be interested in it. My thoughts changed from simply humility to ambition: “if I got a few readers, what can I do to get more readers?” Perhaps ambition isn’t bad. If you’re like me, you daydream about people admiring your work, and getting general accolades and being interviewed. I think God could and does bless such individuals with success. But the early enjoyment of putting a story on paper changed to “I have to do all of this: I have to draw better, I have to market better, I have all of this, I have expectations to satisfy, I have to, I have to”.

But what if I don’t have to do anything? What if I don’t have to spend so much time marketing myself, and just enjoy the process of drawing and creating again? What if I can be free from the pursuit of successful? If God wants multiple people to find and enjoy the comics, what if He can do the marketing Himself?

I want to apologize for my lack of anything to show: but at least you know why I haven’t been very active artistically. I hope and pray that I find the pleasure I once derived from having my characters come alive on paper.


  • Listening to: Cool Hand Luke (the band, not the movie)
  • Drinking: Tea, because that's what I always drink
...Hi, friends. 

I confess I haven't done much in art lately: I've been having work-related stresses, and am currently looking for a new job. I'm trying not to be anxious, as I'm confident that God will provide another job for me, but sometimes I'm still anxious.

Today, I decided to take it easy and work on comic-related stuff.  I was working on the timeline for Lady Halaina's kidnapping (going month-by-month rather than week-by-week--more feasible). I was also working on character designs. 

The latest development with Nansha, my constructed language, is the debate of whether to have it written right-to-left rather than the typical Western orientation of left-to-right. My thinking was this: I figured Shas would primarily be left-handed (you'll notice that Elaishar primarily uses his left in the CRG comic). As left-handers tell me, it's a pain to write left-to-right, especially when using wet ink. So I'm training my left hand to write better, and using my right to make the letters "pretty". 

I've also taken feedback on my latest ink work (thanks to GPAD ), so you can see the new version here:

WIP: Elaishar and Halaina, Take 2 by Hestia-Edwards

I am also participating in an online coloring class, with coloring assignments of the instructor's art. 

Talk to you later (hopefully sooner than later),

  • Listening to: 1 More French Radio
  • Drinking: Tea, because that's what I always drink
Hello, friends! 

Today's the day I took the dreaded ASCP exam (and failed). I had decided that regardless of the outcome, I would take a (long) break and work on things that have been much neglected: language learning and comics!

I still think that I should pick a couple of topics and focus on those for a month or two; the trick is figuring out which ones to focus on first. 

1. Halaina's Kidnapping Backstory
Unless there is demand to see it, this will be probably be for my reference: I started with the kidnapping of Lady Halaina in California in 1857, and to make it manageable, I'll probably do a year-by-year outline (from November 1857 to the "present" of 1895-1897), and then perhaps week-by-week. I initially started with a narrative covering the first two months, but that will take, like, forty years to complete. ;)

As such, after some research, I found it did not make sense to have Halaina kidnapped outside of Spokane, Washington, because at that time there was nothing there. The main human populations at that time were in California, especially with the discovery of gold in the late 1840's. So you will see a change in the page from the epilogue from this:
Epilogue page 14 of CRG--Original by Hestia-Edwards
To this:

Epilogue page 14 of Concerning Rosamond Grey by Hestia-Edwards

I figured the main plot of the sequel comic will be in the Spokane/north Idaho area (where I mostly lived for the past 20 years).

2. I have also been pondering how to tackle human anatomy, and I realize I'm at an odd spot: I'm not a noob at drawing humans, so I developed my own guidelines at drawing people, especially the head, as you can see below:
Proportions Practice by Hestia-Edwards Early Algernon Savage Sketch by Hestia-Edwards

For adults, I put the eyes on the center horizontal line, and for younger people, I put the eyes below the line. Now the Andrew Loomis books, which are highly recommended on dA, have a different approach to drawing the head:

76c6662324947452f0fc0858aeef4f24 by Hestia-Edwards

The center line is reserved for the eyebrows. I resigned myself to thinking "well, I learned the proportions incorrectly, so I guess I have to learn it the real way". But then I found another anatomy book at my local library, and it surprised me:

51T0rpOztDL by Hestia-Edwards

2017-10-28-0002 by Hestia-Edwards

It says on this simplified page, "the eyes are located on the horizontal center line". 

So...Who's right? :D The takeaway message is this: not all anatomy books are for everyone. You really have to find a book that makes sense to you, and go from there. For example, Proko's videos on Youtube make little sense to; Loomis makes more sense to me; and possibly the Walt Reed book will make the most sense. 

There are other things to figure out, too: I would like at the very least get my naming system in Nansha worked out, I need 3D representations of various Shas, I need to finish the backstory outline, and finish the script for the sequel comic. I have most of it written, in bits and pieces: I just need to connect the dots and have it make sense. 

I'll keep in touch. :D

  • Listening to: Paper Route
  • Drinking: Tea, because that's what I always drink
Hello friends,

Long time, no write! I have good news: I finally got some furniture! One by mail delivery (the bookshelf), and one used with extra $ for delivery (I'm too cheap to buy a new desk). All of this hassle because I don't have a car. 

Desk by Hestia-Edwards

Bookshelf and Lamp by Hestia-Edwards

Wait, and a lamp, too?!

Yes: this is a special lamp. Actually the set I got included three lamps, two with umbrellas. These are special lighting lamps for inside photography. I never felt I could take quality pictures of my colored images because the lighting is always poor. Compare the image taken outside in overcast weather, versus using the lamps in a room with no sunlight:

Having Good Lighting Makes a Difference. :) by Hestia-Edwards

You can actually see the yellows, greens, and browns. :D

I love having a work space again: now I feel like an artist again. I haven't actually had a real desk in a year (the epilogue of CRG was completed on a card table). 

Most my free time from now until October 28th will spent studying for my medical laboratory science ASCP exam (blegh), but now I can fit in some art time. Currently I'm tempted by this coloring course: Tbh, I'm terrified of making colored images: I'm very comfortable with working with black and white. Black and white is like working in 2D, and color is like working in...247D. I've only done paintings with lamp light, because the lighting and color combinations are obvious to me: now painting characters in a field of sunflowers on a sunny day...Not so much. The nice thing about the course is it's not limited to Copics: it's easy to use Prismacolor pencils (which I have). 

I'm also tempted by the Inktober: we'll see.

Talk to you soon,

  • Listening to: Capital Kings
  • Drinking: Tea, because that's what I always drink
Yes my friends, I got not one, but two job offers on the East Coast. :D I chose the Boston job, and I start there after Labor Day. I started packing my art stuff:

Untitled by Hestia-Edwards

So I might not do much art practice lately. I did visit the Museum of Fine Art briefly while I interviewed in Boston, and realized...You don't speed through that thing. You need a few days to see everything. 

Upon seeing original oil paintings, it made me wonder: how did these masters learn to draw? I found that the classical art education was called the Atelier school of realism, and a first step is drawing Bargue sketchs:…

Essentially it's learning about correctly drawing what you see, and putting the right black-and-white values. I realized that this was what my art teacher in high school encouraged--she did emphasize realism above all else. It helps me appreciate her a little more, even though I still regret her not teaching us human anatomy. I might make a thread under the general forum posing the contrast between realism and construction.

Well, talk to you later,

  • Listening to: Herman's Hermits Pandora
  • Drinking: Water
(Sometimes I'm totally creative with titles--can't you tell? ;) )

I have been mostly absent on dA and other sites, but I have been busy at home, I swear. Here's some peeks at what I have been working on:

Untitled by Hestia-Edwards
Untitled by Hestia-Edwards
Untitled by Hestia-Edwards

Sculpting character designs, human facial anatomy practice, and language construction and research, respectively. I figured if I am making Minor Shas with odd facial anatomy, I should sculpt 3D versions, so I can reconstruct them on paper. This is how animation studios make characters with unique anatomy, and are then able to have them make sense on the screen: the artists have a 3D concept art, and can understand how the character looks in 2D. Here's an example of a 3D concept character design done by Chuck Williams for Disney:

Mrs-potts-maquette-disney-beauty-beast by Hestia-Edwards…

Regarding anatomy, I've been looking at Alphonse Mucha, Arthur Rackham, and Andrew Loomis artwork, and I'm interested in adding a little more realism to my character art. I thought I might have to use different guidelines than what I generally use (eyes on center horizontal line, top of circle being hairline, etc). I'm wondering if I don't have to change my guidelines and proportions too much at all: maybe just tweak them.

With my constructed language, Nansha, I've done a fair amount of linguistics research. This is what I decided:

1. Nansha will have SOV word order (John apple ate)
2. The adjectives will follow nouns (John apple red ate)
3. It will have a simple vowel harmony scheme (…)

I still haven't decided if the verbs will show person or number, or not (like in Spanish: yo estoy, tú estás, él está, etc) or not indicate either like in Japanese. 

But most of my energy has been spent on applying to jobs, and studying for the scary certification test:

Untitled by Hestia-Edwards

I also have a phone interview from Connecticut this Friday. :D I'm getting wanderlust: I've been in Idaho for 20 years, it's time to move out and see the world. 

Well, that's all for now folks,

  • Listening to: Eisley
  • Reading: In Plain Sight by Tom Smart
  • Drinking: Coffee

I’m afraid I’m going to be honest: I’m not likely going to start the sequel comic this year. There’s a giant list of things I want to accomplish before I undertake that task:


--develop the grammar and have at least a 1000 word vocabulary for Nansha (and plan out naming phonology)

--develop and practice character designs for the several characters in the sequel comic (at least 30?)

--practice realistic anatomy, learn how to make different, recognizable features.

--practice perspective

--practice using a color medium (currently thinking watercolor)

--world-building of the Shas (most of it is in my head, or not anywhere, yet)

--clean up Concerning Rosamond Grey pages for hard-copy

--finish script for sequel (I’m guessing I have half of it written: I jump around to write the most interesting parts first)

--make clay versions of some of the Minor Shas, as their anatomy is weird.

--reading and researching


Along with that, I have these other time-consuming projects:


--study for the medical laboratory science boards, the exam will be in August-September

--study French to an intermediate level by December

--study Japanese (goal currently undetermined).


As I currently “work” 40 hours a week for my MLS internship, this will probably be the schedule I’ll maintain for the foreseeable future. I tried making a weekly schedule where I do something different each weekday, but if I miss a day, then what? I also have a hard time switching gears between projects.


So, my idea, inspired from a member of the language-learning community I frequent (, was this: pick two-three projects for a month or more, and focus on those projects, and make rapid progress on those. So for the month of June, I’ll focus on these:


Nansha language


Clean-up CRG pages

(and studying for the boards, of course)


I feel that the Nansha is really important, because I’ll use it to make names of individuals, places, concepts, and also their world-view. When I begin reading a fantasy novel, my first criteria to whether I continue is to look at the made-up names: do they make linguistic sense, or did the writer just mish-mash names on a whim? I want my names to at least satisfy these criteria. I’ll also write some stuff to share with you guys, as well. :)

  • Listening to: Indochine
  • Reading: Bringing Elizabeth Home, by Ed and Lois Smart
  • Drinking: Tea, because that's what I always drink
I am currently doing my internship at a clinic on the Indian reservation. I asked my coworker if there was a post office on the reservation. "Yeah," he began, "but post offices charge you an arm and a leg: I ship boxes by UPS". 

While I found the prices to be equally expensive for UPS, this comment made me wonder: why did I prefer post offices? I could ship boxes via UPS or Fedex, two shipping alternatives. My best guess is because when I lived with my folks, we lived in a small town, and didn't have the UPS or Fedex options available. I realized my habit carried over when I moved away for school, even though I now live in a bigger city. 

This past year and a half I realize that I have habits or trains of thought that are not logical. The art related one is that, for some reason, I have felt that book covers should be done in digital art, or traditionally painted. I think of all of the manga artists that are skilled/talented both in their ink renderings of their characters, and in painting their characters. The oil paintings by Hiromu Arakawa come to mind:
Fullmetal-alchemist-vol-16-hiromu-arakawa-paperbac by Hestia-Edwards

For some reason, there was a deeply rooted belief in my mind that "book covers cannot have ink drawings that are watercolor tainted: you must forgo the drawing skills and be able to be a master at watercolor if you are doing a watercolor cover image". This train of thought also applied to acrylic or oil painting, or even digital painting. 

Now, why did I have this belief? That somehow ink drawings were inferior to being able to paint with pencil guidelines? I do not know where this belief comes from: maybe that's a cultural attitude? "Yeah, it's nice that you can draw, but oooh look at that painting over there". Is it because painting requires more control? Why is it that it's okay to make ink drawings for the internal illustrations, but we must paint the book covers? The original Harry Potter books come to mind, as does the Pauline Baynes illustrations for the Narnia books. 

Speaking of Baynes, here is a colored ink illustration she did for inside the Narnia book:
Pauline Baynes by Hestia-Edwards

And then I think of the more obvious rule-breakers: Arthur Rackham! Of course! He did both color and black-and-white illustrations, but they both were featured inside and as book covers for the books he illustrated. He could control the brush, no doubt, but he did not use color when a good ink cross-hatch would suffice. 
ArthurRackham GoblinMarket 100 by Hestia-Edwards

Regarding manga artists, not all of them attempt painting. Tito Kubo is such an example:

300full by Hestia-Edwards

He retains his inking style while using markers with fine results. Clamp is another example. 

With this, I feel that I can accept myself as I am: I am not skilled at watercolor painting, I don't have the time to be as skilled as puimun , but I know how to handle the traditional dipping pen, and I can make fine art with that, with extensive hatching as pleases me, and color to taint it.

How about you? What trains of thought do you just accept, and you're not sure why you have them?

P.S. They might not have printed Rackham's art on covers during his time, because they used leather or cloth with embossed titles. Perhaps, there goes my theory...
  • Listening to: Louane
  • Reading: The Making of a Surgeon, by Dr. Nolan
  • Drinking: Tea, because that's what I always drink
Hello friends,

School has been crazy, and life has kept me busy--I'm glad I finished the epilogue when I did, because I wouldn't have time for it lately. XD I had an opportunity to visit family that works in China, and spent a week or so there. 

I spent most of the time in the Ninxia provence, in central China:

20070615-0000000431 by Hestia-Edwards
I came to China thinking "this'll be similar to Japan." Well, they both have have chop sticks...For example, creativity isn't valued in China. Perhaps because of the socialism, or perhaps because of some other factor, the Chinese value Right and Wrong answers. They are masters of imitation, but not invention. The value imitations of old art forms, but not so much new things. An example is their traditional watercolors, which are far more detailed than what I see Westside:

Untitled by Hestia-Edwards

I was also thinking that since Korea has manhwa, and Japan has manga, that China should have their own comic tradition...Not really. A family member that works there had to find a comic, because the bookstores don't really carry anything other than children's materials. When I told some Chinese that I draw comics for fun, they told me "that's okay, you're still young". 

Untitled by Hestia-Edwards

Untitled by Hestia-Edwards

The art is done digitally, and I thought the four-comic-pages-per-magazine-page format interesting. I'll need to look up these titles and see if they are Chinese natives or imports. 

My internship starts next week, and I'm enjoying not having deadlines. I think I've fainted. My main goal is to improve my art and to make character designs. Lately I practice drawing from a Loomis book, and from a Mucha book:

Andrew Loomis Heads Study by Hestia-Edwards

And some watercolor practice from Stephanie puimun Law's book DreamScapes Myth and Magic book:

Puimun-Law Study by Hestia-Edwards

...And I'll be the first to admit I don't know how she uses alcohol splashes and gets those clouds: I would have an easier time to just sketch them from the start.

I also got a ton of art instruction books from the library. Confession time: I tend to have "book lust"--thankfully it's limited to libraries, rather than bookstores--where I collect a lot of interesting books, and have the time to finish one or two from the reaping. Then I start over again. Hopefully, I can work through at least a couple art books. 
  • Listening to: Louane
  • Reading: The Making of a Surgeon, by Dr. Nolan
  • Drinking: Tea, because that's what I always drink
Hello peeps! I now have my Patreon (mostly) set up, and it's here:

It will mainly have copies of what I put here.

Now, before you start asking, No, I will not put material behind a payment wall. I will continue to put comics, tutorials and other materials online for free. I feel the best way to gain an audience is to provide free material. The Patreon is only to function as a tip jar: if you have enjoyed my work, and you have the financial means, perhaps it will be on your heart to donate. But if not, that's okay.

For other news, I came across a snag with putting CRG into hardback: I have drawn the comic on actual manga paper, knowing the dimensions are different from American comics. As a result, CreateSpace does not have the right dimensions for printing a comic in the B or the A format (B4, A4, etc). I discovered does, but their books look cheap; the last alternative would be...Ingram Spark from the Lightening Source company, which is a huge world-wide book distributor, too. They also make nice-looking books. The catch is that I need to buy my own ISBN code, which costs at least $125, before I can make print on demand options through Ingram Sparks. Since my finances are currently tight, I'm praying about whether I should go ahead and buy one, or wait until I'm working again (come September), or what...

Anyway, for the epilogue for CRG, I imagine at most ten more pages, and then I'll figure out what's next. I confess I often feel bogged down by my lack of anatomy-drawing skills, and I constantly feel that I need "to get good" before I start my next comic. Judging by research on dA and online, it sounds like people spend hours and hours studying anatomy before they're "good", and the task seems unsurmountable with my other priorities (school, then work, then learning French, tutorials...) Then I asked a manga artist here on dA (she drew the art for the manga Wedding Peach) and her answer blew my mind:

Screenshot 2017-03-04 19.42.02 by Hestia-Edwards

I then posed another question:

Screenshot 2017-03-04 19.46.08 by Hestia-Edwards

This encouraged me immensely: certainly, I can still improve, but I don't need to be paralyzed by my inadequacy and "wait until I'm good at drawing humans" before I start the next comic. Now I will probably start the next comic this year sometime, rather than in the distant future. ;)

Question for you all: how does one find beta readers? Most of my beta readers for CRG have newborns at the moment, and I need to find people to tell me if the chapters for the sequel comic are any good or not. 

Well, that's my update,

  • Listening to: Korean rock
  • Reading: The Perfect Gibraltar: by Chris Dishpan
  • Drinking: Tea, because that's what I always drink
My lab classes were cancelled today, and this is the reason:

16178758 250633445349512 2623501801995253983 O by Hestia-Edwards

Snow day! I am a dummy!

For other news, I'm going to try to release bonus material on Thursday or Friday of week, for a little while (more likely Thursday evening). I found the screen shots for the second half of the long comic tutorial (yay!), so I hope to have that finished by Friday. I'll also do short tutorials on inking (cave walls, cross-hatching, Rockburn's hair, etc). I could also do tutorials on how to draw specific characters. Let me know if there's something specific you want to know. There are some topics I don't feel comfortable with, for example:


Mainly because I'm learning these myself. ;)

As I get more comfortable with anatomy, I'll upload more character sketches for the sequel comic. Under Scraps, you can see my anatomy practice from Andrew Loomis books. For now, you can find his books for free here:

The epilogue chapter is going to be under 20 pages, maybe as few as 10 total. I might do a short interim comic, but my focus will be getting ready for the sequel comic.

Regarding the hard copy of the comic, first I'm going to clean up the pages digitally, finish up the epilogue, and go from there.

I'm also thinking of expanding my horizons: I'm curious to try Wysp and PaigeeWorld. No, I'm not abandoning dA; I'll be here as long as there is an audience. I've also been praying about a Patreon page: I would not have a wall that hides goodies for subscribers; I want to keep everything posted online free for everyone to see. Rather, the Patreon would be more like a tip-jar, or a form of support like "I really enjoy your comic and works, and I want to see that continue". I would not offer rewards that only subscribers have access to.

Regarding watercolor painting, I had a breakthrough moment when I watched this video:

Realizing I can blend without a super wet brush or a super wet paper has suddenly made things easier for me. :D (Big Grin) 

I think that's all for now.

  • Listening to: 1 More French Radio station
  • Reading: Autobiography of a Victorian doctor
  • Drinking: Tea, because that's what I always drink

This evening I got to meet Brandon Sanderson. :) After thanking him for his time (he had been signing books for 5 hours) I was allowed to ask him a question, so I asked: “would you recommend traditional publishing or self-publishing?”

 “You definitely need to consider both,” he said, “if you have a lot of books you want to publish in a year, then that can act as advertising as you write more books. If you only write one book or one every few years, traditional publishing is the way to go, since the publishers will advertise the book for you.

 “What I would do is have at least three books written, and then submit the books to the major publishers. If you don’t get accepted, then go for self-publishing; don’t bother applying to second-tier publishers. Then as you do self-publishing, you already have three books you can self-publish in a year while you work on others.”

 After this I gave him my card with my comic’s information. “Here is my webcomic, and I would be honored if you would read it.”

 “Nice! I love webcomics!” and he set the paper gently on a stack of his things.

Image by Hestia-Edwards

 Image(12) by Hestia-Edwards


I confess I’ve been lazing a lot for my Christmas break, and I haven’t gotten much progress done on comics (I have been working on French—I think I have the pronunciation down now). Part of the problem is I feel overwhelmed with the things I want to get done. The best solution I can find is to make a daily and weekly schedule. Some big projects I want to make progress on are:


    1.     Epilogue comic (10-20 pages)

    2.     Anatomy practice/character practice

    3.     Writing sequel script

    4.     Working on Nansha, the constructed language

    5.     World-building of the Shas

    6.     Reading research

    7.     Make hard-copy of comic



I figured the way that I can make progress on all of these is not to dedicate a time each day to them—that doesn’t allow much time—but to focus on one each day for 1-2 hours. The comic drawing and the anatomy practice I can daily in short spurts, but not the writing or the world-building. Those require more time and research.

While I was waiting in line for the book signing, I was talking to a fellow fan about the Hobbit book versus the movies. His comment stuck to my mind: “the book doesn’t have a driving force—it’s about a bunch of dwarves who say, ‘let’s go get our kingdom back’. There’s no concrete goals along the way that push the story forward, and in the movies, they had Orcs chasing them to continue the pace”. While I do not care for the movies, it makes me wonder: should all stories have a driving force? Do I have on in my sequel comic? (this sounds like a question for the Literature forum!)

  • Listening to: 1 More French Radio station
  • Reading: A book about Victorian contraception and abortion
  • Drinking: Hot Chocolate
Hello friends,

I haven't been as active on dA lately, and this is why:

Untitled by Hestia-Edwards

This is the list of Gram negative bacteria that I'm supposed to memorize for an upcoming test. :) And this doesn't include the Gram positive bacteria or the fungi.

More interestingly, I've been working on this in my spare time:
CRG Extended Scene by Hestia-Edwards

I'm adding about four pages between these two pages:

Chapter 3 Page 13 of Concerning Rosamond Grey-2 by Hestia-Edwardsand
Chapter 3 Page 14 of Concerning Rosamond Grey by Hestia-Edwards

This is the part that annoys me the most about the comic as I currently have it: I build up the tension, and then destroy it. With the extra pages, I keep the tension going.

Once break commences I'll work on the epilogue, and hopefully other goodies, like character sketches.


  • Listening to: Sephardic Pandora station
  • Reading: A book about Victorian contraception and abortion
  • Drinking: Tea (because that's what I always drink).
As usual when I finish a chapter, I review what aspects that I think worked, and aspects that need...Eh, more work. ;) In case you don't want to read the whole thing, if you could post below your answers:

1. If I was to redraw this comic (not likely in the near future), what should I change? It could be plot aspects, it could be art aspects, etc.

2. What would you advise me to do for the next comic? What is something I should keep in mind?

I appreciate your thoughts. :)

Now, the review:


As you might have noticed, the last chapter was twice as long as they normally are. :D I didn’t realize it would be that long. Should this go to print, I’ll split it into two.


Page 1
Chapter 5 Page 1 of Concerning Rosamond Grey by Hestia-Edwards

I wanted a strong impact for this page, and I also wanted the dwelling to look interesting. I also like the characters at the top, but Oldfellow’s cross-hatching does look messy.


Page 2
Chapter 5 Page 2 of Concerning Rosamond Grey by Hestia-Edwards

The Perpetrator was the first character where I followed my own advice: draw him several times before he appears on the comic page. That is the reason that he looks as consistent as he does throughout.


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Chapter 5 Page 3 of Concerning Rosamond Grey by Hestia-Edwards

I love the expressions here, especially of the Perpetrator. He looks very natural and smug here. I continued the trend that you saw in the opening scene where he has his own font, but looking at it now, I’m not sure this was the best choice. I might change it to something else later on. I had a surprising amount of interest in the Nansha language: I had heard that the only people that are interested in constructed languages are the makers of them. xD I will need to continue the development.


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Chapter 5 Page 4 of Concerning Rosamond Grey by Hestia-Edwards

I debated whether to mix up aspects of the visualization of his features, or make it sequential: views of his head, for example. The way it looks like now, it appears that the Doctor joins with Oldfellow’s legs in panel three. Not my best page.


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Chapter 5 Page 5 of Concerning Rosamond Grey by Hestia-Edwards

I’ve been waiting a long time to show this. :) Something I would have to clear up in the sequel comic, or somewhere, is that Oldfellow has these features at all times: he just hides them.


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Chapter 5 Page 6 of Concerning Rosamond Grey by Hestia-Edwards

My attempt to explain the part above.


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Chapter 5 Page 7 of Concerning Rosamond Grey by Hestia-Edwards

Probably the weirdest part of the comic.


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Chapter 5 Page 8 of Concerning Rosamond Grey by Hestia-Edwards

I really debated whether to keep this or not. It’s based on an old idea of mine where Shas can contest and attempt to rescue captured humans, and the solemnity of the occasion when the challenger comes. I don’t know.


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Chapter 5 Page 9 of Concerning Rosamond Grey by Hestia-Edwards

The dialogue originally said “and you are the child of a woman and a Siren…Both are abominations, but we are still descendants of the mighty Shas”. I realized it sounded like Oldfellow was condemning women, which was not what I was going for. So thanks to Kikifuko I changed it.


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Chapter 5 Page 10 of Concerning Rosamond Grey by Hestia-Edwards

I look at Oldfellow’s suit, and I really want there to be more shading. The Perpetrator looks good though.


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Chapter 5 Page 11 of Concerning Rosamond Grey by Hestia-Edwards

Oldfellow’s head looks a little small compared to the rest of him.


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Chapter 5 Page 12 of Concerning Rosamond Grey by Hestia-Edwards

Did I say I liked how the Perpetrator looks?


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Chapter 5 Page 13 of Concerning Rosamond Grey by Hestia-Edwards

Rockburn’s jaw looks a little strange here. Since then I figured out that the corner of the jaw on real people is where the neck joins the head.


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Chapter 5 Page 14 of Concerning Rosamond Grey by Hestia-Edwards

Originally I was going to have a swirling background, to mirror Rockburn’s mental loss of control: but it looked too messy, so the black background is what you get.


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Chapter 5 Page 15 of Concerning Rosamond Grey by Hestia-Edwards

I drew this picture of Oldfellow when taking my lunch break at work. :) What surprised me when I drew this page was my ability to show the doctor’s emotions without seeing his face. I was able to show just by his posture. I was rather pleased with this. I drew the darkness of the cave with hatching, so you can clearly see the figures with dark jackets.


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Chapter 5 Page 16 of Concerning Rosamond Grey by Hestia-Edwards

I was too lazy to draw a mini Rosamond, so I figured she was behind the Perpetrator. I liked the last panel.


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Chapter 5 Page 17 of Concerning Rosamond Grey by Hestia-Edwards

I had fun researching for this page.


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Chapter 5 Page 18 of Concerning Rosamond Grey by Hestia-Edwards

My short stint/attempt at guitar playing taught me that you always tune your instrument before playing.


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Chapter 5 Page 19 of Concerning Rosamond Grey by Hestia-Edwards

I thought this turned out well.


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Chapter 5 Page 20 of Concerning Rosamond Grey by Hestia-Edwards

Thanks to prompting from Manti76, I attempted the scene that his violin playing invokes. This turned out to be one of my favorite pages.


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Chapter 5 Page 21 of Concerning Rosamond Grey by Hestia-Edwards

It was here that gpd called out my laziness—“his hands look like claws!” Okay, time to work on fingers again.


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Chapter 5 Page 22 of Concerning Rosamond Grey by Hestia-Edwards

The pace seems a little too quick here, though when I drew it, I wasn’t sure what to include. Maybe more time for doctor to puzzle over the music piece?


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Chapter 5 Page 23 of Concerning Rosamond Grey by Hestia-Edwards

I figured in contrast to the Perpetrator, who was comfortable with his playing and moved his body accordingly, Oldfellow was very focused (nervous), and thus he is stick straight.


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Chapter 5 Page 24 of Concerning Rosamond Grey by Hestia-Edwards

I also like how this page turned out. :) Something I tried to do was make the violin normal sized, or even big, compared to Oldfellow, but make the violin small for the Perpetrator. It’s tough to find reference photos of big guys playing violins.


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Chapter 5 Page 25 of Concerning Rosamond Grey by Hestia-Edwards

I think I made the Perpetrator’s head too big compared to Rockburn’s.


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Chapter 5 Page 26 of Concerning Rosamond Grey by Hestia-Edwards

That perspective is hard.


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Chapter 5 Page 27 of Concerning Rosamond Grey by Hestia-Edwards

I didn’t know what expression the doctor would have at that moment, so I left him out of the panel.


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Chapter 5 Page 28 of Concerning Rosamond Grey by Hestia-Edwards

I love the Perpetrator’s expression here: “what is this insect doing in my presence?”


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Chapter 5 Page 29 of Concerning Rosamond Grey by Hestia-Edwards

I wondered if I would be able to draw Rosamond normally again; somehow I managed.


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Chapter 5 Page 30 of Concerning Rosamond Grey by Hestia-Edwards

My manikins were so helpful here: I love using them.


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Chapter 5 Page 31 of Concerning Rosamond Grey by Hestia-Edwards

That perspective is hard. I also wanted to show the dark side of Elaishar, Lord of the Minor Shas.


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Chapter 5 Page 32 of Concerning Rosamond Grey by Hestia-Edwards

I thought this page looked reasonable.


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Chapter 5 Page 33 of Concerning Rosamond Grey by Hestia-Edwards

I love anatomy: I took anatomy and physiology at college, and also the cadaver course (I got to dissect the bodies myself!) So I never skip an opportunity for anatomy. I also faded out the bottom of Oldfellow so it didn’t join with the panel below him.


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Chapter 5 Page 34 of Concerning Rosamond Grey by Hestia-Edwards

Nasty, nasty perspective…


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Chapter 5 Page 35 of Concerning Rosamond Grey by Hestia-Edwards

You noticed that Oldfellow must have put the organ in his other hand, at some point. :p This is what happens when you flip the sketch.


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Chapter 5 Page 36 of Concerning Rosamond Grey by Hestia-Edwards

That expression looks weird on Oldfellow.


Page: 37
Chapter 5 Page 37 of Concerning Rosamond Grey by Hestia-Edwards

Perpetrator: “I’m terribly annoyed having his hand on my face, but since I lost, I can’t do anything about it”.


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Chapter 5 Page 38 of Concerning Rosamond Grey by Hestia-Edwards

You know that sculpture I made of Oldfellow? I use it as reference for his horns, in particular.


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Chapter 5 Page 39 of Concerning Rosamond Grey by Hestia-Edwards

I was particular about Oldfellow’s head in the panels, so it shows that he’s lowering himself.


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Chapter 5 Page 40 of Concerning Rosamond Grey by Hestia-Edwards

Not much to say here. I still struggle with side views of the face.


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Chapter 5 Page 41 of Concerning Rosamond Grey by Hestia-Edwards

This page turned out well. :)


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Chapter 5 Page 42 of Concerning Rosamond Grey by Hestia-Edwards

Oldfellow’s face doesn’t look consistent here.


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Chapter 5 Page 43 of Concerning Rosamond Grey by Hestia-Edwards

Rosamond’s face looks odd here. Here Oldfellow tries to stand.


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Chapter 5 Page 44 of Concerning Rosamond Grey by Hestia-Edwards

I really wanted to focus on that, even though he has abilities, he is in a sense, deformed: he is physically handicapped. This adds another layer to his character, and to give him some sense of realism.


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Chapter 5 Page 45 of Concerning Rosamond Grey by Hestia-Edwards

This page turned out really well. You also learn a little about Sha physiology.


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Chapter 5 Page 46 of Concerning Rosamond Grey by Hestia-Edwards

I hope I made clear that we’re seeing reflections, so I made the ink lines smaller.

Thanks for reading peeps. :)

  • Listening to: Zaz's Recto Verso
  • Reading: I need to start that book on Persian history.
  • Drinking: Tea (because that's what I always drink).
October is fast approaching, and with it, I present an Inktober challenge! If you don't know what Inktober is, it's a challenge to make an ink drawing for each day of October. Here's the link where it started:

So I have a challenge for you: I probably won't be participating, since some of my readers would be bothered if I paused my comic to do this challenge, ;), but here's the rules:

1. You must be a watcher of my art.
2. I am making a stock folder of pictures I took at the local Zoo. I will have at least 31 photos for you.
3. Make an ink sketch for at least 15 days of October from this stock.
4. When you draw, mentioned my stock or me.
5. The people that have at least 15 inked sketches based on my zoo stock, I will feature their best inked sketches based on my stock in a future journal. 
6. Deadline is November 1st.

Go for it!
  • Listening to: Pandora Radio: Beach Boys
  • Reading: Abraham Flexner's autobiography
  • Drinking: Tea (because that's what I always drink).

I went to the library’s comic/geek convention, and it was good. ^^ I noted that my picture was right next to the voting box. ;) I also saw the supervisor that I had a spat with, and she said with a smile and a pat on the shoulder, “how are you doing? So good to see you here!”. Afterwards I told her that they did a nice job on the convention.


It seemed easier to socialize here than at a bigger convention I went to recently, maybe because it was smaller and more local. Anyway, I talked to a successful fantasy writer and a published comic book artist, and I thought I would write down what I learned from them, to make sure I remember this vital information, but also for you guys. I imagine the information is relevant to someone, like Silent-Shadower . 

Colton Worley.

The first person I talked to is Colton, and he is a published comic artist for Dynamite Comics here in the U.S.  You can see his work credits here:… I asked him about the comic-making industry, and he had some interesting perspectives (paraphrased):

 “When I first got into drawing comics (ten plus years ago?), I submitted my comic art examples to various comic book publishers, and from there I got this job with Dynamite. Like, I printed copies of my work and mailed them. But you can’t do that today: now publishers either want you to finish an entire comic, story, art, and all, and submit that; they want a finished product that they would consider. Or, they won’t consider you unless you are already published; with sucks, but the good thing is you can be published by the Kickstarter program; a huge number of their projects are comics. But, if you do a Kickstarter, don’t offer physical copies of your comic: international shipping kills you; any profit you make will be lost on shipping.

 “Now if you look at this comic here,” he points to a comic on his vendor table, “ I had to cheat on a lot of the art: the American comic book industry doesn’t want quality art, they want quantity. There are panels I wish could have drawn differently, but due to time constraints, I had to go for the quickest option. And the pay sucks, too: I barely pay my bills, even though I’m working fulltime for Dynamite comics.

 “Now one time, Dynamite Comics paid for a trip for me and Adam _____ (he mentioned some famous comic artist that I was not familiar with) to go to a comic book convention in France. It was amazing. Sure, getting excited about Adam______ made sense: he is famous. Not me, I’m not famous. But in France, at this convention, there was a really long of people wanting me to sign their books. Me. I never had that happen in the U.S. Not only that, but I made a $1,000 in sales in one day—I never make sales like that in the U.S., even at bigger conventions. What’s more, the French took us into their homes, they made us dinner, and it was a great dinner, too—if I knew French, I would want to go back.”

 I then asked him what he knew about webcomics and webhosting sites, like SmackJeeves.

 He looked flabbergasted. “What is it called?”

“SmackJeeves,” I said, feeling warm.

“I have never heard of it,” he looked at me in wonder.

“It’s not as active as Tapastic, it’s an older site I think---“


“Here, I have a card with my Tapastic site on it”.

 I gave him and his neighbor my card (i.e. slip of paper) with my dA and Tapastic sites on it. I then told him about what I knew about webcomics, Tapastic, and scrolling comics. So we both got educated.


Toby Neighbors

 One of the panels was called Making Fantasy Worlds, to be done by a published fantasy writer. I felt I knew pretty much everything I knew about world-building, but I thought perhaps I might learn something; if I was feeling amiable I would ask questions, and if I was feeling ornery, I would ask about constructed languages.

 The panel started, and he talked about maps, terrain, and backstories for characters and places. It covered what I consider to be the bare minimum for world-building. Then he began talking about something related: he was a self-published writer, and he sold ¼ million of his books online.

 Well, this could be interesting. I had not heard or read of such success stories.  He talked about he was most concerned about maintaining control of his works, including control of the titles, content, book covers, sales, etc. So he used Amazon to published his works as e-books. He has physical copies, yes, but he only charges people the bare price to cover printing, since he makes his living on selling electronic works. People ask him: “can I find your book at Barnes and Noble?”

“No,” he said.

“Well, I guess you’re not a real writer, then” they say.

In the meantime he laughs as he makes his living solely on selling e-books.

 How does he do this? Basic marketing: he tries to promote himself, somewhere, online at least once each day. He emphasized selling himself, rather than an individual work, as future fans will expect more works from him, rather a certain series that might end. He markets himself primarily on forums on Amazon, as that’s where his novels are selling, and on his website and Facebook. Sure, many young people don’t use Facebook, but the older generation does, and it’s easy to pass information on. At first, he was only selling a few books a month, which is typical. But, if you can sell a small number within a certain time frame on Amazon, the website takes it from there and promotes it for you. Suddenly you get much more exposure to readers, and your sales go from there.

 This information caught my interest. I asked a question about his publishing experience, and he promised a free copy of his  publishing book should I visit his table after the panel. I did. I chatted with him a little bit, and got my free book (signed, too!). I talked about my small success with my comics, and a little about my world-building and interest in constructed languages.

 He chuckled. “Yes, I love how a language adds so much depth and culture to a created world; but I have no talent for linguistics myself.”

 I thought his response was appropriate. I thanked him for his time and the book, and we parted. His A

 So there’re some thoughts for you; I eagerly started his little publishing book already. I don’t think I will try to publish CRG in this method (not yet, at least), but I had considered writing a non-fiction about a personal topic, and that method might be a prospect for my sequel comic. I’m glad to know that self-publishing isn’t the black hole it used to be.

 I am also thinking of making a Patreon, but a basic one: you can think of it more as a tip jar rather than “if you pay this much, you get this much”. Though I was contemplating of maybe releasing Patreon-only content, like my original CRG script with annotation.

 Anyway. Tomorrow I drive 7-8 hours to school! My parents are helping me move. Therefore, there won’t be a new page for a couple of days. I will also probably revert to one-page-a-week once school starts on the 22nd.





  • Listening to: Pandora Radio: Beach Boys
  • Reading: Abraham Flexner's autobiography
  • Drinking: Tea (because that's what I always drink).
I got tagged by missmagicgirl .


  I. Post 8 facts about your character.
  II. Tag 8 other Characters.
  III. Post their names along with their creator's avatars

I figured I would tell about my main character, Rosamond Grey:

1. I figured her height is about 5 foot 8 inches

2. She was born in 1879 (or thereabouts)

3. Her parents died in a boating accident (along with Rockburn's)

4. Her full name is Rosamond Jacqueline Grey

5. She enjoys reading translations of ancient Greek and Roman literature, and she hopes she can learn the languages to read the works in the original tongue.

6. She enjoyed reading fairy tales as a child. 

7. Her favorite color is purple.

8. Once she is of age, she can inherit her parents' fortune.

And for the next round (and they can pick the character of their choice),


  • Listening to: Pandora Radio: Beach Boys
  • Reading: Abraham Flexner's autobiography
  • Drinking: Tea (because that's what I always drink).
To give some explanation for my earlier updates, I present a copy of the email I sent to the local library:

"Hello there,

 I wanted to write an email about a concern I have regarding the ______ library. I had recently learned about their convention event this coming 13th of August, and I was excited to support the event. I have been living the ______ county for most of my life, and during the past two years I have written and drawn a comic that I have put on art and comic websites such as DeviantArt, SmackJeeves and Tapastic. With my comic being over a hundred pages, I can confidently say that my comic-making skills are improving, I’m finishing the story well, and I am an experienced comic artist. With this background, I was excited to support the library convention. I had finished a watercolor painting of some of my characters, and I entered it into the fan art contest at the library, because I thought, “hey, free advertising for my comic”.

 Today I happened to stop by the _____ library, and saw how they displayed the art. First of all, they put Scotch tape DIRECTLY ON the art pieces. The only pieces free from this plagiarism were ones where the artist provided the display stands. The display that these pieces were taped onto was a cardboard display coved in bright red tissue paper. The result looks like something they do in kindergarten. Lastly, the information label about the piece and the artist also looked tacky, or displayed wrong information. Many of the labels had the age written in thick Sharpie, so you can’t really read what the age of the artist is. Regarding the misinformation, they had misspelled the name “Rosamond” on my information label.

 I talked to Cheryl, the supervisor at the ______ library, about my concerns (or tried to talk: I was so upset I was crying), and the best she could say was that “they were not an art gallery, they were limited to using tape on the art, and they had displayed art in the same manner in the previous years”. I took my art piece and left.

Respect for art pieces should not be limited to art galleries. Whether it’s art done by me, an aspiring art professional, or a seven-year-old’s first fan art, no art deserves to be taped on a cheap-looking display. I was lucky: I discovered my art piece before the tape permanently ruined it. Other art pieces won’t have that luck: the tape is the stuck to the art for life. Because of this disregard, the ______ library shows that they really don’t care about a person’s effort, and do not take the art or the fandoms seriously. They are really showing disrespect to the public they serve. I do not endorse this disrespect, and I gladly removed my art piece from the contest, and I will not be attending the library’s comic book convention: I do not want to support such disrespect. I have already written about my displeasure on my Facebook, and intend to write a letter to the editor of the _____ Press.


 Hestia Edwards "

Moments after I submitted the email and had left a message on the director of the library's phone, the director called and said: "I want to sincerely offer my apologies, and you are absolutely correct about the presentation of the art: I had heard about the incident this morning. We are amateurs about art presentation. As we speak I am having my employees gently remove the tape from the art, and I hope your piece was not permanently damaged."

I was a bit stunned. "Well thank you," I said, "I appreciate the apology, I'm sorry I already sent the letter to the editor".

"Oh...Well, we all make mistakes," she said. 

When the phone call was done, I frantically sent an email to the press editor to retract my email. Thankfully he did. After emailing the director that the letter was retracted, and I am free to put my art piece again for display. I will purchase my own wire stand, however, and maybe get it matted. 

  • Listening to: Pandora Radio: Beach Boys
  • Reading: Abraham Flexner's autobiography
  • Drinking: Tea (because that's what I always drink).

I have thought about making a post about this for a week or so, and I thought, “languages are one of my passions, I should just write a post about it”. What I have listed here are language learning resources that are free: that’s right, these are free. I’m not sure if these are available in all countries, (I think iTunes works in multiple countries, though). These are available through the Internet.


These websites either have resources for learning a particular language, or for learning different languages.

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Duolingo (

Probably the best known free language learning website. It’s a site where you can listen to new words in your target language and get quizzed. If you are already familiar with a target language, you can test out of the basic levels.

Foreign Service Institute Language Courses (

The FSI of the United States of America has public domain language materials from the 1960's, complete with grammar, workbooks, and audio. Just Google the courses, and you can find many websites that host the materials.

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Gabriel Wyner’s Fluent Forever (…)

This is an opera singer that shows you can languages quickly with Anki, the flash-card system. He has all the information you could ever want on how to best use Anki on his blog site. He also has a book, Fluent Forever, which I also recommend (but is not free).


A Language Learner’s Forum (

An active sequel forum to, this forum has posts by language enthusiasts from all over the world. If you have a question about learning a particular language,  or about a particular technique, this is the place to go.

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Persian Language Online (

This site is geared toward Persian in particular, and it has the most approachable learning method for the Arabic script I have yet seen, including videos that show the direction of the strokes. When I’ll get serious about learning this language, this is the site I’ll go to.

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University of Texas Austin Center for Open Educational Resources and Language Learning (COERLL) (

This is an open source site via the University of Texas Austin for various languages. The open courseware for French looks particularly appealing. They have resources for learning different languages.

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Talk to Me in Korean (

This is the one-stop place to learn Korean. Should I decide to fit this language in my language-learning regime, I’ll go to this site.


These are podcasts available through the iTunes application or via their websites.


Image and video hosting by TinyPic
Real Fast Spanish (

This podcast focuses on learning Spanish, but he also has podcasts focusing on making and keeping goals in language learning (the first three podcasts in particular).

Image and video hosting by TinyPic
Coffee Break Language Series (…)

This podcast is about serving language in small bits. They have Coffee Break Spanish and French podcasts, respectively, and they started podcasts for German and Italian.

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Yabla (

This video podcasts include the commonly learned European languages, and even Chinese. What’s nice about these videos is that they are interviews with native speakers, with the transcript of the interview, and the translation of the interview in English.

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Notes in Spanish (

The podcasts have series with different levels of Spanish comprehension, and are conversations between the two hosts in Spanish. This podcasts uses Castilian Spanish.

Image and video hosting by TinyPic
Learn Japanese Pod (

Done by a British expat in Osaka and moved to Tokyo, this is a great podcast for learning Japanese that is spoken by real Japanese (rather than super formal Japanese)

  • Listening to: Pandora Radio: Beach Boys
  • Reading: Iron Daughter by Julie Kagawa
  • Drinking: Tea (because that's what I always drink).
Hello friends,

As you know, I got accepted into the state's medical technologist program (yay!), starting this fall. Because of this, I will make a push to finish the Concerning Rosamond Grey before the end of August. I'm guessing I have twenty pages left, maybe more, maybe less. It looks like most of you want the pages as they are ready, so I will go for that, rather than stick to a specific schedule. So stay tuned! And any feedback is appreciated: believe it or not, I tailor my pages depending on reader response, so your feedback is useful, and is used.

Another thing I wanted to bring up is whether you would like to contribute financially. For my degree, since it is my second bachelor's, I am only getting loans for financial aid. While I plan to finish this comic before school and not work on a comic during school, I could work on tutorials, character sketches, the constructed language Nansha, world-building, and sharing these with you. Would this be of interest to you? I could do a Patreon or a GoFundMe; I actually prefer the latter, because then I'm not a slave to my patrons, and I like the idea of keeping my stuff *free*, for everyone to use. Would this interest anyone? This way I continue to create stuff, and justify it by "it's making me money". My philosophy has been "only sell stuff when people ask for it", but my situation has changed. And, if you think, "no Hestia, you're not good enough to be financially endorsed", that's cool too; I consider myself a fledgling comic artist, and I have many areas to approve. So, be honest with me. :)

Loves, Hestia
  • Listening to: Pandora Radio: Beach Boys
  • Reading: Pandora Hearts
  • Drinking: Tea (because that's what I always drink).