Tips from Jesse Hammさんのイラストまとめ

Drawing it quickly gives you a smoother, more dynamic line than drawing it slowly/carefully.

Drawing on a new layer allows you to adjust it and erase the excess without interfering with your other lines.

Avoiding the ellipse/circle tool is faster and looks more organic.
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Notice, though, that Panel 2 is necessary as a bridging panel, to prevent the shift in point-of-view from being too abrubt. Without that bridge between Panels 1 and 3, the car would appear to veer in a new direction.

Cartoonists are often advised to move action from left to right, but here Leo Romero finds an exception to that rule. Had the car aimed rightward in Panel 1, it would appear to stop in P3 (images 1-2). Instead, Romero aims it left in P1, granting it momentum in P3 (images 3-4).

When limbs cross behind other body parts, artists often draw them backward or upside-down, because we forget how the limb attaches to the body. Avoid this by acting out the pose yourself when drawing parts that are partly occluded. Where's your thumb, your palm, your big toe?

Most of them! Here are a couple of old favorites: https://t.co/jC8SJtd2li

1) Box adjusted to share the buildings' horizon and vanishing point.
2) Buildings adjusted to share the box's horizon but not the box's VP (assuming they face diff directions).
3) Buildings adjusted to box's horizon; box adjusted to share buildings' VP (facing same direction). https://t.co/tn6EApV0rJ

Here's a problem I see often in perspective drawings: objects which should share the same horizon that are mistakenly angled toward different horizons.

Just because they are in different areas (foreground box vs. background buildings) doesn't mean they have different horizons.

The image above comes from THE BORROWERS AVENGED, written by Mary Norton. You can find the Krushs' excellent drawings throughout many of Norton's BORROWERS books. Beth passed away ten years ago, but her husband Joe is still with us -- at 101 years old!

Many artists can render a nice face in profile, but few can depict a hand with the grace and skill that Sergio Martinez exhibits in this detail from a Pinocchio illo. The face may be the "star," but those side elements (hands, feet, props) support and empower it -- IF drawn well!

Here are some examples (lettering, not balloons). I prefer Moebius and Toth lettering their own work (left); it feels more organic than the rather sterile letters added by someone else (right). There are similar cases for balloon design, but I don't have any handy. https://t.co/hQJim98Xt8