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.
(2/2)

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

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

#lettering
#whitespace

Just saw someone do this again, so I figured I'd address it. If your silhouette looks flat (1), add a rimlight (2). Offers depth without adding much detail. Also, avoid positioning the figure flatly; try instead to aim parts toward the reader (3), and create areas of overlap (4).

Not yet, but I'm putting the finishing touches on a script for a 20-page fan comic. Stay tuned! https://t.co/yYJMqWeVFP

Take care when inking eyes and lips. The first two images differ only because I darkened different parts of the irises. The second two images differ only because I darkened different parts of the mouth. A heavy line here or there will either sell or kill a likeness or expression.