Something about the refined sketch feels stiffer than the rough one which I don't like. That seems to happen often to me.

She wound up coming out 乇乂丅尺卂 丅卄工匚匚 in this version which doesn't really bother me. Most of it's going to be hidden by the apron anyway. I fear I may have focused too hard on precision which in turn caused me to lose some of the motion. That and since it's still in a conceptual stage, maybe I shouldn't be spending so much time on it.

I've decided her name is Joan Hartweiler. Just seemed right.

I don't know what else to put for tonight. I feel like I'm losing steam these past few days. Probably lack of sleep.

The two test paintings mentioned before. I don't know if I can really call them full pieces, they're more just quick practices to test the Krita brushes. I went through and cleaned them up, made sure they're all still doing what I want them to do. My goal is to hopefully take advantage of the brush engines to make a bunch of brushes that can carry out specific purposes. Best example here is the cobblestone on the bottom painting. It's tough though, because I want to have brushes that serve a certain function but I also don't want to name them after something specific and thus miss out on what other uses they could have. I've made that mistake before. I guess that's where tags come in.

Athena's face came out a little fatter than I usually draw her, but I still am happy with how it turned out.

It's 1AM and I have work tomorrow. That won't be fun in the morning.

I never thought I'd have the experience where what I was doing at work was more interesting than what I'm doing at home, but here we are.

In general I feel more organized now that the calendar program has been set up and my timers more or less keep me in focus. I don't think it's any sort of mental issue, I think it's just the dangerously convenient proximity of that brief flash of entertainment with the actual work that needs to be done.