How I made my wig for Josuke (Pompadour wig tutorial)


I’ve had some questions about this and I’ve only now gotten around to making this. Unfortunately I didn’t take many pictures while I was making the wig, so this will be mostly text based!


  • Wire (I used floral wire, I recommend something thick)
  • Tape (Something paint will cover well, like masking or painting tape)
  • Glue (I used hot glue)
  • Black acrylic paint (or whatever color you’re using for the hair on the pompadour)
  • a base wig (about mid-neck length, reference the back of Josuke’s hair and decide how short you want it. The sideburn parts at least need to be long)
  • wefts that match the color of the base wig
  • OPTIONAL: curly/crimped hair wefts


  1. Take the circumference of your head (I made mine around the middle of my forehead). Add two inches to ensure room for the wig and to make it comfortable to wear. Make a circle out of wire with this circumference.
  2. Make the shape of the pompadour out of wire, from front to back. What I did was attach a wire to the back of the circle, then connect the wire directly across the first connection, then shape the profile view. I did this five times in total. One wire in the middle and two on each side.
  3. Weave some wire between the front to back wires and attach those to the sides.


    (Here’s my attempt at a picture. Imagine that the pompadour is at a 3/4 view.)

    4. After trying it on to see that it fits comfortably and is the right shape, cover it completely with tape. I suggest wrapping the tape around the circumference around your head part of the wire as well. If you want, you can cover it with glue to make sure the tape doesn’t come apart. I did that, but it’s not completely necessary.

    image(When putting it on, it should fit something like this. That’s my real hair hurr hurr)

    5. Paint the tape with acrylic paint in the color of your wig/wefts.

    6. Start gluing hair to the top of the tape pompadour. I used curly hair wefts to match the weird texture on the top of Josuke’s pompadour and also because it covers the pompadour very quickly.


    (The part outlined in red is where the curly part of the pompadour is. It goes from the front of the top to the very back of the pompadour)

    7. Next, start gluing the wefts around the circumference of the opening to the pompadour. Go from one ear to the other, leave the back without the wefts glued.

    8. Measure where to cut the wefts by wrapping the hair upward where it will go on the pompadour, finding a length that you like, and then cutting vertically to make sure the ends of the hair aren’t blunt cut.

    9. Start slicking the wefts against the pompadour with Got2B glued. With enough product (Which admittedly wasn’t much, the gel is very strong) some of the wefts stay up on their own, but for the parts that don’t, I hot glued them into place. DON’T BE STUPID LIKE ME AND TRY TO GLUE THEM UP WITH MOD PODGE. I have a lot of problems with the wig because of the mod podge I put in it (because I didn’t know any better at the time).


    (Yellow shows the direction I glued the hair up, and green shows the ends of the hair)

    10. Put on the base wig and try on the pompadour on top of it. Does it fit well? Good. Cover the inside with hot glue and put it on. BE CAREFUL. If you use a lot it’ll seep through the wig and burn you. If you use just a bit it’s stay on but won’t touch or burn your head. It’s best if you have a buddy help with this. 

    11. Another part that helps to have a buddy this step. Have buddy slick back the visible parts of the base wig and cover the back with your long sideburns. (Shoutout to Ghostlyfla, who begrudgingly became hair stylist Rohan and did this part for me while I was wearing it)


    (The pink is where the base wig sideburns cover up the end of the pompadour)

    After that, you’re basically done! Just darken your real sideburns with eyeliner/eyeshadow.



    (Warning, you will probably at least once accidentally headbutt someone with your pompadour)

用吸管做藝術筆 Turning straw into pen.





你需要準備吸管、剪刀、刀片、釘書機、墨水。You’ll need straw, scissors, knife, stapler and ink.

1.把吸管壓平。 Flatten a straw.


2.將兩邊剪掉一點。 Cut off two side of the straw.


3.因為吸管防水,寫字時表面張力會干擾墨水流出,所以要在內側用刀片輕輕的刮幾下製造幾道溝槽。We know straws are waterproof, which means surface tension will jamming the ink when writing. Gently scratching inside of the straw with knife to make few groove.


4.用釘書機釘起來。 Staple the straw.


5.從後端注入墨水,一次不要太多,不然會漏。 Inject few drop of ink. Don’t inject too much or it will leak.



Done!! You can starting your creation now!





DIY Aluminium Calligraphy Pen




You’ll need tape, scissors, knife, disposable chopsticks, empty aluminium can, stapler and ink.


Calligraphy Pen for Gothic: cut the aluminium into two pieces like above and tape it on chopstick, then Staple the aluminium.


Medium Point Calligraphy Pen: Fold a piece of aluminim, and cut it like picture above. Then tape it on chopstick.


Fine Point Calligraphy Pen: Fold a piece of aluminim, and cut it like picture above. Then tape it on chopstick.

Now enjoy it :)

image image image

image image

☞Turning straw into pen.


If you’re a comic book artist, you know it can be hard to get your hands on pre-ruled paper that’s the right size for your work.
Marking up your own pages can be a hassle, but if you’re planning on working in the industry, or just publishing your own work using industry sizes, you need to know how to do it.

Quick Step by Step


My process of colourisation for the comics is what I call “an alchemy process”, by digitally mixing colours with layers blends.
It’s in opposition with direct colours, also called "Alla Prima".
If I love doing Alla Prima for studies and one-shots illustrations,
I think it’s not suitable at all for sequential art, in a condition of massive and fast production on +50 pages.

Alchemy process give an absolute control on everything, like in a 3D software:
I do a pass for the diffuse colors&textures, another for the lights, and a last one for the post-process.


#01 :


Page number 01 from the volume 3 of “Detectives” drawn by Cyril Ceyles and written by Herik Hanna for Delcourt editions.
It’s a portrait of the main character of the story, full page, frontal composition.
I already know what to do with him, since i defined it from 7Detectives ( see Bibliography)

I read the script, ask to Cyril and Herik some details about the scene :
We are in England, in the 1920’s, It’s night time and it’s raining, This scene take place in a luxurious train.
So, here are my beacons ; 20’s, night, luxury.


I prepare the page for my process, using a script I made for this kind of manipulations, and give the PSD to my assistant, Emeric.


During that time, 2s in my head…
"Chemin de lecture", read path. The “probable” path of the reader’s eye in the page.
it gives to you the rhythm of the picture, and it defines the peripheral look.
"Compo image", image composition. Here we have a square type, an equal balance between vertical and horizontal lines.
There is another balance to keep between the balloons on the right and the window/seat/wall combination on the left of the picture.
The face is clearly a central element.
"Zones regard périphérique", peripheral view of the look. I’ll explain this later, in another note.



After that, i google some references.
In this case, I’m just looking at the “languages” of a luxurious train, what are the “adjectives” of it?
What makes a train luxurious ? What are the materials ? Where are the lights ? What are the local colors ?
What is shinning, and what is not shining ?

References and documentations are useless if you don’t observe them with the right questions.
To copy them is stupid.


What Emeric gave me back. A clean job.

If I were a drawer, this would be the phase of the sketching.


The flat work is one of the most important phase in the process of color, if not the most important.
It’s about designing the scene, giving it an identity, supporting/enriching the narration and laying down the foundations of the color scheme.
I take my time doodling, casting furnitures until satisfaction. I keep my colors in a low saturated state.


The detailed flat work. Flat was an undercoat which I complete with details.
It’s like adding some adjectives in a sentence. “green striped jacket”, “purple velvet bench thick and comfortable" …


Preparing the colors for the next phase of the process, controlling my color scheme, locking down the gamut, correcting the false notes.

It’s important that at the end of this first phase, the picture could stay like this, and be published without shame.
Everything got to be square and aesthetic.

If I were a drawer, this would be the phase of the inking.


The mood juice. My analogue scheme is going to change for a sort of analogue triad.
I’m laying down the dark tons very meticulously.


Looking how it dance, with a loosy brushwork. I’m laying down the light tons as carefully as for the dark tons.
Dark tons and light tons are the bones of the color, they structure the painting. It’s essential to choose them with purpose.
A lot of color works are failed because of that simple hasty.


An hour later, everything is in place. A few tweaks here and there, and the job is done.

Yep, it’s important and it’s part of the process.

Do not rely on other people to review your work, and do it yourself. Don’t hurt yourself, but don’t be shy neither ; Just be honest.
What’s wrong in my colors ? What should I do to change that ?

In my case, for this page and since it’s the first time i work the drawing of Cyril, I know I did’t have found the right balance, yet.
The face of the character is clearly overworked. But it’s OK, since it’s a portrait, it’ll pass for this time.
Then, I notice a very low contrast between the pant and the bench.
I’ll have to pay attention to that in the next pages, because the color I used in the bench will certainly come back.


It may sound paradoxical, but looking at your colors in black&white is the best way to know if they are actually good.
Checking your values and the readability of the picture.


That’s it !



Backgrounds: The Set Up.

A continuation for fungii on how I tackle backgrounds.

never apologise for posting these


This tutorial explains some of the ways you can incorporate undertones into your art. It starts out very basic for beginners, then shows some more advanced ways to shade. 
If you don’t have photoshop then instead of using a “color burn” layer, experiment with what your program does have. Try a “Multiply” layer or a “shade” layer.

Skin Tones

Finding Undertones

Let me know if you have any questions!





Okay, decided to whip this up because of the following reasons:

1) I get this question a lot. Apparently there are a ton of folks out there that are really new to paypal and while I don’t mind helping, having a good reference page for folks that shows you exactly what to do will cut down the time I spend explaining it.

2) I’ve had two flags on my account in the past year because no one check the “No Shipping Required” box. So Paypal comes to me and says “Hey you didn’t ship our their thing!!!” but I do digital commissions…there’s nothing to ship! So this step is really important!

3) I often have to give out my Paypal email over and over for this and I figured having it in one spot might help!

There will be a new page on my blog with these images and I’ll try to keep them up to date if Paypal happens to change their format! Hope this helps you guys!

(Interested in commissioning me? Check out this page here!)

Putting this on my art blog ‘fo my folks.


Oh my god, seriously???