The Pearl and the Girasol

<sub>“They are not like the stars I usually kindle for the real world,” she explained. “...I can’t employ the same methods I use...but at least for tonight, you have seen them.”

He looked at her, and he felt himself smiling truly, for the first time in many a long while.

“You didn’t have to... but I thank you, nonetheless,” he said. “How do you do all these things, Palkia? Just what is the extent of your power?”

To this question, she once more gave her cryptic smile and answer, “Didn’t I tell you that space lives on my breath?”</sub>

Other connected illustrations:
A Lengthening of Shadows: Part 2
The Truth Behind the Eclipse: Title page

A scene from "A Lengthening of Shadows I: The Pearl and the Girasol," one of the two prologues to a writing collab project with my friend Chaos Githzerai. If you want to fully appreciate what is being portrayed, please read and give constructive feedback. ^^ And no, Palkia and Giratina are NOT romantically involved in the story (don't judge merely by the excerpt). O_o;

I had to draw the background twice because on the first go, I realized that the perspectives were all wrong. I absolutely love the concept of the ice pillars, but the Reverse World does funny things to your spatial perception. Trust me. x_x

And since I've been receiving plenty of inquiries as to how I draw, here are some trivia:
[1] I use Photoshop in making my digital artworks, but all the initial sketches are done on traditional media.
[2] I hardly use solid black when shading, unless the base color is black to begin with. I manually pick the palette. Time-consuming, but hey, it results in vibrant colors.
[3] I /did/ receive formal instruction in drawing, but it's only for traditional media (oil pastels, specifically) and on landscapes. I was more of a landscape artist originally. ^^

Pokémon and all the related franchise are the creations of Satoshi Tajiri. No copyright infringement intended, but the gijinka forms are my creation and cannot be used or distributed without my permission.

THIS ART IS UNDER THE PROTECTION OF SPIKE, INC.