Sketchcraft - Rob Duenas

Remade Final Fantasy 7 Midgar Shops

belgianbooleancg.com/projects/8lY...

This is the remake I wanted.

I'll never stop laughing at how my self-hating Latino brother joined and was kicked out of the CBP for being incompetent within a year. Watch this and think how bad you gotta be to get have them throw you out.

IYKYK.

Trumps never gonna like you WP. You can stop boot licking now.

Nah I get it, I'm right there with ya. 😓

Who's your favorite Jedi?

Trumps pumkin glow face isn't mission ready either. His orange bronzer wouldn’t pass morning formation in the military.

Army Reg AR 670-1, para. 3-2: “Cosmetics must be conservative, complement the natural skin tone, and not be eccentric, exaggerated, or trendy.”

Gorgeous!!!

I can't wait to see every one of theses ICEtapo's sent to prison.

Final colors are wrapped up on this Harley Quinn and Punchline piece. I went full scribbly style with a saucy BG and it landed pretty much the way I hoped. The color clash feels fun and sharp, and I’m happy with all the little details tucked in there.

Laid down the inks on this Harley Quinn / Punchline mash-up & still at that point in the process where the whole thing starts muttering back at me half “finish me,” half “don’t screw this up.” Gonna let the colors duke it out over the next couple passes and see who walks away with the belt.

I have friends everywhere.

Harley & Punchline on deck. Digicolors and roughy lines are squared away, so now it’s time to slap this on the board, drop the inks, and start chewing through the scribbly colors by hand. This is where it stops living on the screen and starts turning into a real piece, layer by layer.

This week my hard drive decided to cosplay as a brick. Whole lotta blah blah blah tech drama but none of that matters. Back on track, laying down this Harley and Punchline commish, going heavy on the stylized figure design. Sometimes you just gotta drown computer nonsense in ink.

I'm hoping on 9-11. For reasons.

Last night was the closest thing we’ve had to a dress rehearsal for his exit. And for a few golden hours, the internet was nothing but joy.

The ghost of Robert Durst is still laughing at her.

Remember when he changed his name to Snoop Lyin' *cough* I mean Snoop Lion? Yeah, how you go from dog, to cat, back to dog "Snoop"?

Choose your online engagement.

A towering enforcer droid lifts and pins a man by the throat against a concrete wall along a desolate beach. The man dangles helplessly, wide-eyed, as the machine’s grip tightens. A stark metaphor for where we are in this administration—people feeling throttled and suspended in midair, powerless against cold mechanical authority.

A uniformed trooper in beige armor confronts the same man on the beach, gesturing at him with authoritarian authority. The man stands subdued, shoulders slumped, as if waiting for judgment. A visual echo of the current state of this administration—citizens face-to-face with rigid enforcement, outmatched and resigned, with the sea as silent witness.

Eight months in, folks and this is the vibe. The Jill Stein and single-issue martyrs who sat November out handed us this chokehold, while my Latino fam who voted Orange Turd made sure the grip got tighter.

Thanks! 🙌🙏

Super roughy layout comp featuring Punchline and Harley Quinn in the early planning stages of a commissioned piece. The artwork is drawn in my “Ruffy” style, loose and tall, full of raw motion and energy. This is where I block in the vibe before committing to final lines or polish. Punchline is on the left, mid-pose, holding a long blade in her left hand. Her stance is still being worked out, but she’s already bringing that sharp edge. Her hair flows behind her, helping to drive the circular movement across the page. On the right, Harley Quinn leans in with her classic oversized mallet raised overhead, forming the other half of that motion. Between the knife and the mallet, there's a strong circular rhythm starting to take shape. Right on the mallet’s head is a smooshed cartoon bat, which wasn’t in the plan but landed on the page like “Yep, I live here now.” One of those little discoveries that pops out mid-draw. The background is rough for now, built up with a quick layer of marker and some acrylic gouache just to feel out the mood. This one’s going to get a full saucy pass later on, so what you see here is just the starting point. Even at this stage though, the energy is already coming through. The poses, the rhythm, and that toxic candy swirl are all starting to click. This piece is still in the very early stages, shared here as part of the behind-the-scenes process. Materials so far include colored pencils, markers, and acrylic gouache on smooth bristol board. Nothing final yet, just roughing in the shapes and discovering little details as I go. For more commissions, original art, and process shots, check out www.sketchcraft.com

Here’s a ruffy comp for a Punchline and Harley Quinn commish I’m working on. Still early, just laying things in. Punchline’s pose is definitely a work in progress, but I don’t try to worry too much about nailing that perfectly at this stage. Right now it’s about locking in the vibe.

The image shows a super rough ruffy sketch of Dr. Manhattan for a commission. At the top of the page is a head-and-shoulders shot of Manhattan, drawn in blue pencil with pink marker outlines and filled against an orange background. His face is calm, flat, and distant, the way he always looks in the comic. Around the portrait are faint scribbles and loose shapes, suggesting smaller figures and fragments drifting in. Below that is a larger sketch stretched wide across the page. On the left, a full-body Dr. Manhattan strides forward, his form glowing in blue lines while everything around him explodes in jagged strokes of red, yellow, and hot pink. Cubes, gears, and broken debris float across the space as if reality is coming apart. To the right, a tall rectangle holds another face shot of Manhattan in profile, his features drawn in blue and boxed in like a window. The whole layout has pieces colliding, almost like memories overlapping instead of one straight scene. On the table around the paper are the tools used to make it: a yellow pencil and a blue pencil resting on the left side, two Copic markers with pink and grey caps lying at the right, and a black pen angled diagonally across the edge of the page. They sit like part of the photo, showing the process in motion. This sketch is early and messy, but a lot of the work happens here. Sometimes I’ll nail the energy in a thumbnail, sometimes I’ll redraw and shuffle things around until it feels alive. With Dr. Manhattan, it’s about catching both the stillness and the cosmic presence, the sense that he’s watching everything at once but standing apart from it. Even scratchy lines can carry that feeling if the flow is right. For this commission I’m pulling in classic Watchmen moments and combining them. Instead of a single pin-up, the goal is to take several iconic beats and bring them together into one composition. check out my published work, personal projects, and commission info over at sketchcraft.com.

Super rough ruffy of Dr. Manhattan. First time I’ve drawn anyone from Watchmen, even though I bought all twelve issues back in high school. Final’s gonna be finished in my Convention Sketch style from the site, this is just me roughing out the pieces before I comp it together.

What you’re looking at here is one of my early sketch thumbnail ruffys for a Gunslinger Spawn commission. It’s messy, it’s scribbly, it’s got that “did Rob draw this on a sugar rush” energy, but that’s the point. The page has a couple of little boxed thumbnails, each one a tall gunslinger with the wide brim hat and that long rifle hanging off him like he’s about to step straight out of some spaghetti western nightmare. Everything’s broken down into sharp angles, cape shapes, and lines that stretch out past the frame just to see how far I can push the motion. I threw in rough colors with pencil just to test vibes. On the left, it’s an orange block behind him, and on the right, there’s a green and yellow block framing him out. Nothing polished, just quick strokes to see how the figure reads against different backgrounds. The pens and pencils I used are sitting right on the paper like they’re photobombing the drawing: a green pencil, a yellow pencil, and a couple of black pens. You can still see construction lines and loose scratches all around. It’s raw process. Now here’s the thing. Sometimes my thumbnails come out stiff. And stiff can work. It can give a piece presence, like the character’s locked into place with all the weight of the world on them. But most of the time, I want my stuff to feel like it’s moving. Even if Gunslinger Spawn is just standing there holding his rifle, I want you to feel like his cape’s about to snap in the wind, like the ground under him might break, like something’s happening beyond that one pose. That’s why I’ll sketch and then redraw over the sketch, chasing that looseness. Some days it clicks right away. Some days it takes two, three, four passes. That’s just the reality. I don’t sit down and drop a perfect drawing out of nowhere. For me, iteration is the name of the game. You can find my published work, personal projects, and commission info all over at sketchcraft.com.

Early sketch thumbnail ruffy for a Gunslinger Spawn commission. Some of these thumbnails come out stiff, and yeah, I know stiffness can sometimes give a piece that extra presence. But me? I like my characters to feel like they’re moving, even if they’re just standing there.

Thanks! 🙌🙏

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A scribbly, high-energy commission of Gambit reimagined in a wild cyberpunk style. He’s rocking a long electric-blue trench coat whipping out behind him, jagged armored legs, and a shock of wild hair that looks straight outta a 90s Saturday morning cartoon. In mid-swing, he’s channeling kinetic energy through a glowing yellow staff, smashing into a giant red demon’s claw with a big comic-book “WHACK!” bursting across the page. The demon looms in from the left, all horns and razor teeth, while chunks of shattered debris fly out like confetti. Red and orange motion arcs circle the whole scene, locking the action inside this kinetic explosion of chaos. Gambit’s got that mad grin on, like he’s having the time of his life scrapping with monsters. The whole thing is scribbled out in layered red, blue, and black pencils, giving it that raw, underground comix vibe—like something scrawled in a 1994 sketchbook but juiced up with pro-level chops. For more art like this, visit sketchcraft.com

Here’s my take on a commission that pays homage to the Jim Lee Gambit X-Men trading card. I’ve got this personal goal of redrawing the whole thing someday. Unless you’re personally commissioning me to keep it rolling, though, it might take a while.

One card down, a whole deck to go.

Illustration of DC’s Orion in a raw “Scrappy Style.” The figure is chunky and squared, with broad red armor, heavy blues, and sketchy energetic lines that show the process. He’s front-facing, fists clenched at his sides, like he’s ready to stomp forward. Behind him looms the burning planet Apokolips, painted in purple haze and glowing bursts of Kirby crackle that frame the figure without overtaking it. The background is minimal but cosmic, more about vibe than detail. The whole piece has that sketchbook feel — loose, direct, “Poscas to the wall” energy — like a con sketch turned up loud.

Illustration of DC’s Orion in a raw “Scrappy Style.” The figure is chunky and squared, with broad red armor, heavy blues, and sketchy energetic lines that show the process. He’s front-facing, fists clenched at his sides, like he’s ready to stomp forward. Behind him looms the burning planet Apokolips, painted in purple haze and glowing bursts of Kirby crackle that frame the figure without overtaking it. The background is minimal but cosmic, more about vibe than detail. The whole piece has that sketchbook feel — loose, direct, “Poscas to the wall” energy — like a con sketch turned up loud.

Illustration of DC’s Orion in a raw “Scrappy Style.” The figure is chunky and squared, with broad red armor, heavy blues, and sketchy energetic lines that show the process. He’s front-facing, fists clenched at his sides, like he’s ready to stomp forward. Behind him looms the burning planet Apokolips, painted in purple haze and glowing bursts of Kirby crackle that frame the figure without overtaking it. The background is minimal but cosmic, more about vibe than detail. The whole piece has that sketchbook feel — loose, direct, “Poscas to the wall” energy — like a con sketch turned up loud.

Illustration of DC’s Orion in a raw “Scrappy Style.” The figure is chunky and squared, with broad red armor, heavy blues, and sketchy energetic lines that show the process. He’s front-facing, fists clenched at his sides, like he’s ready to stomp forward. Behind him looms the burning planet Apokolips, painted in purple haze and glowing bursts of Kirby crackle that frame the figure without overtaking it. The background is minimal but cosmic, more about vibe than detail. The whole piece has that sketchbook feel — loose, direct, “Poscas to the wall” energy — like a con sketch turned up loud.

Went full Scrappy Style on another Orion Commish, same characte, diff client. Chunky shapes, wild lines, and all the raw sketchbook juice. No overthinking, just putting marker to paper and going Poscas to the wall.

Illustration of DC’s Orion mid-blast, drawn in a raw scribbly style. He’s crouched low with his arm extended forward, firing a massive golden Astro Force burst that explodes in star-shaped light and sprays of yellow energy across the page. His armor is blocky and angular, with bold reds, blues, and metallic highlights layered in colored pencil and marker. The helmeted face is exaggerated with a wide, cartoonish grin and big eyes, channeling that wild, expressive 90s Bob Camp vibe. The background is saturated in fiery oranges, with splatters and streaks that make the whole scene feel like it’s vibrating. The lines are messy in the best way, buzzing with energy like a panel ripped out of an underground Kirby-inspired zine.

Illustration of DC’s Orion mid-blast, drawn in a raw scribbly style. He’s crouched low with his arm extended forward, firing a massive golden Astro Force burst that explodes in star-shaped light and sprays of yellow energy across the page. His armor is blocky and angular, with bold reds, blues, and metallic highlights layered in colored pencil and marker. The helmeted face is exaggerated with a wide, cartoonish grin and big eyes, channeling that wild, expressive 90s Bob Camp vibe. The background is saturated in fiery oranges, with splatters and streaks that make the whole scene feel like it’s vibrating. The lines are messy in the best way, buzzing with energy like a panel ripped out of an underground Kirby-inspired zine.

Work-in-progress sketch of DC’s Orion, drawn in bold pink pencil and ink. He’s crouched low, blasting forward with his gun firing a jagged energy burst, still roughed in with loose pink lines. His armor is big and blocky, shoulders exaggerated into chunky shapes with circle details, legs wide apart like he’s bracing for recoil. The face has an expressive, cartoon grin with sharp edges and bugged-out eyes, giving it that 90s animated energy. No background yet — just clean space that makes the scribbly textures and raw line work pop. The whole piece feels alive even in this unfinished stage, like a frozen frame pulled from an underground Saturday morning cartoon.

Just wrapped up this Orion commission and went full scribbly mayhem on it, raw energy flying everywhere. The blast came out straight gold, which wasn’t the original plan, but I kinda dig how it turns the whole piece into one big explosion.