tim lai

Heeere’s Andy! I was hoping to illustrate the entire comic in this new painterly style but it takes forever to paint so I might have to simplify the style somewhat for sequential pages. Regardless, this is demonstrative of the look that I want Lemon Inc. and my art in general to have going forward. I really want to start moving away from using black outlines in my work and to move towards illustrating purely with colour as much as possible. The speech bubble also shows what the new lettering style will look like. The rest of the characters will be coming soon hopefully!


So in the first chapter of Over the Garden Wall, Wirt and Greg get abducted by this creepy old man who tries to trick them into staying at his house by telling them about some terrible monster. While trapped at the old man’s house Wirt goes though a traumatic experience. This experience is not shown explicitly but we can clearly see the loss of his innocence in his face. Poor naive, innocent greg is just content to have a candy party, completely oblivious to what is happening around him. A horrifying canine atrocity seemingly attacks greg but it turns out that he is also just a victim of the old man and he helps Wirt and Greg escape from his house by getting stuck in the house’s water wheel, bravely sacrificing his life to save these precious little angels. Despite escaping by the end of the chapter, the kids are still lost in the woods. I’m worried sick guys. I can’t handle this. Clearly nobody would lie about something this traumatic so I am giving chapter one of Over the Garden Wall a regular Pinnochio nose.

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When Tim gets his first real apartment he goes shopping for furniture with Steph and they find this weird looking couch/chair thing and Tim is like ????? but then Steph is like ‘just try it’ so Tim lays down and it’s surprisingly comfortable, like really comfortable, and sure it’s sort of really expensive but whatever, he gets it, uses it normally to lay out on while using his laptop and has no fucking clue about anything until Dick comes over one day and just

Stops. And then starts cracking up. Fucking dying of laughter and Tim has no idea why until Dick’s like

“Tim, Timmy, baby bird– that’s a fucking sex chair.”

And Tim’s blushing, staring at it now with new eyes all like ‘oh’.

He doesn’t get rid of it, but Jason sure visits a whole lot more.

Impending Parenthood|Closed


Alice took a breath before leaving the bathroom with a set of five different pregnancy tests in her hand. She ignored Jack and Tim, laying out each test on the appropriate box on the coffee table. “OK so we leave them all alone for like ten minutes so everything can dry.”

She stood up them, tying her hair back into a tiny tuft of hair. She wasn’t sure how she’d take it if they were all positive.

My Advice for Wannabe Webcomic Artists...

Despite the fact that I haven’t truly been a webcomic artist for a few years now someone asked me what advice I have for a wannabe webcomic artist. I’m always very giving when it comes to advice because I feel that if you have no advice to give on a subject, you haven’t truly learned anything about it. I believe very strongly in any advice that I give and I would tell this to anyone who is interested in making webcomics so I figured that I might as well share my response here for everyone’s benefit.

In terms of advice for a wannabe webcomic artist, the best advice I can give is to just start making webcomics. Or to put it another way, dont wannabe, just be. Before I started making my webcomic I kept getting caught up in planning my comics and trying to make them perfect. They will never be perfect. The only way you’ll get better at making comics is if you just start making them, finishing them and don’t stop. Posting my comics online forced me to keep to a regular production schedule and it made me a better and faster writer and artist. Post everything you do online even if you don’t like it.

It’s also my opinion that it’s crucial for every modern artist, and especially for a webcomic artist, to be on social networking sites like Twitter and Tumblr (Facebook as well but to a lesser extent). Those sites will both expose you to the wider world of webcomics and art and help you reach out to that world and become a part of it.

If you are really serious about being an artist professionally and if you can afford it I believe very strongly that going to college for art is worthwhile. It has become very fashionable recently to dismiss going to art school as unnecessary and it certainly can be depending on your current skill level and the college which you attend. But for me personally, it has pushed me to grow as an artist and a person in a way that being self-taught wouldn’t have.

-Tim Lai


I designed a new logo and business card for business class and I updated the blog to match. I didn’t think I could come up with a logo I liked better than my previous one but I actually much prefer this one because it’s much simpler and more iconic. I’m really happy with how it turned out. So far I’ve been continuing the trend of producing the art that I’m most satisfied with in business class this semester.

How I Choose Colours

Somebody asked me how I choose colour schemes for things and how I go about digital painting. I spent a lot of time writing this so I thought I should post it here for everyone in case it helps anyone else. I can’t guarantee that this is all 100% accurate but I have been told that colour is my strongest skill and it’s information that I’ve cobbled together from picking the brains of my favourite artists and professors as well as by observing the colouring of my favourite colour artists like Kazu Kibuishi and Tyson Hesse.

I never choose colours randomly. There is always some thought put into it. There’s nothing wrong with trial and error of course but there are better ways of going about choosing colour schemes. How I would go about this would change depending on whether I’m working on a more representational piece or a more abstract piece. For abstract pieces just try complimentarty colours, analogous colours etc, and see what looks good.

Representational pieces are more complicated. Unless you’re working with traditional paint, which is even more complicated, never mix white into your colours to make things lighter or black into your colours to make things darker. When you shine a light on an object it becomes more saturated. White just desaturates colours. First you should start by choosing a colour for your light source. This colour needs to be mixed into every light area of every highlight. Then figure out what the dominent colour in the environment is. This colour should be mixed into all of the darker areas and shadows of your scene. For example, if the sky is blue and the scene is in a clearing then there should be blue in all of the shadows. But if the scene takes place in the middle of a green jungle then you would probably change that to green. If the scene takes place in a red room that would change to red, etc. The colours of things also changes depending on the transparency of objects. Trasparent objects react differently to light than other objects.

When it comes to digital painting, that’s not something I do a lot of. Most of the time I use solid colours when I colour my work but digital painting is just adding more lighting and blending to solid colours. Knowing everything that I mentioned above will help with digital painting. The other important thing to remember is to make sure that your values work because if your values aren’t believable then nothing else will be. I have digital painting class this semester so I’ll probably be learning a lot more about it.

Hopefully this is helpful.