5 Reasons to WriteI wrote a blog once that urged comic artists to try writing their own books. I held back a bit on what I said--Punk Rock Jesus hadn't come out yet, so I didn't feel like I had the proper authority to really speak up.5 Reasons to Write3 years ago in Personal More Like This
Since then, there's been a lot more discussion about the etiquette of publishers toward their freelancers, the recent rise of creator owned books, and the effects of Hollywood moving into comics (or vice versa). And as friend of mine at Newsarama pointed out recently, I'm one of a few guys who's found a middle ground--not only because I'm writing and drawing my own book, but because my OGN is partially owned by DC Comics.
Certain events of the last year have created new concerns within our industry. Do you still need to work for big publishers if you want to "make it"? Do they deliver a better product than creator owned books? Are the Big Two treating creators as fairly as they've always been? Between the rise of digital comics and comic-based movies, are creators getting
Irrational Confidence and how it Helps the ArtistFolks,Irrational Confidence and how it Helps the Artist2 years ago in Personal More Like This
I was doing some studying of construction this morning and it got me to thinking on some stuff that might be helpful to you crazy kids that wanna break into comics as artists.
When I was coming up, I had an irrational confidence. I didn't know it was irrational at the time, but I can now see it upon reflection. I just KNEW that I was gonna be able to do this one day.
But when I go back and look at old drawings I did, I think, "What the hell was I thinking?" I mean, I was BAD. I definitely could draw, but I was a complete amateur in every way. A hobbyist. I was a guy that had a better jump shot than his friends and somehow I knew that meant I could play in the NBA.
This confidence could have been a hindrance, though, if it was the wrong type of confidence. My confidence wasn't that I was already good enough to draw professionally. My confidence was in that I would look at art and think, "I can figure out how to do that".
I've seen plenty of guys along the way that had the w
5 Comic Book Truths (that I don't think are true)There are lots of tips, chestnuts, and other pieces of advice that I've heard over the years--tidbits of wisdom passed on from one generation to the next, from professional to professor to prospective student. Some of them are drawing tips, some of them are tricks to dealing with publishers, and some are general guidelines on how to survive in comics. Most of them are useful and true and will stand the test of time, but a few of them have become hackneyed platitudes and have gone unquestioned for too long. Here are 5 that I'm questioning...5 Comic Book Truths (that I don't think are true)2 years ago in Personal More Like This
1. READERS WILL ONLY LOOK AT A PANEL FOR 5 SECONDS, SO DON'T SWEAT IT TOO MUCH.
I understand the intention of this bit of wisdom, and I mostly agree with it: drawing great interiors is important, but at the same time, you don't want to get bogged down with small details that most readers won't even notice.
But here's my concern with this: if you treat every panel like it's disposable, then you're less likely to make an impact with reader
5 Ways to Avoid Being DiminishedThere's a discussion brewing in comics about artists being more diminished as of late--that readers, reviewers, and publishers are focusing too much on writers rather than the artists who draw the book. I agree it's happening, but I'm not sure it's worth sounding an alarm over. I never felt diminished, but maybe I'm part of the exception. Maybe it's because I'm an artist and a writer.5 Ways to Avoid Being Diminished2 years ago in Personal More Like This
Either way, I do have a few thoughts on what artists can do to pull themselves out from under the rug.
1. DON'T DRAW LIKE A COG.
If you conform to a "house style", then you're at higher risk of being treated like an interchangeable cog in the comics machine. Yes, you're more likely to get consistent work, but you won't stand out as much. Therefor you'll be sought after less by big name writers, you're less likely to make a lasting impression on reviewers and readers, and you'll have a harder time getting raises (12 others draw like you and for less money).
I also suggests inking yourself if it helps. Penc
In Defense of InefficiencyI recently came across a wonderful series of blog posts by artist Jesse Hamm (http://sirspamdalot.deviantart.com/) discussing the work of Alex Toth. Widely (and correctly) regarded as one of the greatest comic artists of all time, Toth’s utter mastery of efficiency in line and form set him apart from the vast majority of other artists who are often seen as fussy or wasteful in comparison. Minimalism and efficiency are without a doubt incredibly vaIn Defense of Inefficiency6 months ago in Personal More Like This
In Response to the Self-AbsorbedThis is brief thought I wanted to add for the pussies that seem to have a problem with what Neil Gaiman wrote.In Response to the Self-Absorbed1 month ago in Personal More Like This
Here is the article - hhttp://journal.neilgaiman.com/2009/05/entitlement-issues.html
Having no intention finishing something is far different from being late - please make no mistake. I can tell you that it's zero fun to work 65 hour weeks to have some turd yelling at you for being a week late (Something that people who don't work for a living doing anything they are passionate about will never understand). Puts me in a rough mental state when humans are up my ass. This situation can create a terrible feedback loop for me - one of the reasons I try to stay away from interviews and forums.
I tell stories that I want to last, not ones that are "on time". Artwork for this takes time. If you desire a good story, you have to wait. If you want mental fast-food, you have thousands of titles to
it's all about work!Every day i hear how talented I am - I think this is a incorrect. I think that talent is confused with work. I do believe there is talent in every artist, but it is only 5%- you see when we were younger we all drew the same. As we got older, many people stopped trying to draw due to comments, lack of interest or what ever other reason they put there. The others that continued, like all things learned that it is 95% work, frustration, tears, anger, determination, persistence, practice, practice, practice, & more practice that allows them to create the artwork you see. Many people just grade the artist on the end result, in reality they missed the struggle and battle that truly defines the piece created. I enjoy the 5% talent I see around me yet I respect the 95% dedication that these great artist put out that makes their works fantastic. I believe anyone can learn to draw- they just have to want it bad enough. and that means that they are willing to show us by putting the effort in to iit's all about work!3 years ago in Personal More Like This
THOUGHTS ON COMICS CONVENTIONSSo I wrote a blog on Comics Conventions. How and why I try to navigate them professionally and creatively:THOUGHTS ON COMICS CONVENTIONS2 years ago in Personal More Like This
Meaty MessageMeaty message-Meaty Message1 year ago in Personal More Like This
"Hey man, I thought perhaps you might be able to shed some light on something;
Where does one start with getting into your world? illustration? Animation? General fine art? I’m 28 and looking at rebooting my life by advancing my favourite lifelong hobby into (hopefully) a better job, but to risk 3 years of my life and upwards of £30k, I don’t want to go in the wrong direction right at the start.
I know you’re USA and I’m UK, but what course did you do? What’s your origin story, and your advice to someone who wants to follow a similar path?
Cheers bro, really appreciate the time you take to read this meaty message.”
First off, sorry for the late reply. I let messages build up and answer when I can. I wonder if you’ve already made some decisions about your direction toward comics and this response is way too late! But regardless, I’ll answer anyway! I’m up in the mid
The Sean Murphy ApprenticeshipI'm thinking about taking on some students for a two week "boot camp" course in comics--based off the classic master/apprentice style of education. But before I move forward with the idea (and begin Kickstarting), I wanted to get your feedback and see if anyone is interested in enrolling this winter. Please pass this along (Twitter/facebook) to anyone you think might be interested.The Sean Murphy Apprenticeship3 years ago in Personal More Like This
I bought a house in Portland, Maine this past weekend. It's a 5 bedroom, 4 bathroom Victorian house that's been newly renovated. The top floor is finished and will become the drawing studio for 5 students. The idea is to furnish the building with tables, chairs, couches, beds, a TV, a library, a photo studio (for taking reference images) and all the other amenities that would create the school.
After selecting the 5 students (I'll take submissions that will be juried later on), we'll all meet in Portland this winter for the two week apprenticeship. The students will live i
Conceptual Spotlight Vol. 90BokehLight'sConceptual Spotlight Vol. 902 years ago in Art Features More Like This
Spotlight Vol. 90
While i'm sleep
The Marriade_1. Love
And I won't remember the words you said
Give a Feature, Get a Feature #67:iconRealm-of-Fantasy:Give a Feature, Get a Feature #674 years ago in Art Features More Like This
Realm-of-Fantasy is running a weekly "Give a Feature, Get a Feature" in our group. Do you have a favorite Fantasy/SciFi piece on deviantART? Or maybe you know of a Fantasy/SciFi piece that just isn't getting enough exposure?
Would you like to get a little exposure yourself? Well, here is the time and place to speak up.
You pick it, we promote it. And as a bonus, you can pick a piece of yours that you would like to get featured as well!
More info about this feature and how to participate below right after the feature.
Support the artists:
Please this Group Blog to help these artists get more exposure!
If you Fav this Blog you will get an extra Feature of your work in the next Blog
Be sure to visit all of these wonderful artists galleries and share your thoughts, comments and favs with them.
Now lean back and enjoy this week’s features!
"Give a Feature, Get a Feature"
SEAN MURPHY ApprenticeshipHere we go, folks! If you're interested in the Apprenticeship, then read below. At the bottom you'll find a link--just click to download the application WITH your finished pages to Murphy.email@example.comSEAN MURPHY Apprenticeship2 years ago in Personal More Like This
1. Submit 5 pages of black and white sequential art (along with application below) to Murphy.Apprenticeship@gmail.com . The pages must be inked, no pencils and no "darkened pencils" using Photoshop. I want students who can do both! Because I use traditional tools (pencil/ink), I'm more capable of teaching students who also use those tools, but I'm happy to accept digital inking as well. However, if you work digitally, be prepared to bring your own computer/wacom/cintiq materials.
2. The pages can be from any genre/character/script you like. Feel free to write your own story, or use a profe
PE: Painting With A Limited Colour PaletteDigital ArtPE: Painting With A Limited Colour Palette7 months ago in Art Features More Like This
Nowadays, digital art programmes give us an overwhelming amount of colours to choose from, which makes it tempting to go overboard.
Painting with a limited colour palette challenges you to think outside the box and find new, creative uses for colours. This article aims to help you with that, including tips on how to create a limited colour palette, how to approach painting with it, and an art feature.
About creating a colour palette:
In order to paint with a limited colour palette, you will first have to create said palette.
Here a few pointers for creating your own palette:
You can choose as little as two colours, but since we're talking about limited palettes, you should choose no more than five to start out with.There's a few simple tricks to ensure you get an unified colour palette, but that doesn't mean you absolutely have to use them. Your colours can be as crazy as you want. Knock yourself out.Having a mood in mind for your work will help you with pi
Our First LoveWe all loved it at first.Our First Love3 years ago in Personal More Like This
We loved creating. Those first attempts were driven by enjoyment. We weren't doing it to get better, to "practice", or even, God forbid, for a paycheck. We were doing it to do it. A joy unto itself.
In some ways, I find all my current work to be little more than efforts to rediscover that first love. To get back to that feeling I had at the beginning, before all the training, practice, and work. Before I was "serious." Back when drawing wasn't about creating something pretty but just having fun. No pressure, no demands, no expectations.
...continue reading on my blog: http://www.noahbradley.com/blog/2012/our-first-love/
***THE LOST KIDS ART CONTEST HAS BEGUN!***LOST KIDS ART CONTEST BEGINS NOW!***THE LOST KIDS ART CONTEST HAS BEGUN!***4 years ago in Personal More Like This
Draw a Lost Kids Cover!
1st Place: $250
2nd Place: $150
[w00t!] 3rd Place: $100 [w00t!]
[Hi!] But wait! That is not all! [Hi!]
All Top Three Winners will have their work as Covers/Variant Covers for the Lost Kids comic books to be published late 2012!
It should also be noted that all three winners will also receive a copy of the comic book their cover will be featured on, just thought I would put this out there
[Bullet; Red] Easy! Draw one or more characters from the Lost Kids universe in any way you imagine (i.e. sketch card, pin-up, B/W, CGI, Digital or Traditional Art, etc)
[Bullet; Red] Artwork must be 11x17in in size and with at least 300dpi
[Bullet; Red] Your layout must leave room for the Lost Kids logo but do not include it in your art.
[Bullet; Red] Check out our website for more information about all the characters and feel
MY INSPIRATION...Wanna know who i look at and copy from these days? It's no one in comics. Nobody in film. Just this guy. He's why i draw these days. He's all i study. Thank you, YUTAKA NAKAMURA-SAN!MY INSPIRATION...4 years ago in Personal More Like This
Brian Taylor: Outlaw of Independent CinemaBrian TaylorBrian Taylor: Outlaw of Independent Cinema4 years ago in DeviantArt Announcements More Like This
Outlaw at the Bleeding Edge
of Independent Cinema
Movies featuring the latest in high tech digital effects, eye-popping CGI environments and ear-splitting surround sound, are often described as “pushing the envelope.” But they’re mega-million-dollar productions that are delivered back to the studios by the filmmakers precisely as pre-ordered. Rarely is there danger of disaster, so what envelope has been pushed?
“Envelope-shredder” might be a better designation for Brian Taylor...
Who, usually in collaboration with partner-in-mayhem Mark Neveldine, has given the world such films as Crank, Crank: High Voltage, Gamer, Pathology, and recently Ghost Rider: Spirit of Vengeance.
Brian Taylor has chosen his favori
Italian Masters of HorrorItalian Masters of Horror1 year ago in Art Features More Like This
Italian Masters of Horror
Zombie by liliesformary
Giallo is Italian for yellow… and Horror
In the wake of the real life horrors meted out on Italians during World War II, brutalized by Mussolini and then by Nazi occupation and then having their country used as one great battleground chessboard between Nazis and the invading U.S. and Allied forces, there was for a long time little appetite for horror in movies. It wasn’t until 1956 that the first genuine horror film (a vampire story) was produced and released. It bombed, soundly rejected by the public. The film would be of little note
THREE TIPS FOR DRAWING CARSYou know that green ellipse tool that you bought in art school? Do you know how to use it for something other than oval shapes? Do you know what those "cross-hair" marks are for? And do you know how to use it for technically correct perspective drawings?THREE TIPS FOR DRAWING CARS3 years ago in Personal More Like This
TOO many comics artists don't, and it's driving me crazy. So instead of starting a blog that starts showing examples and naming names, I figured it was better to make a quick tutorial. And this isn't just for cars but also for guns, fire hydrants, and millions of other machined objects found in comics.
If you go through this and you're still stuck, please don't write to me. I'm happy to show you at a convention to make it clearer, but within a blog this is the best I can do. Check out "Perspective for Comic Artists by David Chelsea" for more.
Cars are a whole lot easier to draw if you know how to properly use perspective and ellipses. The more familiar you are with the math, the more fun it is to draw cars. Once I figured out th
Dragon Process Video!Hey guys,Dragon Process Video!1 year ago in Personal More Like This
I don't usually do this but here's a process video for the sketch "Final Boss", took me 30 minutes in total
hope you like it! I'd love to hear your opinion WOOOO
Why are we slower?About a month ago I finally got to meet an art hero of mine, Klaus Janson, a well known pro who's been in the industry for over 30 years. A mutual friend introduced us, and we hit it off right away. The group of us went through the Village hitting pub after pub, and soon I was drunk enough to ask Klaus something that had been bugging me.Why are we slower?4 years ago in Personal More Like This
I asked him if modern comic artists are, on average, slower than we used to be. He said yes, and I agreed.
From the Golden Age until the 80s, pencillers were generally expected to turn in at least two pages a day, while an inker was expected to turn in around 3-4. There were a handful of exceptions, I'm sure, but most of the artists could pump out pages like human printing presses. In the current comic industry, it's completely reversed: while a handful of artists can still hit this speed, the vast majority can't. Pencillers today struggle to produce a page-per-day, while inkers (those who still ink with ink) are hitting around 2.
So what happened? I'v
Today was a really great day~So today at the SCAD sequential art society meeting, Tradd Moore came and spoke to us!!Today was a really great day~2 years ago in Personal More Like This
And if you dont know who that is you need to go look here RIGHT NOW because he is one of the most talented comic artist and inker I have ever seen in my entire life.
So I was a little bummed out at first because all my friends had gotten some of his comics the previous day and were going to ask him to sign them but I didnt have anything for him to sign but no omg Tradd walks in carrying an eNTIRE BOX OF HIS LUTHER
STRUDELSTRODE COMICS LIKE THE ENTIRE VOLUME 1 AND 2 AND THEN JUST PASSED THEM OUT TO EVERYONE I GOT BOTH OF THEM AND IM SO EXCITED TO START READING LATER TONIGHT
He also gave some really great advice about building a portfolio and how to approach art and life in general. I wish i had recorded it or at least written some of his quotes down but overall the message w
Bravoman is now a cartoon!!Hey all !!! so if you have been following me for the past year you will have seen many a link about Bravoman. It is a webcomic I have had the pleasure of working on for over 150 strips and am so excited to announce that 6 animated episodes have been created for your viewing pleasure!!! please click the link below and enjoy a 5 min cartoon with the voice acting of legends like Rob Paulsen, Dee Bradley Baker and Romi Dames!!!Bravoman is now a cartoon!!3 years ago in Personal More Like This
Bravoman ep 1 http://www.shiftylook.com/videos/episode/bravoman/bravoman-episode-1-the-beginning-and-end-of-bravoman