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Shoutbox

  • Tuxedo Mark: My review of "Which is Rich", a 1980s Cheryl story from Archie, No. 323: [link]
    May 20, 2019, 07:49:01 pm
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    May 16, 2019, 11:20:40 am
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    May 15, 2019, 10:06:41 pm
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    May 14, 2019, 10:48:15 am
  • Tuxedo Mark: And a collage: [link]
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    May 04, 2019, 08:50:04 pm
  • Tuxedo Mark: My review of "Double Date" from World of Archie Jumbo Comics Digest #88: [link]
    April 28, 2019, 01:02:44 pm
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My Art

Started by gillibean, December 02, 2016, 11:27:53 pm

Previous topic - Next topic

gillibean

So I posted a sketch in my "Art by Gillibean" Album, and I have inked it different ways. My problem is I don't know what color to go with for my new character. I don't have much of a background for her yet, but I think I need to have a color scheme first to decide.
If you want to vote on which color you like best, please go to my album and comment.
Also, if you have an idea for this new comic please comment it.
I know its going to be some sorta of action/ adventure comic, with this girl as the main superhero (or villain :o )(I don't expect this comic to go anywhere, I just like to draw comics in my freetime)
If I do decide on a color I'll post a new sketch of the character with more information.


DeCarlo Rules

December 03, 2016, 01:20:09 pm #1 Last Edit: December 03, 2016, 04:17:13 pm by DeCarlo Rules
That's exactly how many of the great comic artists started, just making their own homemade comics, and maybe sharing them with their friends, or printing just a few copies (six or twenty) to circulate to a small group of interested friends. Hey, you could make your own mini-comics by folding an 8 1/2" x 11" piece of paper in half. That gives you four pages (the front and the back of each half of the paper you folded in half) or add as many pieces of paper as you want to make an 8, 12 or 16 page story -- or right on up to a full 32-page comic. Then if you have access to a photocopier at school, the library, or a copy shop, you could print as many copies as you want, and even hand-color them (or at least the covers). It's fun, and it will give you a real feeling of accomplishment to see you made a complete comic book all by yourself!

Read my comments in your gallery!  ;)

gillibean

Thank you for all the great tips, I will definitely take them into consideration.


As for my new character, I'm not sure if her skin tone will be a regular peach, a lighter variant of her skin tone, or just white, I think it depends on which color scheme I go with. Even if shes just a regular person (and not an alien) It would be cool to have her have a diffent skin tone. I have a list of names for her, but certain names go with certain colors, so I still have to decide.


She does live on earth, she is a punk (I found it funny that you were able to guess that :) It is present day. And I feel like shes more like a spy than a superhero, and I kinda like the idea of her being a "bad guy" who just doesn't know what shes doing... like, she doesn't realize shes doing the wrong things. I'm not sure, I'm going to have to write some sort of script.


As for the differences you found in the light purple one, Its because I wanted to compare different styles to the other ones. So for the tights, I wanted to see how dark I wanted them to be in comparison.


For all of these drawings I used professional art markers. The brands I used were prismacolor and dickblick. I also used a random black marker, but it soaked into the paper in spread (so if the first few look off, that's why)


I think I'm most likely going to go with a light peach skin, but I'm still not sure on the hair. Even If I don't use certain ones I might recycle them into new characters.


Thanks for all of the advice, and things to think about.


DeCarlo Rules

December 05, 2016, 01:41:19 am #3 Last Edit: December 05, 2016, 03:46:00 am by DeCarlo Rules
Another good thing about making your own minicomics is that you get to try out all your skills, as a storyteller and writer, as well as an artist. Laying out the story panel by panel, pacing the action, and "directing" like a movie on a page. Pencilling, inking, lettering, and coloring. It gives you a better sense of what your strong and weak areas are, and you can work on improving the weaker ones. If you're serious about enrolling in the Kubert School, don't automatically rule out any of those jobs in the comics industry, even if one of them might not be your "ideal" job. Look at Dan Parent. He's a great artist and graphic designer, but he's also a writer. You can look at his older artwork and compare it to his recent work and see where he's greatly improved his skills as an artist over the years. But he also learned how to write comics, and looking through the digests you can find a lot of stories that Dan Parent wrote, but another artist actually drew his story. The comic book industry is actually filled with writers who started out with the intention of becoming artists, but found out that their real talent was in learning how to think visually -- to imagine how the story is going to look on the page.

Craig Boldman is another example of a Kubert School graduate who has done a lot of stories for Archie Comics. You never see his artwork in Archie Comics, but he IS an artist. It's just that he turned out to be one of the best writers, and Archie Comics has other artists who are better at the actual drawing of those characters than he is. You want to know how Craig Boldman writes a story for ACP? He "writes" on those little square post-it notes. Each post-it note is a single panel where he sketches in the characters, captions and word balloons, and then he sticks them on a piece of paper in the order they should go for a comic book page. As he's going along, he might decide to change something, so instead of erasing part of a page, he simply replaces one post-it note with a different one, or moves them around to change the order of the scenes, or add some new panels in-between to make a scene longer or put in some new information that he forgot to include. You can also stick two post-it notes really close together (no space between them) and just treat the two of them together as a single panel. If you want to use panel shapes that aren't regular squares or rectangles, just use scissors to cut your post-it notes to shape.  If you need really large or oddly-shaped panels, then just cut them out of regular white paper and use a glue stick to attach them. Depending on how the story looks like it's flowing, you can expand or contract things so everything reads well visually and logically, the transitions are smooth and read intuitively, and nothing important is left out, and that it all fits exactly into the pre-determined number of pages you have to tell the story (giving yourself a pre-determined page limit is a good practical exercise, because in the real comic industry, that's how it works). You don't want to have too many or too few panels to a page (unless there's a very good, intentional reason for doing that), and you want to keep the reader's eye moving along from panel to panel in the correct sequence without having the reader stop to think about where to look next. The post-it method of laying out and writing a story is a good trick, and it's really helpful for graphic storytellers who are just starting out, too. That way you can experiment a little before you commit your final artwork for the story to the page, and it lets you tinker with things and get the rough story down just right before you start the harder work of penciling and inking (that's real work, so you want to save yourself from having to re-do it as much as possible at that stage).

I guess what I'm trying to say here is that before you even sit down to try to draw the best-looking picture you're capable of, you need to do a lot of thinking. Every blank page, and every blank panel presents you with a mental puzzle. How do you place everything into that blank space, and where does it all go? You need to leave enough space to include the caption boxes and dialogue balloons, figure out how the characters fit in that space and what they're doing and how they're moving, and leave enough space to put in some background details so we can tell where they are. You need to figure out how what's in that panel relates to the one that came before it, and the one that comes after it. If you're doing it all yourself, then you literally have to create something out of nothing. If you're starting from a written script, well then you've got some descriptions and dialogue to start with, so it may be a little easier, but it's a good challenge to start with nothing but your own basic ideas. You've got to mentally carve something out of that blank space, like a sculptor. Once you've laid out or roughed out your story with loose sketches so that you know where it all fits, looked it over several times critically to see if anything's missing or could be improved, and are satisfied with the result, then you've got your basic blueprint to begin the actual drawing. Then you can sit down, rule out the panel borders, letter the captions and dialogue balloons, and loosely sketch in all the figures. If everything then looks good, you sit down and go page by page, drawing everything in all the panels, one at a time. You don't have to go in any particular order, or you could set the order according to the tools you need to use. Maybe you need to draw some light perspective lines to make sure everything stays in the proper proportion, or for mechanical drawings of things like buildings, with a ruler. There are a lot of different things to think about.

Korn123

It has a lot of interest.

oscarpuhe

This is a very interesting to do.


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