Showing posts with label cartoonist. Show all posts
Showing posts with label cartoonist. Show all posts

Friday, February 26, 2021

Blender 2.92 Grease Pencil New Features


A look at the new features in the 2D and 3D animation Blender 2.92 for the Grease Pencil. We have two new tools; Curve Editing Tool, Flat Caps and Trace Image Sequences. Along with the Improved Join Operator.

Share, like and comment.

Remember… Just Create!

Monday, February 23, 2015

Which Black Cartoonist Passed for White?

Which Black Cartoonist Passed for White?

Black History Month

George Joseph Herriman



George Joseph Herriman


(August 22, 1880 - April 25, 1944)





Geroge Herriman was  light skinned Creole who passed for white.

Herriman's early strips include Major Ozone, Musical Mose, Acrobatic Archie, Professer Otto and his Auto, Two Jolly Jackies and others.

The Dingbat Family began as two strips in one; the main story with the human family taking up the top each panel and an unrelated storyline involving a cat and mouse underneath the family's floorboards taking place in the bottom part of each panel.

This strip was renamed The Family Upstairs. The cat and mouse strip was then spun off into another strip in 1913, originally Krazy Kat and Ignatz and then Krazy Kat.

During its 31-year run, Krazy Kat was enormously popular with the public, as well as influential writers, artists, and intellectuals of the time.

Read more about him in Krazy Kat & the Art of George Herriman


And check out the start of the acclaimed comic strip in Krazy and Ignatz 1916-1918 (Krazy & Ignatz)









Share, Like, Comment and Subscribe

Remember... Just Create!

Friday, July 26, 2013

My Top Ten List! Sequential Cartoonist Scale from 1 to 10

My scale of one to ten to rate your art level. 

Some people who have slobbered over your art because you draw better than them will give you a 10 and you're no better off than you were and still left standing there with false expectations.

Here's what my scale of 1 to 10 means. 

0 – No talent.

1 – You have talent.

2 – You draw like a twelve year old because you ARE a 12-year old.

3 – You draw like a twelve year old and got stuck there, even though you are 20 or 30 years old now. You never expanded your knowledge/practiced enough/took life drawing classes/read art books or any combination of these reasons and more. Yet you think (insert current popular artist here) is a hack and you can draw better than them.

4 – You draw more adult like. Your work is primitive. This is just a hobby for you. You're happy to express yourself with your art.

5 – You mostly copy other artists to practice. Your total knowledge is from what you've seen other artists do. You gain surface knowledge from copying, but nothing deeper. You only draw figures and no backgrounds. Nothing wrong with copying at this stage. You're beginning the learning process.

6 – You're finally taking classes and reading books to learn about anatomy, perspective, composition, chiaroscuro, color theory, storytelling, etc. You're adding skill to your raw talent. Now you're getting some where!

7- You have potential. You will answer an insulting ad from someone who won't pay you upfront, keep the rights to your art and promise you great exposure. If you can resist the temptation, use the time to make all the practice, learning and studying art to become second nature to you. Right now you still have to think about it. Editors who will pay upfront have a field day tearing your work apart.

8 – The work is inconsistent. Figures are stiff. Backgrounds are weak. You're not able to maintain character likeness or your style consistently. Storytelling needs help.

9 - Draftsmanship is good. Storytelling could be better. You've learned how to use photo reference as a tool, not a crutch. Now everything you've learned is a part of you. You don't have to think about how a deltoid and trapezius fit together and move and stuff like that. Now it's second nature to you.

10 – Art is good. Figures are lively, solid, anatomically correct with proper proportions and consistent. You can draw backgrounds that create a convincing reality. You understand how to create depth with foreground, middle ground and background. You haven't gotten bad critiques from editors for awhile now. Just little things here and there and not the big glaring errors you used to make. You're just waiting for your big break. You just need someone to take a chance on you.

You will always find someone willing to give you a first chance. What determines if you are ready to go pro is if someone gives you that second chance.

Now you may not neatly fit in this scale. You may be in-between. That's good! That means growth is happening. Do you need me to rate you or can you honestly look at yourself? Can you remove your self from the confusion caused by accolades of well meaning people and the rejection from editors? Can you be honest with yourself about your talent and skill level? Be honest about what you need to do and then do it without a primal scream?


TIP - If you hear the same critique more than once. It's not an opinion, it's something you need to work on, so do it!

Remember... Just Create!

Friday, December 7, 2012

Get Manga Studio 5 for $79

Get Manga Studio 5 for $79






Many of the features that were previously only available in the EX version are now available in Manga Studio 5.  A very good tool for drawing comics. Odd though that they don't use the tool to do the illustration for the product packaging. 

You can get it here.

Friday, June 1, 2012

Free Form Panel and Page Design for Comics and Graphic Novels


How to Become a Comic Strip, Comic Book and Graphic Novel Artist


Let's look at a few examples of how to make decisions for a free form designed page based on story, action, anchor image and time progression.

Making decisions based on story.
If you have a very quiet or character driven story, you may decide to use smaller and square panels to make the story feel more intimate.

A story with an epic scale may use larger panels and more horizontal panels to give a sense of grandeur and large vistas.

An action story may have a combination of small panels and large panels to contrast the pedestrian and active or dramatic moments.

© Chris Ware

A nice quiet page of normal events.




The Man who could fly by Will Eisner
© Will Eisner

The last page invokes sadness by designing the page to have the panels represent eyes that seem to be crying.

© Will Eisner

This page is designed to give the readers the sense of looking through the files with the character.







Making decisions based on action and psychological thrillers.
A few different options are available to you.
Use slanted panels where there is action and standard square and rectangles where there is not.
Design the panels to flow with the action.
May use vey haphazard and irregular panels to reflect the chaos or mental state of characters.

art by Joe Madureira
© Marvel Comics 

art by Alex Toth
© DC Comics

© Chris Ware

Awesome page design reflects the mental and emotional state of the character.



Making decisions based on anchor image.
The anchor image is the one image you decide to build your page around to hold it together.

That image can be an active single figure or a close-up. It can also be a dramatic moment and built around a scene.

art by Walt Simonson
© DC Comics

Here the anchor image is the structure. Excellent page design. The structure is designed to be seen first yet it moves your eye to each panel.



Making decisions based on time progression.
This one is the trickiest and where you can be very creative. 

So far I've kept content separate from the design. In this case the design decision to manage time can be altered by the content. As I pointed out earlier film and video are still frames projected at a rapid rate to give the illusion of movement. Panels and gutters are used to give the illusion of time passing. I'll get into this later when I start dealing with content. Page design and panel layout do not decide the content and meaning.

Let's say you decide to use 4 small square panels to condense time. The same 4 square panels can show either:

  • quick action
  • simultaneous events
  • stretch out an action
  • no temporal transitions - just a series of cuts to object of attention in the same scene.

The gutters can be widened or condensed to indicate time has passed at different rate between panels. Large gutter means more time has passed between panels. Smaller than normal gutter can indicate a shorter time passage between panels.

© Walt Simonson

Simultaneous events shown.


Now this would seem to be a good time to segue into content and it looks like I have set it up that way, but alas such is not the case.

I still have balloons, captions, sound effects, actions, expressions, symbols, glyphs, feelings and emotions to discuss.

Next… word balloons.

read next - Introduction to Speech Balloons
previous - Review Panels in Comics and Graphic Novels

Keep reading and follow me. If you have found this helpful, please let me know and share with other creators. Are the explanations clear and complete? Feel free to ask me questions.

Remember… Just Create!

If you are interested in further expanding your knowledge, then I recommend these books.

You can support this blog when you purchase a book by clicking the link below, I get a piece of the action and helps me to continue doing this blog. Support an artist today.

copyright 2012 H. Simpson



Monday, May 28, 2012

Review Panels in Comics and Graphic Novels


How to Become a Comic Strip, Comic Book and Graphic Novel Artist


Okay, let's get back on track. Let's review.

Comic book page
art © 2012 H. Simpson

We've been discussing using geometric page layouts called grids to create a visual rhythm and tempo with repetition and variations in panel shape. The variations are used to highlight dramatic moments in the narrative.

Panels frame and contain the content for the reader. The size of the panel can be an indicator of how much time passes. Comics don't have movement to indicate time. But when you think about it no media does have movement. Film, video and animation all have still frames. We are given the illusion of movement by the rapid projection rate.

The eye moves more quickly over smaller panels. Larger panels make the eye linger longer, so it seems  more time is passing.

Now we're going to discuss free form page designs. This means you don't decide to use a grid and every page can have different panel shapes.

The size and number of the panels on the page is decided by:
  • Story
  • Action
  • Anchor Image
  • Passage of time
So I'll start breaking this down next time.

to be continued...

read next - Free Form Panel and Page Design for Comics and Graphic Novels
previous - A nice method to do thought balloon lettering.

Keep reading and follow me. If you have found this helpful, please let me know and share with other creators. Are the explanations clear and complete? Feel free to ask me questions.

Remember… Just Create!

If you are interested in further expanding your knowledge, then I recommend these books.

You can support this blog when you purchase a book by clicking the link below, I get a piece of the action and helps me to continue doing this blog. Support an artist today.

copyright 2012 H. Simpson

Wednesday, May 9, 2012

Panels and More Panels


How to Become a Comic Strip, Comic Book and Graphic Novel Artist

The Horizontal Panel 

This shape most closely fits the normal human field of vision which is 180 degrees. This shape can help to make the reader feel comfortable. This panel shape is good for panorama views also.


The Inset Panel

This is usually used to show a close-up of a detail or to highlight something you don't want the reader to miss.

Best to use a double border to separate it from the surrounding panel to avoid tangents as well as confusing the reader.


The Overlapping Panel

Usually used to make a stronger connection between panels or to really compress time.

Best to use a double border or cut-in to separate it from the surrounding panel to avoid tangents as well as confusing the reader.

Or a nice strong black in one background can separate the the panels. 



I see a hand raised. "What's a tangent?" I'm glad you asked. Let's go off on tangent now to answer that question and then come back to panels and page design.

Be here tomorrow for a visit to Tangent City.

previous - 69 Grid

Keep reading and follow me. If you have found this helpful, please let me know and share with other creators. Are the explanations clear and complete? Feel free to ask me questions.

Remember… Just Create!

If you are interested in further expanding your knowledge, then I recommend these books.

You can support this blog when you purchase a book by clicking the link below, I get a piece of the action and helps me to continue doing this blog. Support an artist today.

copyright 2012 H. Simpson.

Thursday, May 3, 2012

IN-GRID


How to Become a Comic Strip, Comic Book and Graphic Novel Artist

The Grid

Good designers use a grid. Great designers know when to break the grid.

A grid helps you to provide patterns and rhythms with your panels, thus creating pacing and manipulating time.

What is a grid? For our purposes it's a system for organizing your panels on the page. You've seen it all your life and you may not even have known it. It's used in newspapers, magazines and web sites. And also comics!  Let's look at the history briefly.

Illustrated manuscripts were first produced by monks during the dawn of the Middle Ages to transcribe sacred text. The grids used here are a combination of vertical and horizontal lines as seen in these examples.



As you can see the grid was flexible and showed variety back then, even as it does now. It is not restrictive, it is liberating. It can allow your visual design sense and storytelling to be very dynamic by allowing you think about content, time and space within a framework. It's easy to be creative when you're free. It's more challenging when you create a cage for yourself.

The grid can be used to control time as well as for psychological and aesthetic effect. It gives you a systematic way to layout your pages and give it consistency and unity.

Jim Steranko's Chandler (1976) was one of the early graphic novels. The others released that year were adaptions or compilations. Chandler was an original work. The cover calls itself a visual novel, while inside it's called a graphic novel. It's not the first graphic novel*, but it is indeed the first illustrated novel to combine comic book panels and text in this way. 

Steranko made a creative decision ahead of time to use this grid.



It would seem to be he painted himself in a corner, however he was very creative with his use of this grid. 



Chandler copyright Jim Steranko


*Gil Kane's Blackmark published in January 1971 is the first graphic novel. The term graphic novel was not in wide use then. Europe had what they called "albums" and manga were in Japan.

to be continued...

read next - 4 Panel Grid
previous - Comic Book and Graphic Novel Panels

Keep reading and follow me. If you have found this helpful, please let me know and share with other creators. Are the explanations clear and complete? Feel free to ask me questions.

Remember… Just Create!

If you are interested in further expanding your knowledge, then I recommend these books.


You can support this blog when you purchase a book by clicking the link below, I get a piece of the action and helps me to continue doing this blog. Support an artist today.


Tuesday, May 1, 2012

Comic Book and Graphic Novel Panels


How to Become a Comic Strip, Comic Book and Graphic Novel Artist


Panels are the drawn borders that create a frame on the page. The frame becomes the window into the reality you've created.

The space between the panels is called gutters. The gutter is where time happens.

The panels can be any shape.

Panels can also indicate a flashback, dream sequence; emphasize and emotions 
or emphasize action inside the panel.

The panel can also be a symbolic image like binoculars.


to be continued....

read next - IN-GRID
previous - The Conventions

Keep reading and follow me. If you have found this helpful, please let me know and share with other creators. Are the explanations clear and complete? Feel free to ask me questions.

Remember… Just Create!

If you are interested in further expanding your knowledge, then I recommend these books.

You can support this blog when you purchase a book by clicking the link below, I get a piece of the action and helps me to continue doing this blog. Support an artist today.

copyright 2012 H. Simpson

Monday, April 30, 2012

A Pause for the Cause

Man sitting alone at bus stop
One of  a series of illustrations done for a Kelly Thomas video

How to Become a Comic Strip, Comic Book and Graphic Novel Artist


Okay I've discussed the terminology, tools and preparing your portfolio, as well as how to submit your art.

If you're just joining now, then it would be good to go to the beginning and read this is order.

Next we're going to look at the visual vocabulary of comics.

That includes:

Panels
Balloons
Captions
Sound Effects
Actions
Expressions
Feelings and emotions
Symbols
Glyphs

Next…Panels and gutters.

Keep reading and  +1 me. Share with your friends. Please comment. Just create!

copyright 2012 H. Simpson

Friday, April 27, 2012

The Conventions

Alternative T-Shirt designs for  Popeye - aged and normal

How to Become a Comic Strip, Comic Book and Graphic Novel Artist


Comic Book Conventions

Before I move on keep this in mind.

For comic strips, you are submitting and showing your work to the people that can hire you via postal mail or email. So keep it clean and simple.

In the comic book industry only the editor (sometimes art director) can hire you. You can submit your work by postal mail, email or show you portfolio at conventions. Showing your work to writers and artists at conventions can only get you a critique and maybe a recommendation.  Don't expect them to hire you.

Don't press the creative person for a referral or recommendation. You place them in an awkward position. They may like your work, but they don't know you. Your work ethic may not be good, you might have a bad personality, you can't meet deadlines and so on and so forth. Very few people will risk their reputation on someone they don't know.

Don't get lulled into getting a big head that you're great because your family and friends ooh and ahh over your art.

It is a good idea to show your art to other artists as they can give you feedback to improve your work. Show it to as many artists as will take the time to see you. Be respectful of their time. If you keep getting the same critique over and over then it's not their opinion, it's something you need to work on to get better.

Here's a calendar listing of conventions. Always go to the convention web site to verify dates, location and who is attending.


to be continued…

BONUS LINKS!

Tips for Comic-Con

San Diego Comic-Con Survival Guide for First-Time Attendees

11 Best Comic Con Tips For First Time Attendees

Here’s What You Need to Know to Survive Comic-Con

The do’s and don’ts of San Diego Comic-Con (and other cons)

So You're Going to Comic-Con, Here Are Ten Rules to Have Fun

read next - Comic Book and Graphic Novel Panels
previous - How to Submit to Get Your Comic Strip Syndicated

Keep reading and follow me. If you have found this helpful, please let me know and share with other creators. Are the explanations clear and complete? Feel free to ask me questions.

Remember… Just Create!

Copyright 2016 H. Simpson

If you are interested in further expanding your knowledge, then I recommend these books.

When you purchase a book by clicking the link below, I get a piece of the action and helps me to continue doing this blog. Support an artist today.

Thursday, April 26, 2012

Switching Lanes - Words to Pictures

thumbnail art
Thumbnail art for a comic book page

How to Become a Comic Strip, Comic Book and Graphic Novel Artist

Going from Script to Artboard


It all starts with an idea. Then it becomes words or words with pictures. What do you do with words you get from someone else? How do you interpret the script so you can visualize it?

Here's a process you can use.

1. Read the script a few times. Sometimes the images will come to you right away. That's great! Other times you will have to think about what you want to draw. In either case you have to get a clear image of what is happening in your mind. Your mind is your most important drawing tool.  if you can't see it in your mind, the you can't draw it well on paper. If the characters are new to you then you have to imagine what they will look like.

2. Use a highlight marker to choose what items you are going to need reference to draw like the Statue of Liberty, a car wreck, luxury apartment, cars, chairs, kitchen, birds, etc.

3. Make thumbnails to break down the script into pages for pacing,panel breakdowns and composition purposes. You can do this right on the script or on other paper. At this stage you just want to be sure your thinking is clear and you are concentrating on storytelling. You're not really trying to draw here. Do this quickly to get your ideas on paper. it can be stick figures or scribbles. It's for your benefit only.

4. Now collect all the reference images you will need. You don't want to disturb your drawing time by looking for reference then. Get it all at the beginning. Use the reference file you have and the internet. This is also the time to take your own photos. TAke a day to go to locations you may need like downtown, the subway, zoo etc. Also take shots of yourself and people in difficult pose you may need. References are to be used as a guide, not a crutch. It will be plainly obvious if you trace a  reference in one panel and don't have reference for the same thing in another panel.

5. Do layouts. Now is when you want to be concerned about drawing. You have two options. Draw it on an 8.5" x 11" bond paper , enlarge it to your art board size  an then lightbox it onto the board. Or do your layouts directly onto your art board lightly with graphite or non-photo blue pencil. Leave room for balloons and captions.

6. Do some model sheets for yourself of the major characters, so you can draw them consistently from panel to panel.

7. If you have a full script, then now is the time to do the lettering. Do not do lettering for samples you are doing in your portfolio.


This is a quick overview. I will go into detail about this process later.

Here's a fun illustration by the great Brian Buniak.





I also would like to see your comments. Is this helpful to you? Are the explanations clear and complete?

Keep reading and  +1 me. Share with your friends. Please comment. Just create!

copyright 2012 H. Simpson

Wednesday, April 25, 2012

4 - Using Reference and Tracing Images in ArtRage Studio


Demo using HP TouchSmart screen with reference and tracing images in ArtRage Studio Pro. A drawing and painting application using the HP TouchSmart computer. Using a regular brush to draw and paint to create digital art with the natural look of drawing and painting.

Please use the hidden dock (I don't know why Blogger hides it, thus forcing me to beg. Sheeesh!) on the right to follow and subscribe to me. I also would like to see your comments. Is this helpful to you? Are the explanations clear and complete?

Keep reading and  +1 me. Share with your friends. Please comment. Just create!

You can help support this blog with the purchase of a book or product below.

copyright 2012 H. Simpson

Tuesday, April 24, 2012

How to Submit to Get Your Comic Strip Syndicated


How to Become a Comic Strip, Comic Book and Graphic Novel Artist

Comic Strip Submissions


For comic strips you have to submit directly to the companies by mail mostly. Some do accept email submissions. Never submit original art by mail. Don't be fancy just staple your photocopies together and put it in an envelope with your cover letter. Insert some cardboard to protect it. Always send an SASE (self addresses stamped envelope) with it.

In the comic strip industry there are syndicates that distribute the strips to newspapers. The syndicate purchases rights to your strips, reselling them to newspapers and magazines. Usually it's a 50/50 split on income received from newspapers to carry the strips. Don't expect to be getting a salary.

Strips are usually created 4 weeks in advance for dailies and Sundays 8 weeks in advance. Don't try to become a comic strip artist unless you know you can come up with ideas everyday on this schedule.

Sunday comic strip panel layouts

Create something from your heart, not something where you are trying to ride a fad. Do what you care about and the audience will gravitate to it. Decide whether your strip is going to be a gag strip or soap opera. Be sure to put your copyright notice on all of your work.

Syndicates each have their own submission policies, however generally you must have 4 to 6 weeks of daily strips and 2 full color Sunday strips. Make sure it is a good introduction of you characters. Draw more strips than you submit so you have developed the characters and know them inside and out yourself.

Most strips are drawn at twice the printed size. You can draw at a ratio that's comfortable for you.

You can also independently submit your strips to editors at individual newspapers or publish as a web-comic.

After you submit to a syndicate all you can do is wait.

And wait.

And wait.

Wait.

Still waiting.

Tired of waiting.

Whoa! Hold on there partner. Don't do anything! There's nothing you can do but wait, so gird your loins! Syndicates receive thousand of submissions a year and only choose 3 or 5 to distribute and put their marketing money behind it. If they don't feel they can get a return on their investment even after it is picked up, then your strip will be dropped. Stay with it! What may be rejected one year can be accepted next year. Keep developing it.

Editor and Publisher magazine has a Syndicate Directory that you can find in the library and online.  You can also buy it from the magazine.

In the comic book industry you have The Big Two - DC Comics and Marvel. In the comic strip industry you have The Big Three  - King Features, United and Universal.

Here are some major syndicates to contact. Follow their submission guidelines exactly!

Creators Syndicate
5777 W. Century Boulevard, Suite 700
Los Angeles, CA 90045

King Features Syndicate
235 East 45th Street
New York, NY 10017

Tribune Media Services
35 N. Michigan Avenue, Suite 1400
Chicago, IL 60611

United Media
200 Madison Avenue
New York, NY 10016

Universal Press Syndicate
4520 Main Street
Kansas City, MO. 64111

Washington Post Writers Group
1150 NW 15th Street
Washington, DC 20071-9200

BONUS LINKS!






to be continued…

read next - The Conventions
previous - The Secret to Putting Together a Winning Portfolio

Keep reading and follow me. If you have found this helpful, please let me know and share with other creators. Are the explanations clear and complete? Feel free to ask me questions.

Please support me making video tutorials on Patreon.

Remember… Just Create!

Copyright 2016 H. Simpson

If you are interested in further expanding your knowledge, then I recommend these books.

When you purchase a book by clicking the link below, I get a piece of the action and helps me to continue doing this blog. Support an artist today.