Friday, July 22, 2011
Day 25.1 Taste of things to come
Either tonight or tomorrow morning I should have a decent post about about marketing a comic; doing it for little or no cost, how effective no cost options are compared to billable options, some more sketch art, and possibly a penciled page.
If your at the Con, have fun and definitively download the Con App if you have a smartphone. It will make scheduling your day much easier, (and sometimes has information only on the app!), and I find it makes networking easier for professionals as you can go from specific booth/artist to booth.
Oh and one of my good friends dropped of some of the Zombie Dinosaur bookmarks on the marketing materials table, feel free to grab a couple.
If your at the Con, have fun and definitively download the Con App if you have a smartphone. It will make scheduling your day much easier, (and sometimes has information only on the app!), and I find it makes networking easier for professionals as you can go from specific booth/artist to booth.
Oh and one of my good friends dropped of some of the Zombie Dinosaur bookmarks on the marketing materials table, feel free to grab a couple.
Wednesday, July 13, 2011
Day 24.5: Comic Related's podcast on Kickstarter (CC)
If you've been following this blog, you know how much a fan I am of Comic Related. They industry experts are insightful and top notch. Also you probably saw how I'm planing on using Kickstarter to attempt to at least partially fund the comic. Originally I was waiting till a large chunk of the comic was done, so I had more to show thus better 'sales pitch' but it seems many other comic creators had similar ideas. No I fear I may lost in a wash of other comic pitches. Thankfully my concept seems fairly unique, but I will have to get on the ball getting my stuff set up and over to Kickstarter. . .sigh. One more thing on the ever growing list.
In any even the 48 min podcast is worth listening to. Again Comic Related is run by the guys that put out Blue Line Pro materials, of which I am also a great fan (their boards erase better than everyone else I've tried, which for someone that screws up as much as I do it important. . .I hate using process white [1].)
So without further ado:
http://comicrelated.com/news/12687/sketch-podcast-50
[1] process white, is a substance that, similar to Jesso for painting, that is painted over a mistake ridden area, and allows the penciler to draw over it in pencils. Kinda like white out but it doesn't 'tear' the same way. A lot of tech savy artists. Simply draw the panel on a different board now, and place it in the page over the 'afflicted' area once it's done. I like both methods, but since I'm fairly old school I do like using process white when I can. . .
In any even the 48 min podcast is worth listening to. Again Comic Related is run by the guys that put out Blue Line Pro materials, of which I am also a great fan (their boards erase better than everyone else I've tried, which for someone that screws up as much as I do it important. . .I hate using process white [1].)
So without further ado:
http://comicrelated.com/news/12687/sketch-podcast-50
[1] process white, is a substance that, similar to Jesso for painting, that is painted over a mistake ridden area, and allows the penciler to draw over it in pencils. Kinda like white out but it doesn't 'tear' the same way. A lot of tech savy artists. Simply draw the panel on a different board now, and place it in the page over the 'afflicted' area once it's done. I like both methods, but since I'm fairly old school I do like using process white when I can. . .
Day 24: What does a Carnotaurus eat? Whatever it wants (ZF)
Had a touch of writers/artist block last night. Wanted to work on boards, but most of my warm ups just simply failed. Did have one that came out okay, which I brought with me to work and scanned there. As such I scanned a color (where you can see the red photo pencil I used) and a black and White copy which came out really sketchy looking (which I like sometimes).
In any even the zino is a dino I discovered yesterday ( I try to keep a substantial visual reference library. . .you know OTHER than the internet. Something I really recommend to all comic artists and graphic designers) flipping through a kids book was the Carnotaurus (the name means 'flesh-eating bull'), which might become one of the more dangerous Zinos. Basically a TRex with horns. Let me repeat that a Trex with HORNS >shudders<. Can't think of anything more frighting of the top of my head. . .
Black and White scan
In any even the zino is a dino I discovered yesterday ( I try to keep a substantial visual reference library. . .you know OTHER than the internet. Something I really recommend to all comic artists and graphic designers) flipping through a kids book was the Carnotaurus (the name means 'flesh-eating bull'), which might become one of the more dangerous Zinos. Basically a TRex with horns. Let me repeat that a Trex with HORNS >shudders<. Can't think of anything more frighting of the top of my head. . .
Black and White scan
Color
Monday, July 11, 2011
Quick Post: Day. . .Something-or-other; Thumbs (CC)
Have two seconds (I have no idea how) at work so thought I'd post something up after getting into a debate with a penciler friend of mine, namely over thumbnails. While I try to keep the blog at a minimal on the 'how-to-draw' style, I wanted to address this 'issue' because of how it deals with time management.
If you've followed the blog for any length of time, you probably are aware that may day job takes up a majority of my time (roughly a minim 12 hour day, that typically is around 14-18, and that's not including the 2 hours a day it takes me to drive from Santa Clarita to Santa Monica), so getting this comic done is almost an exercise in time management and efficiency more so than an artistic endeavor (which brings to mind; once this comic is done I don't think anyone can tell me they can't find time to work on their pet projects, but I digress).
My friend argues that he prefers to not work with thumbnails, because they slow him down, and he can always make changes on the boards as he goes. He's also a much better artist than I am, so it could be this works for him. I typically like to take the time out to do thumbs, specifically because I'm not the greatest at backgrounds. I have a solid knowledge of perspective, but typically the scenes I create look to artificial, so when I thumb, I try to focus on the backgrounds first, and then put the characters in that perspective shot, instead of vice versa. Again this is my particular method, but I would argue the extra time it takes me to do thumbnail sketches, means less time correcting mistakes, and I can get a better idea of problems I may encounter when dealing with the full page's layout.
As an example here is a scan of some of the thumbs I did for the splash page (i.e. a full page panel) for page 1. Keep in mind these were done very quickly so I didn't spend much time, but it solved a problem for me; originally I wanted to have the background slightly warped (or wall-eyed) and distorted to increase the sense of quick movement. After laying it out in a thumbnail I decided to go with a traditional perspective shot (bottow Right hand corner) because it would better once the characters are in the panel.
I apologize for the roughness of the scan, I was using a non photo blue pencil and a 4h so I had to change the scanner settings for it to come through okay.
If you've followed the blog for any length of time, you probably are aware that may day job takes up a majority of my time (roughly a minim 12 hour day, that typically is around 14-18, and that's not including the 2 hours a day it takes me to drive from Santa Clarita to Santa Monica), so getting this comic done is almost an exercise in time management and efficiency more so than an artistic endeavor (which brings to mind; once this comic is done I don't think anyone can tell me they can't find time to work on their pet projects, but I digress).
My friend argues that he prefers to not work with thumbnails, because they slow him down, and he can always make changes on the boards as he goes. He's also a much better artist than I am, so it could be this works for him. I typically like to take the time out to do thumbs, specifically because I'm not the greatest at backgrounds. I have a solid knowledge of perspective, but typically the scenes I create look to artificial, so when I thumb, I try to focus on the backgrounds first, and then put the characters in that perspective shot, instead of vice versa. Again this is my particular method, but I would argue the extra time it takes me to do thumbnail sketches, means less time correcting mistakes, and I can get a better idea of problems I may encounter when dealing with the full page's layout.
As an example here is a scan of some of the thumbs I did for the splash page (i.e. a full page panel) for page 1. Keep in mind these were done very quickly so I didn't spend much time, but it solved a problem for me; originally I wanted to have the background slightly warped (or wall-eyed) and distorted to increase the sense of quick movement. After laying it out in a thumbnail I decided to go with a traditional perspective shot (bottow Right hand corner) because it would better once the characters are in the panel.
I apologize for the roughness of the scan, I was using a non photo blue pencil and a 4h so I had to change the scanner settings for it to come through okay.
In any case, my argument is that if you are starting out, or don't have the confidence of a Greek God, Rockstar, or Professional Penciler thumbnails are the way to go, despite the extra time it's adding to your schedule. Additionally remember to number your thumb pages and panels (my scan cut off how I do it unfortunately) . The reason I recommend this is helps you avoid doing the same 'shot' more than once in the same comic (and doing it too often in a running series is bad too) and organizing your thumbs always helps if you have to back to it while working on that issue or later on in the series. . .which means I just pretty much said what I said before. >Sigh< Gotta stop updating this thing at work.
Anyway, who has two thumbs and recommends using thumb(nails). . .this guy.
Later.
Tuesday, July 5, 2011
Day 22: Digitize. . . you mean like in Tron? (CC)
This weekend was a mess, so I didn't get a chance to do any work of substance on the comic, apologizes. However I mentioned a few posts ago, that I had a discussion with one of my associates, an Eisner winning retailer (the Eisners are like the Oscars/Emmies for comics if you're not aware), and thought the info may be good to share. It mainly relates to a post I did during the first month of the blog when I was figuring out the budget. My associated, whom we'll call 'A!' (unless he states it's okay to mention him by name), basically was doing the push for digital comics (which seems for odd for a guy that works for a retail store, but whatever), and did advise even on a great run for indie, you're only looking at a sale of about 800 units. Hrmm. This does go with the information I've gotten from other sources, publishers, who often also push for digital.
Here's the thing; I hate digital comics.
Now don't get me wrong, I'm almost certaily going to make a digital copy of the comic, possibly in color (the only reason I'm doing black and white for the physical is time and cost. I do feel color is a better product), but it opens up a whole can of worms. First off many digital comics aren't scanned at a high enough resolution, due to file size, and it can really kill the look of the art. Secondly I can not stand how the reader is constantly forced to 'move' the comic when reading it. It kills the natural flow of sequential art. I have not yet downloaded DC comic's new digital offerings; if they manage to make a 'workable' comic, I'll have to try to determine how they got there viewer to flow, and go from there.
Now this isn't to say if your thinking about self-publishing, you shouldn't go to digital. Quite frankly it's the next evolution, it just happens to be one I hate. Go digital makes sense. You can reap all of the benefits of getting your comic out there, at little to no cost, meaning a much wider profit margin. And as long as you can market your digital outputs, you can really bring people in; at no point in a day, is someone not goofing off on the internet.
So yes, I will be making the comic digitally available, but probably AFTER the brick and mortar comics are out first. I generally like putting the best foot forward after all, and feel the printed version is going to look far better than my digital.
As always all comments are appreciated.
More later.
-T
Here's the thing; I hate digital comics.
Now don't get me wrong, I'm almost certaily going to make a digital copy of the comic, possibly in color (the only reason I'm doing black and white for the physical is time and cost. I do feel color is a better product), but it opens up a whole can of worms. First off many digital comics aren't scanned at a high enough resolution, due to file size, and it can really kill the look of the art. Secondly I can not stand how the reader is constantly forced to 'move' the comic when reading it. It kills the natural flow of sequential art. I have not yet downloaded DC comic's new digital offerings; if they manage to make a 'workable' comic, I'll have to try to determine how they got there viewer to flow, and go from there.
Now this isn't to say if your thinking about self-publishing, you shouldn't go to digital. Quite frankly it's the next evolution, it just happens to be one I hate. Go digital makes sense. You can reap all of the benefits of getting your comic out there, at little to no cost, meaning a much wider profit margin. And as long as you can market your digital outputs, you can really bring people in; at no point in a day, is someone not goofing off on the internet.
So yes, I will be making the comic digitally available, but probably AFTER the brick and mortar comics are out first. I generally like putting the best foot forward after all, and feel the printed version is going to look far better than my digital.
As always all comments are appreciated.
More later.
-T
Friday, July 1, 2011
Day 21: 3 more script pages
Work has been non stop, coupled with a friends funeral among other little setbacks, but the comic should be back on track. To start with here are three more pages of the script. I'll put more up this weekend, which, I don't want to jinx it, but I may actually have off for. . anyways here's pages 8-10. Enjoy, and as always comments are appreciated, this is just the rough so you (the reader) can influence the comic!
PAGE 8
Panel 1: POV over Mikey’s Shoulder
Mikey pumps round after round into the oncoming zino horde.
Mikey
Whatever – just go!
Panel 2: Claire’s jumped up on the higher part of the shipping/receiving dock and is firing as well.
Claire
C’mon, I’ll cover you.
Panel 3: Mikey turns and runs as Claire gets a head shot on of the zinos (close panel)
Mikey
Hope these supplies were worth it
Panel 4: Mikey’s gotten to the docks and is jumping up as Claire is pounding on the rolled metal door
Claire
Open up, now!
Panel 5: Int. Docs. We see the inside of the docs where Suicide (spitter: see character design sheet)armed with a hockey stick and Paul (Dryosaurus again see character sheet) armed with an Uzi. The docs are two staged, with the second, higher, riser being accessible only by stairs, as it’s caged in. Paul is standing next to the switch which activates the door on the elevated stage and Suicide is standing by the door.
Suicide
What’s the secret password
Panel 6: Cut back to the pair outside shooting frantically
Mikey
(yelling) Now Damn it!
Panel 7: CT interior dock. Motioning for Paul to flip the switch.
Suicide
That’s the one.
PAGE 9
Panel 1 Ext. Docks. Hordes getting closer.
Claire
Anytime ladies!
Panel 2 Int. Docks. Suicide is spinning around, as the gate hasn’t opened yet. Paul is hesitating at the switch, which looks like the large levers they use on movie electric chairs.
Suicide
C’mon Pointdexter, move it!
Paul
But if I open the door we’ll get swarmed
Panel 3: Suicide bounding up the steps.
Suicide
Damn it you coward, MOVE!
Panel 4: Small Panel: See switch being flipped.
Panel 5: Ext. Docks. We can see the metal gate slowly lifting, as Mikey & Claire are on the docking bay trying to slow the onrushing zinos.
Mikey
Finally, Claire go!
Panel 6: Suicide’s running back down as we see Claire trying to slide through the opening. Suicide is yelling at Paul over his shoulder.
Suicide
Covering fire!
Paul
But I’m down to 10 rounds!
Panel 7: Suicide grabs Claire and is trying to help pull her through.
P7(con’t)
Suicide
So much for in and out huh?
Panel 8: Ext. Dock: Mikey is in a solid fight as some of the zinos have reached the dock and are on it.
Mikey
C’mon. C’MON!
PAGE 10
Panel 1: Mikey manages to duck under the opening gate, but so do some of the smaller Zinos (compys and the like) Paul is blasting away without aiming, out of fear, using up the last of his ammo.
Mikey
I’m in, close it!
Panel 2: More of the zinos are managing to get in trough the opening, as Suicide
Is slap shooting a group of Compies back outside
Suicide
. . .he scores!
Mikey
Paul close the door!
Panel 3: Pauls got his full body on the lever
Paul
What does it look like I’m trying to do? It’s stuck
Panel 4: Claire runs up the steps to help.
Panel 5: Clair and Paul stain and manage to get the switch down.
Claire
Got it
Panel 6: Long panel: of Mikey and Suicide at the bottow level trying to fend of the zinos that got in.
Mikey
Little busy.
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