Posts Tagged: Underdog

Creativity

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The most common question that creative people get asked by “normal” people may well be, “Where do you get your ideas?” It’s a difficult question to answer, because it assumes there is an easy answer, some kind of tangible oasis that transforms visitors into brilliant artists. In my experience, ideas for comics (and other art forms) aren’t found in one place, but in EVERY place. And if one wants to be a creator, then one should constantly be seeking out new experiences in life and art alike, actively seeking inspiration instead of expecting it to arrive.

[Tweet “Ideas for comics aren’t found in one place, but in EVERY place.”]

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Drafting Work Towards Completion

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One of the central truisms of being an artist is this:

You will have to do many drafts of your work.

It’s unavoidable. There is this myth among artists about how the masters of the craft were gifted from the beginning — that they went into their studios and produced works of greatness in a matter of hours. This is exacerbated by videos like this one, where it’s possible to watch a master like John Romita Sr. as he quickly busts out perfect drawings of Spider-man with a felt tip marker. Amazing, right? And deservedly so! John Romita Sr. has created comics since 1949 and has been drawing Spider-man since 1966. He’s had a lifetime of practice in order to reach a place where he can draw something amazing with minimal revisions. (more…)

How To Write A Story For Your Comic

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In this article, I will explain the basics on how to write a story for your comic. There’s no ‘one right way’ to do this, so feel free to take what works for you and discard the rest. First things first, we need to lay down some foundation work… (more…)

Scriptwriting Software (That Won’t Break The Bank)

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When it comes to writing comic scripts, there’s no “one program fits all” answer. The reason for this is because scriptwriting software tends to cater to the stage or the big screen. Times are changing, however. Recently, there was a Kickstarter (successfully funded!) that promised to produce a program designed for comic book writers. It’s called ComiXwriter, and it’s slated for release in April/May of this year. Exciting news for comic writers everywhere!

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Anatomy Of A Storyboard Part 2: Continuity

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Part one of this article discusses the ways in which storyboarding relates to comics as a visual, storytelling medium. Check it out for an explanation of storyboard frame dimensions, shot terminology, and camera movement.

Not everything about storyboarding translates perfectly to making comics. All movement is implied in comics. Although storyboards are technically just as static, film literally captures movement.

Actually, scratch that. Comic panels may not observably move, but in the mind’s eye, they do.

Think about it. Through the composition of the panel, the viewer is forced to move their eye in the direction the artist wants. This may or may not coincide with the implied path that the character will follow out of frame. The size, shape, and sequence of panels determines the pacing of the story for the reader. You can control movement, of a sort. (more…)

Anatomy Of A Storyboard Part 1: Terms & Techniques

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Don’t look so confused.

Sure, an article about storyboarding may not be the first thing you’d expect on a site about making comics. Art, writing, marketing — these clearly apply to comics as they do many other creative pursuits. But storyboarding? That’s a movie-making technique.

While it’s true that storyboarding is an efficient process for visualizing a movie or television show prior to filming, storyboards actually share many similarities with comic books. They both tell stories through a sequence of drawings, using the same composition and framing techniques to help the audience follow along. Another shared attribute, one few people realize, is that each medium is transitory. Storyboards are meant to be tools that facilitate a film. They aren’t intended for public consumption, and exist only to serve the final form of the project. Comics are storytelling tools as well. No individual panel or drawing is meant to interfere with the story. The action exists in the imagination of the reader. (more…)

Establishing A Schedule

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Why have a schedule?

Deadlines? Estimates? Spreadsheets? Who would want to deal with boring things like those? Well if you’re anything like me, establishing deadlines or benchmarks to direct the creative process provides peace of mind (not to mention increases productivity) during a long-form comic book project.

From grade school to college, I hated math class. “What does math have to do with comics?” All I wanted to do was draw. When I first started teaching at High Tech High Chula Vista, that sentiment changed in a hurry; I was glad to know basic math. I found myself managing hundreds of students over multiple projects. Knowing math allowed me to track everyone’s progress.

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Ability Calibration

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GO TIME YOURSELF!  Try the worksheet that is designed to help new and aspiring artists gauge their ability to create within a period of time.

As an artist, it’s important to develop a strategy for increasing productivity. It’s a necessary evil. Artists are driven by emotion, right? How can a person like that be expected to adhere to a schedule? One with goals and deadlines?

George Lucas. John Lennon. Michelangelo. Alan Moore. JRR Tolkien. Creative geniuses often develop strategies to help them stay focused on their tasks. How do they do it?

Perhaps the more important question is: How did they start?

When I was a kid, I spent six years doing competitive, Olympic-style, archery. The thing that stuck with me more than anything else was the method for figuring out how to aim. The idea was basically this:

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