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Comic Creators Thread: Ways to Stay Motivated, Creative, and Productive?

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Posts

  • MunchMunch Registered User regular
    Solar wrote:
    It looks cool, but I think it could so with some white, yeah. It's quite dark looking, so maybe brighten it up with a more yellowish brown and some white? Just a thought.

    I actually started off with really pale colors, and then kept gradually darkening it. I think a lot of the stuff I color tends to look a little washed out, so I wanted to try some darker, warmer colors. I may take another pass at it, though. One thing I wanted to incorporate, but couldn't quite find a way to, was adding some swirls of white here and there, which would kind of blend into the purple and orange.
    munch you are coloring a metamorpho instead of drawing proper wendigos

    this will not do

    Geez, fine.

    6rr4gj.jpg

    The crappy middle and top left sketches were my feelings-things-out drawings. The inked one is what the idea evolved into.

    Oh, and for any artist types, Manga Studio is running another one of their sale, with MS Ex marked down to $99, from $300. If you're like me, and find Photoshop kind of intimidating, try Manga Studio. It's very intuitive and user-friendly, and has a bunch of comic-specific tools like speed lines, word balloons, Kirby Dot brushes, etc.

  • WildcatWildcat Registered User regular
    Hmm, is there a Doomlord inspiration there Munch? If so, I welcome it.

  • MunchMunch Registered User regular
    I actually didn't know about Doomlord. But upon Googling, he looks pretty awesome. British people get all the cool, crazy comics.

    I was thinking of D&D's githyanki, when I was drawing the inked sketch. Something about their beady little eyes, and emaciated forms always creeped me out when I was a kid, reading through old Monster Manuals.

  • WildcatWildcat Registered User regular
    One of the benefits of getting early Alan Grant work in our comics, Munch.

  • The Lovely BastardThe Lovely Bastard Registered User regular
    the only things I'd change from that headshot is to make the ears less pronounced

    almost as if the cartilage has shriveled away

    actually exactly as if that happened

    also exposed gums from the lips receding/thinning from the emaciation

    however the eyes, jaw, chin, and what looks like slumping is aces




  • The Lovely BastardThe Lovely Bastard Registered User regular
    edited September 2011
    @munch read above post





    The Lovely Bastard on
  • The Lovely BastardThe Lovely Bastard Registered User regular
  • MunchMunch Registered User regular
    You have the same art I do, TLB.

    34zwzz4.jpg
    also to answer your design sheet's question:

    wendigos probably would talk funny without lips

    but this is a comic so eff how things should be
    Munch wrote:
    No. They all get funny lisps now.

    Because I'm guessing you ain't gonna learn to letter.

  • CrimsondudeCrimsondude Registered User regular
    Have you considered outsourcing to Brazil?

  • The Lovely BastardThe Lovely Bastard Registered User regular
    who wants to letter so munch cannot ruin my pristine vision

    someone that isn't a brazil hitler, preferably

  • The Lovely BastardThe Lovely Bastard Registered User regular
    edited September 2011
    also no one who wants money

    The Lovely Bastard on
  • CrimsondudeCrimsondude Registered User regular
    Munch wrote:
    edit: Write it, Crimsondude. If you can tell a story I like in ten pages or less, I'll find the time to draw it.
    I am writing Dibny Detective Adventures with a living Sue as soon as I finish these last assignments. Nothing like getting an irate e-mail from your editor to light a fire under one's ass.

  • MunchMunch Registered User regular
    also no one who wants money

    This is a very important condition of working with TLB.

  • Ronin356Ronin356 Nowhere MORegistered User regular
    Cut down watching Tv or surfing the internet.

    Nobody sees a flower really; it is so small. We haven't time, and to see takes time - like to have a friend takes time.
    Georgia O'Keeffe
    Be sure to like my Comic Book "Last Words" on facebook: https://www.facebook.com/#!/pages/Last-Words-The-Comic-Book/458405034287767
    and Magenta the Witchgirl!: http://www.drunkduck.com/Magenta_the_Witchgirl/



  • The Lovely BastardThe Lovely Bastard Registered User regular
    Munch wrote:
    also no one who wants money

    This is a very important condition of working with TLB.

    the most important

    also where my art munch dogg

    where my garou at

  • The Lovely BastardThe Lovely Bastard Registered User regular
    also where's frank

    I need frank

  • SolarSolar Registered User regular
    edited October 2011
    I wrote a thing! Spoilers for pages.
    Spoiler:
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    Solar on
  • SolarSolar Registered User regular
    I understand that fourteen pages is a lot, so if people just want to flick through and give me impressions, that's fine too.

  • CrimsondudeCrimsondude Registered User regular
    Cool.

    Hey, Munch. I was planning on having this last piece done on Tuesday. That has not happened, but as soon as it's done I'll PM you. I wish I had something to take with me to NYCC, but oh well. My fault.

  • KeithKeith Registered User regular
    I haven't really ever read a lot of scripts, so I don't know if I can be much help

    The descriptions seemed pretty good, but the dialogue could use some work. As far as the overall idea, it doesn't sell me on having any originality (based on just those 14 pages). I think Page 4 breaks up the tension and would work better as the end of the issue, although that would require reworking pages 12 and 13. Page 12 also confused me because "the man" is not a unique enough descriptor and didn't make me think of the guy from the moonbase or whatever (if it is the same guy)

    Was that a script writing exercise or an idea you really want to work on?

    7LmZWpZ.jpg
    Steam | 3DS: 3497-0691-2891
  • SolarSolar Registered User regular
    A bit of both I guess

    The ideas behind that script are, I think, some of the better ones I've had, but they don't rely specifically on that piece of work to be used. I know that dialogue is my weakest area, which is kind of unfortunate since with comic books it's kind of the biggest thing you have to write! But I am trying to work on it.

    It is the same guy, which I should probably specify in the script for easier understanding. Page 4 was specifically put in there to try and break things up a little and keep the tension building, I guess that had the opposite effect I intended! I'll give the plot layout a rethink, see if I can structure it more like you suggest

    Thanks for reading man!

  • gredavingredavin Registered User regular
    Hey creators! I'll be doing a signing at Jim Hanley's Universe Pre-NYCC party Wednesday night from 7pm until whenever it shuts down. There's a stack of creators there, lots of people to talk to about the creative process, might be some great info for you there.

    Also, I've been doing a bi-weekly podcast called The Process where me and two other writers talk about the comic writing process and we have guests (an upcoming guest is Scott Snyder) every so often. Here's the page:

    http://www.facebook.com/pages/The-Process/147353675342657

  • MunchMunch Registered User regular
    Hey, Munch. I was planning on having this last piece done on Tuesday. That has not happened, but as soon as it's done I'll PM you. I wish I had something to take with me to NYCC, but oh well. My fault.

    Whenever dude, no rush.

    Solar, I'm just going to echo Keith. The dialogue is a little weak in spots, perhaps a little over-dramatic. And the sequence where the armored man re-appears outside the hospital, is a bit confusing.

    Other than that, my only real criticism is that the whole thing is set-up. It has a nice structure, introducing a problem, ratcheting up the tension, and culminating in an ending that encourages the reader to read the next part of the story. The problem is that the events in the story are just kind of boring, and things most comic readers have seen many times over. If this was the first installment of a comic, I don't think I'd come back for the next part.

    My suggestion would be, if you're actually trying to develop this into a comic, to jump straight into the action, and clearly outline what the story is going to be about. Then you can rewind, and give the origin.

    I was reading through the first three volumes of Criminal last night, and it's amazing how, despite being very slow, tense reads, Brubaker always manages to kick them off with something that immediately grabs your attention. The first volume starts with a bank heist, in which the protagonist explains his personal credo to the reader through a series of inner monologues. The first line of the second volume is, "Tracy knew he didn't have to kill him," with the hero strangling an unknown man, and only later does Brubaker rewind and show us how that situation came to be. The third begins with two men in an open field, one holding a gun on the other, before a quick montage sets up the story to come.

    These are all really tense, exciting ways to outline the story to come, before allowing the story to slow down a bit, and unfold at a reasonable pace.

    John Rogers, the writer of Blue Beetle, said that he always wrote issues with a simple philosophy in mind; Start on action, end on action. A lot of old comics (as well as some current Marvel Adventures books) followed this formula, commonly opening with a splash page that teased the coming story. And that doesn't necessarily mean you have to open with a big punch-up. It can just as easily be something that grabs the audience's attention, in a different way.

    Like, for your story, I'd probably open with Michael driving down the road, maybe having a conversation on his phone, so the audience gets to know him a bit. Nothing much, just a page or two where he can spout some exposition, before he suddenly gets into his car accident, so the audience is a bit more invested in his fate. Then you could segue directly from that, to your current page two, with his anxious parents talking to one another.

    That'd kind of muck with the foreshadowing about "the light," by removing the scene with the bright hospital lights. But you could just as easily have his car accident caused by an oncoming motorist who won't turn off their high-beams, blinding him and driving him off the road, or something like that. You could even have the narrative flipping back and forth between him, and the opposing driver, building tension before their paths ultimately collide.

    Just some thoughts.





  • DouglasDangerDouglasDanger Registered User regular
    When I play around with scripts, I try to start and end with action scenes

    I play games on ps3 and ps4. My PSN is DouglasDanger.
  • SolarSolar Registered User regular
    Thanks for the advice you guys, I appreciate it. It seems like I need to focus on making my dialogue seem more natural and also tightening up the pacing. The idea of starting with some action is probably a good one, and yeah introducing a couple of pages before the accident and having a big, dynamic splash page of the crash itself would be useful in terms of grabbing the reader and also proving a few lines of dialogue which let the reader know a bit more about Michael.

    The arching story idea I had was in some ways inspired by Fringe, in that it starts with a sense of people not really knowing what is going on, only that something is, and reading to learn what is really goin on behind the scenes. That's why the man in the mask is there, to add a sense of mystery regarding his motivations etc (incidentally, I wanted him to be somewhat ambiguous, maybe his "time to give the world a hero" line is too explanatory?)

    And yes, the script isn't clear regarding the masked man. I think that can be cleared up if I simply codify him as "The Masked Man" and that makes it more obvious that it is the same guy.

    Well, I am going to go back and make some changes, run through the dialogue and the pacing again and see what I can do. It was enjoyable to write and the ideas I have had around this are quite fun, so I'd like to stick with it. I'll post a revised version up in here when I'm done with it, so you guys can see the changes and possibly comment if you have the free time. Again, thanks for reading, it definitely helps!

  • CrimsondudeCrimsondude Registered User regular
    If you are super late on a project don't be surprised when you are volunteered for several thousand free words after the first project is done.

  • The Lovely BastardThe Lovely Bastard Registered User regular
    edited October 2011
    my rule of thumb is simple: open your story with something good enough to be the climax, the write a better climax, then fill in the space between.

    The Lovely Bastard on
  • GustavGustav Registered User regular
    Ah! So I finally got the proof for Backwood Folk. Like... I feel professional. Also got Skip Solomon to be carried by our local comic shop.

    Anyways here is a crappy cell phone picture of the book. My camera has decided to get really good at hide and seek.

    bwfolkcover-1.jpg

    It's safe to say I'm recommending Ka-Blam. They are pretty slow, but man the color stuff the do looks pretty damn good. Even got around the problem of the borders being cut kind of off with Skip. Shipping can get pricey, but that's to be expected.

    In other news, I'm kind of going through a redesign kick. Nothing monumental, but reshaping the characters so that their builds are at least more differentiated. Also trying to just escape a problem with head shape being way too similar across the board.

    315993_2342043303619_1026030011_32651249_858324120_n.jpg

    On a completely different front, I'm doodling up some strips that are only partially related to the above stuff. I took a children's writing class a ways back and really had a blast coming up with illustrations based around a younger audience. So I've taken my ideas from that class and I'm trying to turn it from a children's book to a sort of comic strip based adventure story for kids. Something a lot more webcomics appropriate than what I've been doing.

    The initial cover created for the class-
    182706_1773656214297_1026030011_32005632_7585056_n.jpg

    Later on I wanted to make the style different from the stuff I've been doing, just so I don't go crazy.
    316669_2285171801867_1026030011_32617846_1096385965_n.jpg

    And here is where I'm at now
    Page1-4-1.jpg

    The final one needs a lot of cleaning still, but that's generally where I'm shooting as far as the look. Super stylized characters with digital coloring to make them pop a bit more, while backgrounds are still watercolors with altercations. That way the characters pop out a bit more.

    Story wise I want to just cover a lot of the sillier aspects of folk tales and stuff that my more grounded stuff might have to shy away from. Giants, talking animals, stuff like that. So far it's been a lot of fun to plan out. I'm still not down and out decided on the visual style though.

  • SiegfriedSiegfried Registered User regular
    I'm pretty impressed with those environments, I must say.

    Portfolio // Twitter // Behance // Tumblr
    Kochikens wrote:
    My fav is when I can get my kiss on with other dudes.
  • herojoeherojoe IndianapolisRegistered User regular
    Yeah the thing I hate the most is seeing white backgrounds so great job on those lush backgrounds.

    My artist and I are getting crazy busy with our regular lives, but now that I have a regular job I think it might get easier for me to get back into the grove of writing. When you have no job it's easy to just sit all day and watch movies, but with a job you know you have limited hours so you think "damn I gotta get some work done".

    At least that's how it seems to work for me.

    steam_sig-400.png
  • GustavGustav Registered User regular
    Thanks! I basically make myself try and have a background in every panel (with some exceptions of course) Kind of force feeding practice on them.

    As for the real life invasion. If you don't have a regular job (I pretty much am just an illustrator ((and I guess recently a co-writer on a sequel to a documentary I did artwork for ((don't ask how that happened, I have no idea))) it is so hard to not just sit and pop on Netflix. Especially when all of the X-Files is on there.

    You really just have to structure it like a job, or at least I do. I try my damndest to work at it like it is a 9-5. Granted, I think this is way easier for the illustrator. I can totally pop on podcasts, or a movie, and mostly still work. Drawing rules like that.

    When I try to write it's got to be a vacuum. So on that angle I can see it crazy hard to just sit in front of a computer for hours and get words to pop out.

  • MunchMunch Registered User regular
    Being in the holiday spirit, I decided to do a little two-panel comic, to serve as my avatar/sig through the the next month or so.

    BeetleXMAS2Panel.png

    Incidentally, if anyone wants me to draw a comic-and-holiday themed avatar/sig for them, just let me know.

  • SolarSolar Registered User regular
    edited November 2011
    If you have time Munch, I'd love a Christmas themed avatar/sig! I'm thinking maybe the Flash? I'd prefer an Iron Fist and Luke Cage one really, but I dunno how I would do them in a christmassy way.

    By the way, that looks great. I love your Beetle design.

    Solar on
  • MunchMunch Registered User regular
    Thanks, Solar.

    I should have something for you, tomorrow. I've got a couple ideas, already.

  • SolarSolar Registered User regular
  • The Lovely BastardThe Lovely Bastard Registered User regular
    munch

    for christmas

    I WANT CHUPACABRA PAGES

  • MunchMunch Registered User regular
    Hey TLB, post some of them layouts I did.

    The ones where I wove your straw into gold.

  • The Lovely BastardThe Lovely Bastard Registered User regular
    never

    it is your job to post the art

  • MunchMunch Registered User regular
    never

    it is your job to post the art

    Hate.

    Anyway, here's an example of the collaborative process, between TLB and I.
    Spoiler:

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