68 replies to this topic

[TheRedStranger]

i wanna learn how to draw better.

 

Then buy a sketch pad.

 

Buy some mechanical pencils.

 

A nice soft-white eraser and a kneaded eraser.

 

 And then PM me about where to find good advice, learning materials, and lessons.

 

Practice at least an hour and a half worth everyday (take 15 min breaks after each practice session while your hands are free, like when watching Game of Thrones.)

 

It's amazing how fast you can improve in just a few sittings.

[RedAuthar]

i wanna learn how to draw better.

Then buy a sketch pad.

Buy some mechanical pencils.

A nice soft-white eraser and a kneaded eraser.

And then PM me about where to find good advice, learning materials, and lessons.

Practice at least an hour and a half worth everyday (take 15 min breaks after each practice session while your hands are free, like when watching Game of Thrones.)

It's amazing how fast you can improve in just a few sittings.

Read a lot of how to draw guides.
Have a picture for reference.
Don't be pro tree, cuz you will have to use a lot of paper.
Be patient

[furrykef]

I can't stand mechanical pencils. Wooden pencils all the way for me.

[TheRedStranger]

I can't stand mechanical pencils. Wooden pencils all the way for me.

 

 I draw a lot of technical background work and perspective so it is a must have to have such technical pencils. I actually use both however. I use charcoals and all grades of graphite for shading and more organic lines. However, I recommend newbies start with a mechanical so they don't have to worry about the mess and nuance of traditional penciling so they might focus on harnessing their own creativity. Afterall we can build to the rest later, and this encourages them to be creative  and draw rather than sit on their butts and twiddle their thumbs as a teacher rants about the wonders of wood, and the niceties of a 9B  . Mechanicals give starting students a more stable volume in their linework and contours so they can focus on drawing things that will improve their overall basic composing skills and refine their kinistetics about the fingers, wrist,  and elbow whilst drawing. I have noticed while I was being taught in my drawing Classes at EKU that the teachers were so focused on supplies and periphery rather than well... drawing. Not mention the teaching was one sided, with an overfocus on an artistic traditionalism and style rather than stimulating individual creativity through proper technique.

 

Oh, and when you press down (the bane of the begining penciler) it breaks the lead; it's like a shock collar for your dog when gets out of line.

 

Ben, I also recommend you get one of those cheap laptop stands with the padded bottoms that act like a portable desk. This way you can draw with better posture and not cramp and crumple over drawing, doodling akwardly upon your hip.

[furrykef]

I hear that in Japan the use of mechanical pencils has become so entrenched that you look like some kind of freak if you use a wooden pencil. Whether for writing or for drawing.

[TheRedStranger]

I hear that in Japan the use of mechanical pencils has become so entrenched that you look like some kind of freak if you use a wooden pencil. Whether for writing or for drawing.

 

That is kinda sad...there is so much good in a wooden pencil.

 

They would think I was a psycho then, because everytime I draw traditional (especially with charcoal) I come out of my room looking like I've been lost in a coal mine... whilst in blackface...

 

I don't know how it gets their, but it does.

 

Remind me to tell you of the time I drove my art teacher crazy in my freshman year of college over drawing abstract art involving charcoal, and it always coming out to signfy something concrete... Drove her nuts.

[RedAuthar]

I can't stand mechanical pencils. Wooden pencils all the way for me.

Used to be that way.  In fact my different leaded wooden pencils are right next to me now.

 

Unfortunately the lack of good sharpeners at school and the cost of mechanical pencils being cheaper caused me to have to switch over.  Now a wooden pencil feels wrong in my hands. 

[furrykef]

Hey Red, you still haven't given me that thing you wanted me to ink.

Also, I think maybe we should get a sample script on here so pencilers can produce a sample page.

[RedAuthar]

Hey Red, you still haven't given me that thing you wanted me to ink.

I know.  It'll be done tomorrow.  Unfortunately I ran out of time to finish it today due to previous engagements.  Also my mibbit is down.  I dunno why.  I think Norton is blocking my connection.

 

 

Also, I think maybe we should get a sample script on here so pencilers can produce a sample page.

Probably a good idea.  

[TheRedStranger]

Yes. This seems to be a pretty solid idea and I think it should be executed. This would give Cheif feel of who he would like to finally pick.

[Wulfsbane]

 

 

i wanna learn how to draw better.

Then buy a sketch pad.

Buy some mechanical pencils.

A nice soft-white eraser and a kneaded eraser.

And then PM me about where to find good advice, learning materials, and lessons.

Practice at least an hour and a half worth everyday (take 15 min breaks after each practice session while your hands are free, like when watching Game of Thrones.)

It's amazing how fast you can improve in just a few sittings.

Read a lot of how to draw guides.
Have a picture for reference.
Don't be pro tree, cuz you will have to use a lot of paper.
Be patient

 

 

My problem is im strapped on cash for a little while. I'm heading to France at the end of May for 2 weeks

[RedAuthar]

Not all how to draw guides cost money.  Try looking around the internet for some free ones.

 

Take a notebook with you.  You can draw/write in it.  Help you with your stories/ideas.  An average 70 page notebook shouldn't be all that much. 

 

Don't go to France......it's weird. 

[Wulfsbane]

Don't go to France......it's weird. 

 

Educational. Plus witta bit a fun
 

[Hammer]

Don't go to France......it's weird. 

Educational. Plus witta bit a fun

I went to France and I had fun.

 

Also I support the idea of a sample page (or maybe a sample panel).

My advice to Chief is: choose an existing page with a few characters, and then ask applicants to redo it, but changing the angle, so it's completely different.

[furrykef]

I'd advise against using an existing page because the page that was already done may influence the artist's choices, even if some angles are changed. (Also, some angles are better choices than others and it would suck for an artist to have to change an angle that's already perfect just for the sake of making it different.) For that reason I also recommend against the idea of posting the penciled sample pages publicly until the selection process is over.

[saber16]

The Sea3on audition the last time around involved using a future script page from a future chapter of the staff's choosing. The script had examples of wide shots, close ups, long shots, group shots, background shots- a training exercise to see how the artist would tackle the project. If Gorjira has a page from chapter 7... or maybe a scraped idea that he never used.

 

Another thing to take into account, I was instructed early on to follow the shows design, but eventually Paul realized I was a lost cause and told me, "Whatever, draw them however- just- WHATEVER!" Or something like that....

 

If an artist has an easier time doing their own style rather than forcing themselves to replicate the show's style, that's worth addressing.

 

That is definitely an option. But I got the cash. I'm a rather frugal fellow. I've been saving up to make my own little media-making empire. I'm also a writer and musician and have been saving for VSTs and various softwares for my digital art.

http://sonicsatam.co...?showtopic=4854

Saber, do you think it would be possible to divide the work up as I have mentioned? Making this a collaborative effort could speed up production and even quality.

 

Well, I don't have the final say, but that was something that was brought up behind the scenes.

 

One problem that was addressed was how manageable a team of 3 or 4 would be on the art side of things, would it make things go faster or would it create more problems say... if someone's behind and the others are left waiting... but it is obvious that it would remove some stress from the artists if the work load was shared equally... and it's not like the comic is updating at a lightning fast speed with just one artist.

 

And it's a common work strategy used all over the place. Honestly, I think it has the potential to help... if everyone can work together.

[Skotty]

I'd advise against using an existing page because the page that was already done may influence the artist's choices, even if some angles are changed. (Also, some angles are better choices than others and it would suck for an artist to have to change an angle that's already perfect just for the sake of making it different.) For that reason I also recommend against the idea of posting the penciled sample pages publicly until the selection process is over.

I absolutely support your opinion. A sample page would probably lead the artist to copy existing elements instead of showing his own style by adding own elements to a page. As it was done last time, by just giving a piece of script, it's the best way since you have the same reference done on many independend ways.

[Ogilvie]

Diversifying the labor as suggested is a good idea. It allows each person to focus on their strengths; some people are better at lineart than colors, etc. Let us remember that the assembly line is miles more efficient than previous methods of production.

 

Above all I think Sonic the Comic - Online! (or STCO) is a great example to look at for this sort of thing. One advantage that project has is it's divided into various arcs of around seven pages for each "issue" they release; this takes a great burden off each individual artist by giving them fewer pages to do. I'm not sure how Sea3on would go about doing that (the original Sonic the Comic was split into several stories as well, whereas Sea3on goes for a more full episode-like approach), but it's something to consider.

 

Similar to STCO, one might consider releasing regular bundles of pages rather than weekly pages, though that would really depend on how many artists one has on board; the "issue" idea works best if there's several artists, thus allowing for multiple issues a year.

 

The most radical suggestion I'd make is to see if having the work being for free would be viable. This is the model STCO uses, and it still puts out close to 100 pages or more a year. Someone doing the work for the sake of their own personal interest in the project also helps avoid financial issues; with a paid artist model, a comic can dry up at the slightest financial difficulty.

 

Regardless, I'm very interested to see where Sea3on goes and I have made remarks about the artist position in the various groups I know. I'll be submitting the request for new artists to TSSZ News and various fanpages here soon. Hopefully it'll bring at least a few applicants in.

 

I wish FUS the best in finding new contributors.

[RedAuthar]

Okay before we all jump on the dividing work between multiple people boat...

 

I did take a class on working in groups and the main thing they taught us is that it is NOT the best method for completing a project.  In fact it is the worst.  

 

Just like doing it by yourself, working in a group has many advantages and disadvantages.  The difference ultimately lies within the goal and how well the group works together.  As said before there would be may be times where someone falls behind leaving the rest of the team waiting.  There are also many times where someone doesn't understand the art/inking/lettering another team member did.  And most importantly if one person can do the job just as well as a group, you're wasting time passing it through too many hands.  

 

Too many chefs ruin the soup and all that.

 

I would highly suggest that if Sea3on was to consider switching from one artist to a team they have a test phase with a short or another comic to see if the process is worth the effort.  And even then that might be more effort than needed.  

 

Really it all comes down to who the main artist will be, and how the Sea3on staff wishes to do the comic.  There is no way to know for sure if a group is the best way to go until someone actually tries it out. 

[furrykef]

I did take a class on working in groups and the main thing they taught us is that it is NOT the best method for completing a project.  In fact it is the worst.

In my opinion, this is a silly generalization. I am always far more efficient with a partner than without one, no matter what I'm doing, because I am constantly bombarded with and distracted by new ideas. Having a partner means I'm forced to focus. Unfortunately, I almost never have a partner in my endeavors and so I never finish anything unless it's something I can do in one sitting (which is rare). It's much better to evaluate a person or team on their own merits rather than trying to rely on rules of thumb like this.

Artists who can handle such a workload efficiently are also rare. Consider that your average syndicated comic strip is three, maybe four black-and-white panels a day six days a week, plus a Sunday strip with another six full-color panels. That sounds like a fairly small workload (especally since the coloring in these strips is often little more than the paint bucket tool in Photoshop), yet most cartoonists cannot keep up this pace and hire at least one uncredited assistant, often more. (It irks me that these assistants never get credit, even in cases where they do more of the work than the original creator does!) Charles M. Schultz and Bill Watterson both always did everything themselves, but they were very rare exceptions, and Watterson took two nine-month sabbaticals since the burden of writing and drawing the strip plus constantly fighting his syndicate always left him drained. And The Boondocks often had to run reruns even after Aaron McGruder hired an assistant.

I would highly suggest that if Sea3on was to consider switching from one artist to a team they have a test phase with a short or another comic to see if the process is worth the effort.

I think this would be a good idea no matter whether a team or a single individual is chosen.