The Hard Way (updated)

So, part of the point of this blog is to share the discovery of my comics-making method -- the "how" part of it.  Since I don't have any art training past high school (aside from a couple figure drawing classes and a half of an oil painting class for which i never really painted anything), and zero training in sequential storytelling, I will be making a lot of mistakes.  But, from what I'm told, mistakes are good, and they are how you learn.

So, I'll be sharing some mistakes.

As you may have seen from earlier posts, the 2nd Visions Comic Art Group meeting was this past Saturday, to which many excellent artists showed up with their two to four page samples from one of the two scripts provided to us.  I got in a bit late, so I didn't get a public 'review' of my work really, but passed around what I'd brought, unfinished as it was.

The first page of my two page sample was a literal hack job -- I've already posted a few pictures of it, and I'll do so again now, just so you can get a look at its horrid glory.

Oh God, what have you DONE?!

That's page one.  I did a rough thumbnail to block out the panels, and the figures and camera angles they would include.  About half the content in the panels changed as things went along (resizing for space, readjusting according to the photo references I was gathering, etc.), but I guess that is fairly normal.   I tried full sized rough pencils on a sheet of drawing paper, but I wasn't really happy with what was showing up on the page -- too lazy, too dry, too loose.  Too rough, even for a rough.

But I thought maybe some were keepers, so instead of just starting over, I decided I'd replace the few panels that could've been better.  A few panels turned into EVERY panel, and I stuck myself with the above.  

At least I was happier with how the images came out this time -- obviously it's constrictive to work within panels, and the way I'd laid things out, I wasn't giving myself very large panels to work within anyhow.  But these roughs seemed better, and gave a better sense of what I should be including.  I told myself this process was practical, when it really may have been more practical just to scrap what I had, start over, and trace the stuff I wanted to keep with the lightboard...turns out I didn't want to keep anything anyway.

And that's how I got to this interesting paneling style.

The next idea in my mind was to do a set of finished pencils, which is what I really wanted to bring to the Visions meeting, however, time for many reasons did not permit.  Even though the meeting's now passed and gone, I intend to finish the pencils anyway, and turn them into something inkable.  

So, I did this next:

lightboard...an elegant weapon, from a more civilized age.

I slapped that page onto the lightboard like so, and dropped a piece of bristol board right into place, first tracing the panel outlines, as seen below...

boom

Then, because the initial unsuitable rough pencils were still underneath those neat little panel-flaps, I couldn't just trace my desired panels straight onto the bristol board -- because i was getting two sets of pencils sandwiched together.  So I removed the panels and organized them onto the lightboard itself.

this took too long.

Then, FINALLY, I started to trace them over onto the bristol.

yeah, that's what it looked like

And now I'm doing "finished pencils" -- first finding the edges of my blacks, and then filling them in...

(disregard my bare foot trying to photobomb this pic)

...while I know I don't have to pencil like this, it's hard for me not to because I am used to inking my own work, so thoughts about that stage really start to take shape here -- "what is this image going to look like in high contrast?" I'm always asking, and that's when I start worrying as I'm laying pencils down...should this be a guide for my inks?  Or should I just be drawing like I draw?  And do I even need this "finished pencil" stage? Can't I just mark out all of my blacks with a pencil and then just ink it and erase later?

Um, technically, uh yes, yes I could. 

I'm just not super comfortable yet.  I want to be at that level, and it would help my speed a whole heck of a lot if I could just go straight to black and white without an intermediate stage, where I deal indecisively with the possibilities offered by a gray scale that I won't translate into inks anyway.

Perhaps I will try the expedited inks thing on the secord page, but for now I'm going to stick with the method I've chosen for this first page, just out of the hope that the extra attention and time invested will help me when it comes to the final product.

We'll see what happens, and as always, I will keep you updated.

===============UPDATE!===================

All right, I've finally gotten around to more or less "finishing" the pencils for the first page, and they look like this:

this is as done as it's going to get right now...

still a bit rough in places but it contains all of the elements I was hoping to get down before I moved onto the second page.  I can't describe to you how much I want to start the process over so that I can hopefully streamline things, and eliminate the redundancies that occurred with the first page.  The roughs for the second page gave me far fewer challenges, and the initial pencils came out pretty clean as it was anyway, so hopefully doing a finished version will be much simpler.  I hope to have some elements for page two down in the near future, and I'll share them when I do. 

cheers.

PB

Rough pencil samples for 2nd Visions Comic Art meeting...

If anyone is interested in seeing the pencil roughs I brought to the second Visions meeting, here they are -- two pages for Carl Doody's "Dreamweaver" superheroine/adventure character.  

I hope to complete at least one page of finished pencils this week, as these roughs are...well, pretty rough.  First page especially gave me trouble, as the script was challenging, but I am happy with what I've done here storytelling-wise with the page count to which I was (not necessarily) limited.

page one: police caught in gang shootout, mist rolls in, gang members hallucinate their worst fears...

page two: policemen look on as thugs are rolling around reacting to some unseen affliction,  they move in to detain them, Dreamweaver casts spell from the shadows, thugs are rounded up, Dreamweaver uncloaks, reverts back to her civilian identity as Aislin Adams.

More thoughts and drawings to follow soon....

in progress

sooooo...hello there.

I have been drawing, I just have not been posting at all.  Lots of legitimate and illegitimate reasons why.  At any rate, I'm trying to get back into the swing of things again here, and with the next Visions comic book art group meeting on the 23rd, I figured now was a good time.

So here's a sneak peek at my process:

Here is a look at my drawing table.  See? I've been working.

Since I've never drawn comics before, I'm trying to work out my process a bit here, with a couple sample pages we're supposed to have ready for the meeting on Saturday.  I really don't exactly know what I'm doing except -- take a story, then make it look like comics.  This is pretty much my rule of thumb.  I have been "studying" the medium over the last couple years, which is to say instead of just breezing through pages, I am actually paying attention to what the artists and writers are doing.

My other rule of thumb is to try to incorporate interesting angles and poses where I can.  It just catches my own eye better, and if there's one thing I know I dislike in comics, it's when an artist overuses really static "blocking" and unvaried "camera" angles.  I don't mean decompression -- which I actually enjoy as a technique.  But one thing I've come to learn from reading some amateur comics in my ComiXology app is that my eyes will give up on artwork that isn't trying.  Maybe "trying" is the wrong word.  Let's say, instead, the work of artists who are content simply to display renderings of muscles and boobs in panel after panel.

I've been chipping away at a retro-style title page for "The Damned," featuring Mothman and Indrid Cold, which I've posted elsewhere, and which you can probably see in the Twitter bar to the right.  98% of the inks are done for that, and I'll finish it with some lettering, and scan it, and probably color it at some point in the future as well.  I am mostly happy with that, and feel like, after a couple years of drawing Mothman, I've just begun to comfortable grasp how to draw his fur.  I looked at the lions in the first part of Hellboy: the Third Wish, by Mike Mignola to see what he did to represent fur in his genius, streamlined style and it helped quite a bit.  I'm not completely happy with what I've done, but I'm happy that I feel like I now have something to reference, and help me "get there."

The rough artwork above is for two pages of a sample script written by my friend Carl Doody for his "Dreamweaver" character, a mystical female adventurer/superheroine.  I have one page of pencil roughs done, and have to have finished pencils by Saturday.  I have been slacking, and need to jump on it.  I am hoping to get the second page of roughs done tonight, and then we'll go from there.

Working in panels is awkward for me, I am discovering.  Which is why you see that every panel on that page in the middle was razored off of another piece of paper and then taped down to the original rough pencil attempt.  It is not a very expeditious way to work, but for the moment it is a method I can wrap my skills around until I grow.

More art soon, I promise.
Back to work.