#looking for examples of lineart. i hate lineart. i should just take it away
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losing at fishing
#also forgot to post this one#maccadam#tf megatron#transformers#im in graphic design hell rn i gotta make a new comm graphic b/c my old one is. old#looking for examples of lineart. i hate lineart. i should just take it away
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some of the palworld redesigns are genuinely better than the original pokemon i hate ai art and as an artist i can tell when something looks like ai (it does not)
I don't think the actual legit models are ai art, I think they used the same concept of copy/paste/trace over with filter to make them. They didn't reinterpret similar concepts into a new style to make their own world in a familiar genre. They just recolored it like a old deviantart sonic OC.
For example, this is a wolf:
These are different ways artists have depicted wolves in a cartoonish style. Some emphasize ears, some teeth. Some are realistic, some are cartoonish. Some have heavy lineart and some have light.
This is a fucking recolored lycanroc. It's not a coincidence. There are millions of ways to stylize a wolf. This is what they came up with.
And I have heard tons of people telling me that some of the palworld designs are better and some are original and really good.
If they were capable of making good and unique designs, then they should have actually made ALL of them good and unique designs. So they have the ability, but are too lazy? That should make you *more* angry. Because instead of a new game with genuinely new and thought out designs, this is what they gave you.
I don't even know the names of these things. I typed in "palworld Eevee, Palworld Meowth, palworld luxray" because they're not inspiration take, these are direct knock offs of individual pokemon. Also like....they're legit less creative than the pokemon? It's just "what if eevee was an electric type, and lets make the cat more cat-like and the lion more lion-like"
2) Are a few good designs worth supporting a company that is showing other companies they can get away with ai-like low creativity and frankendolling designs together? Genuinely, truly. Would you even like that lion on the right if you didn't get attached to Luxray as a kid?
Baldurs Gate 3 won GOTY by being a smaller company who went beyond what most massive companies couldn't do. BG3 has blown DA4 out of the water and it hasn't even come out yet. BG3 is making big companies sweat because they proved that fans of games are fans of art, appreciate and recognize high quality, and that hard work and love for a passion project has benefits.
And people are shitting it all away for a couple weeks of "Pokemon with guns" simulator instead of, idk, modding ARK?
Also, I want to be clear. I am not advocating for copyrighting of art styles because that will be bad for everyone. I am begging and pleading people who are not artists and just consume content to appreciate the work that does into it so we don't end up with all of this for the foreseeable future. The layoffs are already happening and you'd not be wise to think that this wont include artists with AI imagery on the rise.
And if you are an artist, I really wish for you to look at this very critically, because our livelihoods are being threatened and you're paying for it to happen.
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Would you mind sharing how you bring SATIM comics to life for us? ^_^
Ha, ha, I've been waiting for question like that. Okay... *stretches the clasped hands, you can hear the crash of knuckles* Here we go.
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First of all, at the very beginning I would like to point out that each comic I make has a completely different method of creation. I draw a comic strip othey way (like SATIM), than comic page (like Kuro and Ninja or Before Henry). The former are characterized by great chaos, while the latter do not often differ from the final versions.
But let's focus now only on the comic strip for SATIM.
It all starts with an idea. I usually come up with ideas when I'm away from home and beyond the ability to save an idea, so many of them, unfortunately, are lost forever (sometimes I compe up with them again). However, if the idea is not forgotten and I return home, depending on whether I have time to draw or not - I either start sketching it right away in the form of comic frames or just writing the idea on a piece of paper. Apart from single exceptions (e.g. Radio strip), I do not write a script for a comic but I draw it straight away. The sketch is my scenario XD
For this reason, sketches can be very chaotic - sometimes the frames are completely out of sequence. I rarely sketch backgrounds at this stage (I rarely sketch them at all XD) - they are created only in the final stage of making the lineart.
Let's see it on the example of Bacon Soup, part 1.
Sketches are often very simplified, I do not play with details (e.g. stripes on Sammy's harness). In addition, I draw comic strips without dividing them into individual parts at first - so on one A4 page there can be frames from two different parts of a given strip (like here).
I also use what I call recycling, i.e. reusing a frame - when I know that the frames will not differ too much, I very often draw only those differences...
The second point in creating the strip is rewriting the texts from it. Since I draw in English, often without access to a dictionary, my sketches are often very linguistically incorrect. At this stage, therefore, I initially correct dialogues, vocabulary, grammar - and then send the rewritten text to one of my English proofreaders. Each strip goes through two people - they are usually Titatotrix and Ozio, but sometimes when either of them has no time, I turn to my husband. Discussions about dialogues are very often carried out here, sometimes it leads to minor changes in the structure (e.g. adding a frame or removing it) or dialogues.
Above you can see corrected text of strip.
After linguistic proofreading, it's finally time for the lineart. This is probably the most important stage, though not the most time-consuming. I correct the sketches I made previously, usually starting with the speech bubbles and adding backgrounds to them. For this purpose, I use my UniPin fineliners, which have been proven for years and do not smear when using an eraser. Each part of the frame has its own fineliner - for example, speech bubbles are made with 2-thick fineliners, the foreground is 1-thick, but further plans and sometimes the background is 0.5 mm thick.
When the lineart is ready, there are two steps that I honestly hate - wiping the pencil lines with an eraser and scanning. Scanning a single page can take up to an hour, 'cause if it turns out that the lines that should be perfectly horizontal aren't that in relation to the edge of the sheet, the fun of arranging the sheet on the scanner begins. I honestly hate it.
After scanning, we have the stage of cleaning the lineart in the computer. I'm only human, you know, I make mistakes and errors. But since I process the strips on my computer, I can afford it. The graphics program I'm using is GIMP. I start by reducing the brightness and increasing the contrast and of course the desaturation. Then I erase all the unnecessary lines, correct mistakes (all red loops on screen above), and sometimes add in pieces that I have forgotten (e.g., I always forgotten about the patch on Sammy's trousers).
Next comes what often takes the most time - that is, arranging and placing frames. It sounds simple, but it is not. Frames must look aesthetically pleasing, the comic book must have internal symmetry - or just express controlled chaos. Setting the width of the frames, arranging them, creating recycled frames, adding backgrounds (if they were drawn separately), sometimes moving the speech bubbles... it can take up to several hours!
The next stage is my favourite - colouring. In the case of SATIM, where I really only color black and sometimes the shining elements light yellow or darker ones in dark yellow, this is also the shortest step in making the strip.
Usually, at the end, I leave myself to make bright contours on a black background. Working on them mainly involves manipulating the eraser tool, and then change colour to the background's. After this stage, sometimes there is play with details - light effects, Bendy's spots, etc.
When the strip is ready, there is only one thing to do - importing to a graphic file and zooming out (I work on a high resolution, which is inconvenient to read). Et voila!
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I hope you'll enjoy this "secret of SATIM's strips making". I've wanted to do something like this for a long time, but I didn't feel like doing it myself, so thank you for asking, @sobercupcake ^ ^
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your art is so so good! how did you get good at it haha like besides the practice were there any things you watched to help? how should i stop myeelf from getting discouraged at the start when i'm just a beginner and my art looks.. bad lol
hmmm, well this is a complicated topic for something as big and expansive as the topic of art but!
I’ve been basically drawing as far back as I can remember, and it’s probably the great love of my life; like... not to get dramatic but art is just something I wholeheartedly adore and love doing, and I would be despondent if I couldn’t draw again asjdjgskjas
Here’s some things that have helped me:
Skool: I have taken formal art lessons when I was ~12 to 18, so that helped a lot with my realism, along with working in other mediums!
Save things that give you inspiration: I save both a lot of art, like pieces that I like/inspire me, and photos, things I want to draw/study from! (I rarely take photos myself tho I don’t travel a lot and I know nothing about photography lmaooo) I also follow a lot of photography accounts on social media! This is why my photo album has over 4,000 images oop- But this does help me get inspiration or ideas for drawings! that and the 10 million requests in my inbox gdsfjjdsjfhsj
Study anatomy: It’s a pain but it’s so so important!! Manga Materials and miyuli on twitter have lots of great drawing resources pointing out common anatomical drawing mistakes and they’re great!
I would also recommend you to study your own body in the mirror and observe how it looks from certain angles, or the way that your body shifts and changes as you move or pose. Now, this will be limited to only your own body type, but reference photos on the internet are there for you to learn about others!
Catch your mistakes early: Please frequently horizontally flip your art I beg you- and on that matter, stay longer in your rough art stage, and try to fix all your art mistakes there, because it is 1000% harder trying to fix them in the late stages
Lighting: it’s also super mega important, especially without lineart, but I hate it >: (((((((
OH AND A VERY IMPORANT TIP, BOTH FROM MY TEACHER AND ME: ZOOM OUT ON YOUR CANVAS FOR GOD’S SAKE- the forest is much more important than the trees!!!! nobody is looking at your art as closely as you do, and most people will glance at it for a seconds at least a feet away on a screen, so you need to make sure your drawing is clear and good looking from that perspective !!
generally, learn the rules before you break the rules is good practice!
Certain exercises/practices I recommend:
hmmmm I dont really watch a lot of youtube art channels tbh? I prefer to listen to videos over watch them sdhjfjsjkkjsd so I can’t really help you there ‘’’
Try drawing a reference photo, looking at it much as you need to. Then, try to draw the reference photo a second time, without looking at any references. This exercise is very useful for observing your default art style- what techniques do you rely on most? what things do you naturally emphasize? What are certain aberrations you don’t wanna keep and will need to look out for
To take an example, through this exercise, I found out that I tend to elongate the neck. Nowadays, I try to keep that in mind as I draw and keep a careful on my characters’ neck length dshgfjdsjfhd
Tracing other ppls artwork is good for practice!! Just don’t post it publicly without their permission!!
Tbh, I think it’s more important to draw consistently and frequently for a beginner than it is to create like a few high quality, high effort drawings. This doesn’t mean never finish a drawing, what I mean is moreso- the goal for a drawing shouldn’t automatically mean a finished, well-lined/fully colored and shaded drawing. Like... you don’t need every piece of art to be a masterpiece- that’s just impossible. Your goal could be “I want to draw lots of hands here and get comfortable with their basic shape”- therefore, not every hand will be perfect, nor will you need to create something appealing for viewers. You could draw a thumb there, an ugly, unshaded pose here, whatever helps you fulfil your goal!
gesture drawings are massively helpful because they force you to use less details to convey your drawings- you can’t just keep on layering details on a flawed base in hopes that it’ll turn out okay in the end. In a similar vein, try putting limitations on your drawings! like, drawin in only straight lines, or limit your line strokes!
Social media is a hellscape for artists because of the constant feeling of competing with your fellow artists and frequently pushing out content for attention and “engagement” and instant rewards- for the love of all that is holy, do not make your own self worth dependent on your social media success man. It’s hard, and I don’t think we can fully separate ourselves, but do not let the algorithm decide your worth!!
Time: yeah this shit’s gonna take a while; don’t be impatient!! just focus on how far you’ve come (especially compared to the vast majority of people who’ve and will never draw) and the now!!!
Experiment! Find a way of drawing that is sustainable and works for you!! There’s nothing wrong with spending some time practicing/experimenting with painting or painstakingly inking everything, but if it’s not doing it for you, or you can’t maintain that level of output, there’s nothing wrong with dropping an element from your art style?? you can always add it back or experiment again!
(take this tip with the “learn the rules before you break the rules” tip- there are certain things I think you should have a pretty good handle on, but then if you wanna break them for a reason, go for it!)
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Gray Log: The Innermost Secrets of Manga! (Part 1)
I’m translating the text version of this interview, that can be found here, given that the manga version included in Gray Log isn’t as detailed. For now, I have no intention to translate the latter, as it would be redundant in my opinion.
Other DGM Translations
《1》Making the storyboards lead around by the characters
Hijihara: I’m a newbie mangaka, Hijihara Erubo. As a great fan of D.Gray-Man, I also had the pleasure of watching the Nico Live* stream from the other day. I’m really, really nervous, but I look forward to working with you!
*Hijihara is talking about the Nico Nico Live that took place in 2016 January 1st
Hoshino: So, you watched it! Thank you so much. I thought that maybe you could draw me with the stream’s Hoshino BOX*, so I came wearing the same clothes I wore back then (laugh). I’m not sure if I can tell you all anything useful, but I’ll do my best. Thank you for having me here.
*The handmade cardboard box that Hoshino wore over her head in the stream.
Hijihara: Let’s start right away then. Could you tell us how do you make your storyboards?
Hoshino: The process is basically like this: I first create an outline in my head, then I have a briefing session with my editor, and then I finally make the storyboard. I always start with a thought-out outline for the chapter, but even so I end up with something completely different every time… The outline takes into account the flow of the story, and I honestly want to follow it. However, when introducing the characters, the story goes in a totally different direction. They won’t listen to me, even if they’re my own creations (bitter laugh). However, I know the principles behind their actions and why they behave as they do, so I’ll abandon the original outline if I can accept the new direction they’re taking. After that, I remake the events of the story.
Hijihara: So, your characters lead you around?
Hoshino: Exactly. The initial outline makes the story neat and coherent, but leaving it to the characters makes the story develop in a more exciting way. But then I often end up in situations where there aren’t enough pages when working on the storyboard with a mind on the characters’ will and opinions like that (laugh). Of course, the conclusion will also be completely different… Whenever my editor looks at it and goes “this is completely different from the briefing,” I’ll single-mindedly persuade them to keep it. Most of it stays due to my stubbornness, but I do revise the parts my editor won’t accept no matter what.
Hijihara: Is it better to stick to your ideas for the storyboard?
Hoshino: It may be difficult for a newbie to speak their mind to their editor, but I think that in the end it’s better to carry it out in a way you won’t regret later. For me, the harsh schedule of weekly serialization became an excuse to reach some compromises over my storyboards that made “D.Gray-Man” diverge a bit from the story I had first conceived. I regret that immensely to this day, and I think about how nice would it have been if, instead of giving up that easily, I had insisted and gotten to draw it as I’ve wanted… That’s why I believe we should have a strong stance regarding our manga.
Hijihara: How detailed are your storyboards?
Hoshino: I currently work in digital from the storyboard stage, drawing them in a style that is detailed enough to be used even as a rough sketch. I’ve looked up to Tite Kubo from Bleach since I heard he makes them like this. However, I wasn’t up to the challenge at first, when I was serialized weekly, and I only changed methods to my current one when I started to work in digital. I made use of simplified drawings before, and the characters’ faces were as complex as the “heno-ji*” emoji (laugh).
*An emoji made with the letters へのへのもへじ, as seen here.
Hijihara: Back when you drew traditionally, what did you draw the storyboards in?
Hoshino: I used a variety of things. I worked with whatever I wanted or felt like I could draw on, so it wasn’t like I had a notebook saved for only that purpose. I’ve used sketchbooks, sketch pads… Once I even drew it on the back of a photocopy I found around (laugh). Even if I did decide to use a particular notebook, for example, I would just end up being like “I have to work this month too… Woah, it’s so white… I can’t look at it anymore…” each time I saw it. Then, I would choose to abandon the notebook I didn’t even want to see anymore and get another sketch pad to draw there.
Hijihara: So that’s how you stay motivated. Did you work at home?
Hoshino: When I lived in Ochanomizu, I mostly drew the storyboards in this café (the one where the interview took place). It’s one of my favorites, and the owner is a wonderful person. The coffee is delicious and, on top of that, the indirect lighting the shop uses for ambience makes the pages appear a soft sepia instead of white… I suffer a lot from white page syndrome, so when there is something there, no matter how small, it helps me relax (laugh). Isn’t the same for you too, Hijihara?
Hijihara: Yes, I completely understand the fear of facing a white sheet…
Hoshino: You could also smoke here and, given that I hate tobacco, that meant I couldn’t stay here for too long. Thanks to that, I could focus and finish my storyboards in a short period of time. I would’ve slacked off if I were too comfy, which is why I think the ideal working place for this type of work is somewhere “comfortable but difficult to stay in.”
《2》The advantages of digital drawing
Hijihara: You said this before, but you’re working in digital from the storyboard stage, right?
Hoshino: Exactly, but I also drew traditionally until a year ago. I think that the first storyboard for chapter 219 of D.Gray-Man, which appeared in the first issue of the CROWN magazine, was made half traditionally, half in digital. The storyboard that I showed to my editor then was a mix of both mediums. Thereafter, I got used to it gradually and moved to making my storyboards in full digital. The tablets I’m currently using are WACOM’s “Cintiq Companion” and the recently released VAIO’s “Z Canvas.” The “Z Canvas” is an excellent tablet that can process even heavy files that use lots of memory, like videos or graphics, smoothly and with no freezing. I bought it after watching a video of Nakamura Hikaru, the author of Saint Young Men, working with it. I immediately decided it was for me because, to be honest, I’ve felt an affinity with her over our shared birthday.
Hijihara: You seem to work in Clip Studio Paint, but what was the reason for going from traditional to digital?
Hoshino: I was an advocate of traditional drawing at first, but I changed sides after facing problems with my work environment. When I worked traditionally, I had created the ideal conditions for me to draw at my workplace, from the angle of the desk to the way the light fell on the manuscript. However, at a certain point I had no option but to work on my manuscript outside of my own workplace… and doing so in an environment different from the usual proved to be surprisingly difficult, so I decided to make the change to digital, for which location doesn’t matter. I’m the type to act as soon as I decide on something, so I soon bought a liquid crystal tablet and, without any practice whatsoever, I immediately started to work on the next manuscript. My first experience with digital drawing had been a failure and I thought I wouldn’t draw on a computer ever again given my little to no knowledge about it. My deadline was close, so I remember being totally absorbed into the task and sending it to print despite having no idea of what I was doing. I was in the middle of serialization, so I didn’t have time to practice at all (bitter laugh).
Hijihara: Didn’t you resist to changing to digital?
Hoshino: Once I made the decision, I didn’t waver at all. I had bought an expensive tablet and software to be able to work in digital, so I was determined to not waste all the money I had invested (laugh).
Hijihara: Did you struggle replicating your line work in digital form?
Hoshino: I wasn’t aware of it, but I did. Do you know how in digital you can zoom as much as you want, unlike paper? I didn’t take the zoom rate into consideration at first, so the lineart ended up being thinner than expected and the drawings didn’t turn out well. I was like “I’m inking just as always, why is this happening?!” (laugh).
Hijihara: By the way, how many people are working in D.Gray-Man at the moment?
Hoshino: Including me, there are three people working in it right now, but at times the number increases for the last spurt. Since I moved to a trimestral magazine, I have some leeway with time, so my assistants stay at their homes and work from there with what I send them. The main advantage is that the commuting time can be used for working. Back when I was serialized weekly, I lived in the city center so my assistants had no transportation issues, but there is no need for that now that they’re working at home and for that I’m grateful. However, everything goes smoother if you are talking face to face. I do talk with my assistants through Skype, but a lot of the time they misunderstand me and everyone ends up frustrated and annoyed.
More in part 2
#dgm#d gray man#d.gray man#d.gray-man#dgnetwork#dgm translations#gray log#katsura hoshino#hoshino katsura
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Hi! First of all I love your art and I love you
Hello and Thank You!!!! I’m not sure if you’re talking about a fan comic or an original, or long or short but I’ll give you some tips. GRANTED I am not a professional and you may find a different way that is easier for you.
1.) Think of a basic storyline or prompt. Like, “Man is dying and is going to a mountain to see it before he dies and meets his DESTINY???” it can be stupid. It can be silly or vague so long as you have something to start with.
2.) Think of the protagonist, as well as a bit of the timeframe or universe. Are they human? Alien? Medieval? Elf? For our example here lets say its a medieval man from a heavily forested area. He is a lumberjack who hates potatoes and his old man told him stories of the mountain in the west that holds a magic temple; only the pure of heart may enter. He is dying, and wants to see this mythical place before he passes. Draw a few examples. You’ll want some basic refs to look back on.
3.)Think of the antagonist. It can be nature, machine, man, elderich horrors, etc....(typical story tropes are something like man vs. machine or man vs. nature). For our case lets say its mainly man and nature. Bandits, bad weather, illness, etc...DRAW SOME OF THOSE REFS. These beginning ones don’t have to be in depth. just basic stuff.
4.)Hash out what you want to happen in the BEGINNING, MIDDLE and END. These are kind of the most important parts. Its definitely important to think of the end ahead of time instead of thinking about it when you’re halfway through; thats a quick way to never end it at all. Our lumberjack begins his journey selling all he owns and getting a horse to set out to the mountains with nothing but a bit of gold, an old axe and a sick ride. In the middle he encounters various trials that test his “pure of heart”-ness. Probably three, they can be as long as you want so long as they are generally even alongside each other. (3 or 7 are magic numbers WINK). In the end he reaches the temple and is welcomed inside due to his good deeds and it was allllll along a metaphor for the journey to the afterlife.
5.)get some good references. You have a time period set, a scene in mind, and some tools. Gathering from our example, we’re going to want; various forest scenes of pines, plains, dirt roads, medieval towns, mountains, temples, animals, people, cultures, etc. We need refs for our horse, axe, and gold. Remember those quick refs of characters you made in steps one and two? Now is the time to finalize those. They’ll have developed with the level of detail in your story. Add background nonsense no one else will notice but will enliven the story like how our axeman always ties his beard when mad or how he prefers apple cider over beer anyday. Give those fuckers some names. Bandit Bill challenges Axeman Abel for his horse and loses his head (literallly???)
--if you can go to like, museums or lectures or fairs about these things and take notes. USE YOUR RESOURCES!! ASK QUESTIONS!!! (For ilulatte I visited a couple of coffeeshops and roughed out some cafe drawings haha)
7.) Separate events into chapters. Generally theres a prologue, chapters 1-whatever, the end, and an epilogue. Our axeman has a prologue of starting out on the road, chapters 1-3 depicting pure-heart-trials, climax/end of reaching the temple, and an epilogue of someone else starting their journey to the temple based on his influence on the world because this shit is cyclical, baby.
6.) make a fuckton of thumbnail drafts. You know these characters now; you built em out of your own head. You know how they move and talk, so slap down their journey in tiny pages. add minor details to the sides. (Here’s a shitty example of mine from ilulatte!!!!!)
7.) finish allllll of them. or at least the first few chapters. Its good for you I promise. You’ll notice the pacing much better this way! You can add a bunch of extra details in the margins like extra panels and bg notes. Don’t be afraid to experiment with the direction of your story, but try to keep the overall plot the same! (sticky notes are great for this!)
8.) start roughing out the actual pages. You’ll change things from the thumbnails (like I always do haha); thats okay!!! They’re more of a helpful guide than solid stone rules. It’s like making the scaffolding to make the base for the rest of the building.
9.) do the lineart, bgs, text, etc. There’s tons of helpful art programs for this like CLIP studio paint or medibang if you’re doing it digitally. Remember those refs you collected for our horse, axe, and bgs? Now is the time to use em. BE VIGILANT. Keep copies of the originals. Go back frequently to look for mistakes or missing details. Keep a check list. Freckles? check. Scar on nose? check. shading???? UHHHHHH----SHIT.
10.)you should probably number the pages. keep em in a nice sized resolution if you want to print but lower it if you’re posting to the internet to dissuade reposters. keep em all in one organized folder if possible. Slap your signature on em for extra safety.
11.) ????? Sell it on gumroad idk.
GENERAL TIPS:
-start with short stories. Build your own stamina.
-have relatable characters with flaws. Tumblr seems to hate “problematic” characters but thats literally the point of character building and narratives. THEY’RE RELATABLE IF THEY’RE FLAWED. If a story doesn’t have characters that conflict with each other its a boring one. Axeman Abel wants to help everyone; Bandit Bill wants to help himself only. LET THEM HATE EACH OTHER.
-its also good to have characters that are friends but still conflict with each other. The Dragon Age series is phenomenal with this (their characters are good in general, take notes!!)
-theres a lot of shitty people out there. USE THEM. (seriously though examine other peoples interactions and you’ll make better characters. )
-bad things happen to good people. Bad things also happen to bad people. Bad things just sort of happen. Don’t shy away from unfortunate events; your story will fall flat without conflict both planned and random.
-Obviously you don’t have to share the same world views as your characters. (dont let the antis fool you.) Axeman Abel can hate broccoli but you can still enjoy it. Bandit Bill can be a racist piece of shit but that doesn’t mean you are.
-have characters of various personality, body type, race, height, etc….it really livens up the story.
-generally you don’t want the bg to overwhelm the characters, so most people do a sort of painterly bg against the solid outlines of the characters but thats all really up to you and how in-depth you want it to be.
-you should also make a regular schedule, if you can. Say, something like “twenty finished pages a month” or “four pages a week” depending on the level of detail. Simplistic style and palettes of course take less time to make than full color/heavily detailed pages, so plan accordingly to prevent burnout. If you post weekly, having a few pages done ahead of time will be good in case you need an emergency break.
-be open to critique but don’t be a doormat, either. ESPECIALLY if you’re doing it for free. People will try to take advantage of you; don’t let them. Block them and move on.
-above all; BE DEDICATED. Comics take a great deal of time by yourself, but doing them helps you develop important skills in the end like time management and general technical know-how like digital programs and writing. It’s not just art, though that’s a major part of it.
-probably should’ve said this earlier but make what you enjoy??? People can generally tell if you dont enjoy your own work. There’s less effort there.
THIS WAS REALLY LONG SO I HOPE IT WAS HELPFUL IN SOME WAY ILU HAVE FUN BE SAFE OUT THERE
#personal jazz#comic making#comics#tips and tricks#comic tutorial#comic ref#art ref#art help#IDK MAN I ENJOY THE PROCESS#enjoy the journey yo#Anonymous
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April 25th-May 1st, 2020 Creator Babble Archive
The archive for the Creator Babble chat that occurred from April 25th, 2020 to May 1st, 2020. The chat focused on the following question:
What is your warm-up routine before you write or draw something related to your story?
Page, Rambler Extraordinaire!
Honestly? I don’t have a formal warm-up, but I definitely like to have my fingers all warmed-up and ready for lots of typing! I really need to get in the mindspace for the particular image/idea being portrayed, though.
LadyLazuli (Phantomarine)
1) Seek out music that matches the energy of the page, 2) Draw some circles/spirals/hatchmarks to loosen up, 3) Pick the easiest thing on the page and finish it first to build momentum, 4) Repeat Ad Infinitum
shadowhood (SunnyxRain)
-listen to music from my playlist -read some fanfics -watch YouTube videos from my subscription -get some tea -stretch/workout -wear my comfiest clothes
CalimonGraal(Fenauriverse)
i'm also another one that listens to music before doing story stuff. (sometimes either is a favorite song/song i'm obsessed with atm or one that matches the current scene)
Eilidh (Lady Changeling)
I usually reread my comic so far and listen to some music I associate with it to get me in the mindset and excited for it
eli [a winged tale]
I have a warm up character to go to! Usually I try for some gestures before getting right back to the panels. It gets the rustiness out of the way for me!
Joichi [Hybrid Dolls]
Ooh I love your warm ups, Eli!
eli [a winged tale]
Thank you! It’s easier for me to get into a routine when I have something fun to draw first (with zero expectations)
keii’ii (Heart of Keol)
I don't always need a warm up, but doing panel borders for HoK makes for an excellent warm up. It gets my brain switch gears to comic mode. Music is great, but I only turn it on for important moments (or illustrations outside of comic). There are certain moods that... recur in important moments in my story, and I have playlists for those. e.g. 'sad emotional intimacy'
eli [a winged tale]
I love how music influences our work! I would love to hear all your playlists if you have them easy to share
shadowhood (SunnyxRain)
ooooh @eli [a winged tale] i like the motion in your warmups! They're very fluid and nice to look at @keii’ii (Heart of Keol) Keii, I agree with separating playlists for moods! I usually just group them all in my favourites and mentally search for them
DanitheCarutor
Gosh I'm one of the most boring people. Lol I don't have a routine, I don't need one since I'm always in comic mode. Like, all I ever draw is comic pages. I don't have a script or anything that requires writing, so no need for a warm-up for that. I just jump right into it.
keii’ii (Heart of Keol)
Sounds like you live on the edge which is the opposite of boring 8)
eli [a winged tale]
^
DanitheCarutor
I dunno, it would be cool to do warm-up drawing. That would sure help for gesture/color/anatomy practice. I just don't have the time, a page takes about 4 days to finish without outside distractions, so I have to get to work right away.
eli [a winged tale]
If you can jump right in, that’s great! For me otherwise I just stare at the inks and wish it would colour itself
DanitheCarutor
Ffff I'm like that with dynamic shots where the perspective points are off the page, and I have to tape scrap paper to it, and sometimes my ruler isn't long enough. Working in a traditional medium can be such a pain in the ass sometimes. Lol
This panel is a good example.
Top view perspective lines went way off the page, I hate it.
Anyways, that's my complaint for the day.
Joichi [Hybrid Dolls]
When I draw warm ups. This was of my 'for practice' comic art. I wanted to practice the vertical scroll storytelling. A lady gets her purse string cut, and the thief runs off. Whenever I want to figure out action scenes, I do little character interactions. It helps me learn more about certain character behavior(edited)
eli [a winged tale]
Nice! Practice comics are great!
shadowhood (SunnyxRain)
yeah it's really good too!
it's also a great way to possibly have new stories/series
kinda like.....brainstorming, but applied
Joichi [Hybrid Dolls]
Thank you Eli, Shadow. I try to combine my knowledge of storyboarding, since vertical scroll sequences, are similar to that in some regards.(edited)
Holmeaa - working on WAYFINDERS
I.... Don't do warm up. I just... Start drawing(edited)
shadowhood (SunnyxRain)
dang Holmea you living the risky life
that's brave
Holmeaa - working on WAYFINDERS
I am pretty sure of my skill. Should I warm up?? Could be super to start warm ups! I check my mail, find out how we are doing online with our comic and just begin to draw. I guess since I have done it professionally as a 2d animator, and there is not really time to warm up, that I have learned to just start
FeatherNotes(Krispy)
I do warm ups for everything! though what I define as warmups depend on each creator. For me, it begins with stretches and sketching, ill doodle things i need to get out of my head so i'm not distracted by those ideas- they usually involve studies, certain character interactions, or thumbing out pieces I want to tackle later! I may sure to draw everyday to flex that too, so its also important to be able to relax those creative muscles with some pre-work!
also! my warm ups vary with what medium i work in. if Im working in watercolours, i practice fine pencil work and get my lines as loose as possible. when it's comic (so mainly inking) i do what I described above with character studies and what not
kayotics
I’m really bad at remembering to do warm ups. I should.... actually do them more, but the time I have dedicated to drawing is usually pretty limited
Deo101 [Millennium]
Because I usually finish off whatever I had been working on the day before, warmups for me are kind of the process of starting a new piece. All the sketching and thumbing to get my next idea out work pretty well for warming me up, and then I feel ready to go by the time I'm needing to do things like lines. I also get music going that fits the mood of what I'm working on, like lots of people seem to do! I also need to remember to do stretches more :/ And I usually get myself some kind of drink, tea or something, to keep me company while I work ;)
Joichi [Hybrid Dolls]
Sounds like you are pretty busy, Kayotic. Yeah warm ups can be a good practice before diving into a big illustration
keii’ii (Heart of Keol)
Weirdly I don't think I've ever done warmups for illustrations. Only comic work!
Probably because illustrations, I just do them whenever I feel like it, so my brain is already ready (i.e. I don't start if my brain isn't ready)
whereas comic... I can't just wait for my brain to get ready. I need to keep updating it.
Page, Rambler Extraordinaire!
Pro-tip: if you decide to not do anything and procrastinate, you don't have to warm-up!
Eightfish (Puppeteer)
hmm, can't say i've really tried warming up for art before, but i've heard it can really help! What are you guys' art warm up routines?
Deo101 [Millennium]
For me it's just kinda mindless sketching til I hit what it is I wanna be doing
keii’ii (Heart of Keol)
Make panel borders (not really a routine though, at least I don't think it is)
Tuyetnhi (Only In Your Dreams!)
When I do watercolor, I usually don't do warm ups unless I'm planning from thumb-> sketch ->color thumbs and figuring out local colors for watercolor then doing my watercolor flats from there
Deo101 [Millennium]
Instead of staring at a blank screen and waiting, making little circles or scribbles or drawing like. Some arms or something til, eventually, my brain thinks we're working and then it's like "ah yes! Here we go!"
Tuyetnhi (Only In Your Dreams!)
but digitalllyyyyy I shoullddddddddd
my brain when looking at my comic: "aight time to do the thingy lmao"
Deo101 [Millennium]
If I've already got a sketch waiting to go I can jump right in though
Tuyetnhi (Only In Your Dreams!)
idk, I should but my time is usually limited so I haven't done a warm up in a while lmao.
now I have the time, I probably would
Eightfish (Puppeteer)
ohh i see
like some quick sketches
i see how that can help- whenever i'm figure drawing or drawing people in a cafe or something my later ones are always better
how is making panel borders a warm up? don't you have to do that anyways?
Deo101 [Millennium]
Lines with intent! Doesn't matter what the purpose is, same kinda thing as drawing a bunch of straight lines in a row or practicing ellipses a bit
keii’ii (Heart of Keol)
It's something I can do with my brain turned off. While I do it, it wakes up the comic-making part of my brain
Tuyetnhi (Only In Your Dreams!)
oh ye
Deo101 [Millennium]
Which I'd encourage doing things like drawing a ton of ellipses or straight lines, it gets your hand into the groove so you can draw stuff right the first time
Do I do it often? No But I do encourage it
Eightfish (Puppeteer)
ah i see keii
keii’ii (Heart of Keol)
So for me, the panel borders can function like a warmup without being a "ritual." Kinda like if you're... say... hiking, walking from your parking spot to the trailhead can be a warmup even if it's not a ritual and is necessary anyway
Tuyetnhi (Only In Your Dreams!)
ooo that's an interesting way of putting it
... man I really should consider warm ups often. I have been touching my sketchbook less and less so lmao
I do find making small thumbs and coloring them in relaxing for me, not sure that count as a warm up but its something I like doing when planning out watercolor illustrations lol
keii’ii (Heart of Keol)
Relaxing/chilling/ "reward after a long day" arting is also an interesting topic, though not 100% suitable for this week's question...
I find it interesting how a lot of people seem to like, make cute ship doodles, whereas I uhhh
Eightfish (Puppeteer)
lineart is the easiest for me to do though. I don't have to think much about it
maybe i should like line a page as warm up?
keii’ii (Heart of Keol)
I'll drop some examples in art share in a bit
Eightfish (Puppeteer)
ooh please do(edited)
keii’ii (Heart of Keol)
That sounds like a good idea! Worth trying
Feather J. Fern
I actually read in a artist self care comic "Draw Stronger: Self Care of Artist" that you are supposed to stretch and stuff before you art so your body is warmed up for long periods of sitting. Things i draw before getting into main art, the one line challenge where you draw something using one line, gesture drawing warm ups, and always becuase it's something I recently been doing, is drawing a thumbs up on a page that I can erase later or keep in a sketchbook as in like "Good job "(edited)
Cap’n Lee (Flowerlark Studios)
I don't have a warm-up routine before I sit down and draw / write comics. Besides making a cup of coffee before I dive right in. (edited)
sssfrs (JOE IS DEAD)
I don't follow rules
snuffysam (Super Galaxy Knights)
i don't really have any warm up routines. it helps that 3d art is less physically demanding than drawing. during/after my work, i try to look away from the screen and relax my eyes every so often, but i can't think of anything i specifically do before working.
Erin Ptah (BICP | Leif & Thorn)
Another dive-right-inner here. I mean, I do loose pencil sketches before putting down lineart, but it's not like a separate warmup drawing before the real one, it's just the start of the real one.
If my brain isn't in "comics mode" and I need to get a page done...I find a nice secluded spot, sit down with the blank sketchbook, and stare at the empty paper until ideas start clicking into place. Unrelated sketches would be a distraction at that point -- same as checking twitter, just one more excuse for my brain to focus on something other than the page.
Used to do the seclusion in local restaurants( whether it's a nice place or just a plastic fast-food table), but obviously that hasn't been an option for a while :/
varethane
My warmup is working eight hours at an unrelated job l-lol
eli [a winged tale]
Haha aw that’s a mood
Miranda
Oh boy do I feel that
shadowhood (SunnyxRain)
oh that got real
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