Cosmozo
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Bear & Fox Debut at Canzine / TCAF 2021
This 10-page comic is a story about two friends, petty arguments, and dire consequences. When Bear and Fox go for a hike in the forest, seemingly small differences in preference create large rifts.Step 1: Plan. Steps 2-15: Plan some more. In the early stages, thumbnails are a low-risk way of trying out different arrangements and compositions, as well as perspective and 'camera' angles. Know what you're trying to say with the visuals in your story, and try out a few different versions. Problems are much easier to fix at this stage than later on.Every time the reader turns the page, you must pay off the suspense you built at the end of the previous page. One way to do that is through some impactful drawing or rendering. It can't be gratuitous; it must serve a purpose in moving the story forward. This drawing answers a question raised on the last page and illustrates the awe of the bear and hist connection to big giant wood.I will cut up the tiny drawings to work out composition, flow, or design during the thumbnailing process. Thumbnailing is meant to be low-fidelity. It allows you to quickly move things around and solve problems long before you spend any time doing detailed rendering.The last step is to position the word balloons and fill them with the final script. From the earliest stages of thumbnailing, you have to know where your ballons will sit in the composition. You have to keep in mind how the eye will scan the page and how lines in the drawing will lead the reader's eye through the most essential information. The best design decisions will be invisible to your reader. Still, they will increase their enjoyment by reducing any cognitive load.After writing a draft of the script, I start creating thumbnail pictures that begin to block out the composition of panels and the visual flow of the story. Sometimes, the thumbnail composition remains unchanged through to the final panel, but other times, the panel changes significantly. I'll also include notes to myself through the thumbnailing process.The panel is almost done. Here, I made a design choice to ink the bear in a solid black to dominate the panel and dominate the fox character in the story. All that was left after this was to include the words.A lot of creative work ends up looking very clean and dull. But, if you look closely, the most exciting work has some amount of randomness and noise. It doesn't mean that it looks grungy or un-clean; it's just unpredictable in some way.Jack Kirby lived to age 76 and was one of the most prolific comic illustrators and storytellers of the last century. I am impressed by almost every aspect of his work. Everything he's done, particularly his later work, is worth study. Whether it's the gesture of his characters or the visual interest he creates with his lines, I'm in awe of it all.Here are some more examples of programmatically generated illustrations. These are Kirby Dots or Kirby Crackle. The energy of the sky or powerful beings radiates the stuff. In his lifetime, how many pages of dots did he draw by hand?I'd mentioned that working procedurally allows you to very quickly create an endless variety of outputs very rapidly. Of course, it does require an investment in time to learn the tools and develop the setup for driving the output. Some investments you make are for the sake of improving your technique. Others are investments in your productivity and efficiency that will compound over time.These strokes could easily be mistaken for hand-drawn pen and ink, but they are actually driven by code and randomness. I love the variation of width in each stroke.When developing your creative craft, you have to both go deep and go broad. That could mean trying new styles or techniques, or it could mean rethinking your tools entirely. This is a procedural shader I created in Blender that produces this fat cross-hatching. I'm not sure where I would use this, but I think it's interesting all on its own.Drawing clothing and fabric can be a challenge. Here's some practice creating the latex look. This is a digital sketch. Part of the practice here was creating brushes that replicated the look of markers on paper.The recurring theme in all the posts is continued deliberate practice. Do you want to be a better artist or creative? Put in the work. I promise that you will improve.Find something timeless, and then find the most modern interpretation of that timeless thing. What is the modern pinup? What is your take on the genre?For a different illustration study, I'd like to look at pulp fiction covers. I love their over-the-top nature. But most of all, I love the immediately recognizable style. Thousands of those paintings were done, most of the originals lost to time.Pinup pictures have a visual language of their own. Studying the language, rhythms, and patterns of a style or genre can help develop your own illustration style.What are other aspects of an illustration genre you can study? Colour palate? Range of values? Lighting? Pinup pictures all have a particular look. This is a study of poses.These are simple, quick, thumbnail studies of pinup model poses. What are the similarities? What is the anatomy of a good pinup picture? I set the intention for this study to focus on the camera angle, head tilt, and pose.Don't be afraid to show your work in progress. There are times when you may be tempted to wait for the big reveal when everything is 'perfect,' but, honestly, it's seldom necessary and absolutely never perfect. Show your work. Show the evolution. Share your creative process.Halftones are usually an artistic style choice these days. As such, they don't have to be perfect. The colours can still have variation in value for added dimension.How do you color your artwork? Do you paint in watercolours? Do you flood the page? Do you stay within the lines? How large is your palate? Here is a test using halftones to colour my comic-zine project Bear & Fox. No huge plate of coulours. No staying in the lines.Here is another example where style has emerged from a proportionally imperfect drawing. Keep up your mark-making. Let your pens, pencils, crayons, markers, and paper help reveal your style.Drawing feet and hands have never been easy for anyone. Just like everything else, you learn by observing and practicing. Develop your observational skills as well as your technical skills. Also, in this drawing: kimono fabric patterns.You don't have to look for drawing references online. The world is right in front of your eyes. Sometimes, I will just sit down and draw whatever is right in front of me. In this case, a giant (toy) spider.I fell on my ass. Haven't we all? But, this time I literally fell on my ass walking down the stairs. Slowly a bruise began to form. It started off innocently enough, but it got worse. nSuch is an artists life. Fall on your ass, but get right back up. Look for Bum 2, and Bum 3 to see how this bruise turned out. Time to get back to creativity.As an illustrator, whenever you fall down you have to get up. I fell on my bottom. It got bruised. It hurt. This is the second progress shot of the bruise developing. Sometimes creative ideas take time to develop. Just like bruises. Its all part of the process.Your capacity for creativity grows with time. The more hours you spend on this planet, the more expriences you gain. The more experiences you have, the more connections you can make between them. Creativity is nothing more than the combination of different experiences and ideas in new and novel ways. Here's a picture of my bruise having grown. With time it grew a lot. Just like my capacity to be creative.I asked a friend for a drawing prompt. He said, "a unicorn eating spaghetti". This is what I came up with.Is it style or a bad drawing? There's a lot to unpack here, but success is not measured purely by technical perfection. Imperfections can create a look or sense of style. But don't use style as an excuse to cover up your crimes. There are all sorts of problems with this face, but there's a lot I like about the style. Are you happy with it? What about your client?Every time you draw a face, there are any number of techniques you can be trying out at the same time. Those techniques you practice will show up in your illustrations someday.There are more faces than you can ever draw. The more you draw them, the more you find similarities in them as a whole or in parts.As a drawing exercise, I decided to draw 100 faces. The rule was, "do not stop until you're done". When giving yourself a challenge, not stopping is a good rule.Imperfections in patterns and rhythms are more attractive.What is great about working digitally is that you can iterate quickly and re-use work. What is great about working in code is that it can generate millions of variations in seconds by just changing a few variables.Are you trying different mediums? This is me creating with code. I need to write a shader to draw a pink and blue floor plane in a VR scene. This is what I came up with.Pen and ink drwaing of the king Jack Kirby with a yellow tint.Pen and ink drawing of the king Jack Kirby with a pink tint.Pen and ink drawing the the king Jack Kirby with a blue tint.What goals are you setting for yourself when you try to create something? Here I found a photo with a couple of elements I could practice at the same time. In this case, a flower, the flow of hair, and fabric texture. Are they all perfect? No, but that wasn't the point.If you're copying someone's work as an exercise, what you often end up with is something that is neither your style nor theirs. It's an opportunity to discover something.Fill your Instagram feed with other artists, and randomly choose anything they've created and do your own version.Try out different drawing styles and traditions. Study them. What makes them tick? What makes them work? What can you incorporate into your style and your practice? Here is a study of Manga.Your sketchbook is there as a place to jot down ideas and practice your craft. Find an artist you like and copy them. Allow a stream of consciousness to decide your subject matter. Throw words into the mix. Anything goes. Nobody has to see it.Arguably all illustration tells a story. Why not be extremely literal and tell a story through sequential art. This was an exercise to follow a nonsense script I found online and turn it into a comic. It was also an exercise in inking technique.Don't be old-fashioned and open your eyes. Study the human body. Illustrate it. Also, be sex-positive.Any composition, design, or layout can be used as the starting point for a creative exercise.I've said it before, and I'll repeat it: the only person that ruins your sex life is you.Fill a post-it note with as many drawings of faces as you can. How many times are you on a video call? Take the opportunity to study faces and quickly sketch them. What makes a face unique? What expressions capture your imagination? Be creative with your pen strokes.Try drawing letterforms by hand. Try repeating the same word several times and creating many variations. There are opportunities to practice and learn at all times. Be ready to notice those opportunities and take them.Doodle to practicing shape, pattern, and rhythm. You have no excuse not to practice when paper and pens are at hand. Start somewhere and start filling the page. Post-it notes are excellent for providing a size constraint. It's also great that they aren't white.Reality is almost certainly not what we imagine or experience. What we experience is our own reality. Try seeing the world differently. Use whatever technology or trick you can to find new ways of seeing and transfer that vision into your work.Take photographs with distorted lenses or extreme panoramas. Learn to see in 5 point perspective. Try it out in the drawings and illustrations you make.Change your scenery if you can. Get out of your natural habitat and experience nature, even from a comfortable chair on a dock. Take your sketchbook and fill it with whatever is around you.I just love everything about this photograph. The shape of the eyes, nose, and mouth. The pose and the angles. The high contrast. If you're looking for your own inspiration, dig through The Internet Archive.Period hairstyles and clothing are great sources for creative inspiration. What would your ideas look like if they were created 60 years ago? Would those designs stand up today?Gather as much reference as you can. Use reference as a jumping-off point for your creative projects. This is a lovely model from another era.The human face is so expressive. Sometimes the illustration style should amplify the expression. There is an intensity here, in both expression and lines. This is a happy discovery through play.More practice with inking style and cross-hatching, capturing contours of the female form. Sketch. Gesture. Ink. Learn.This is another example of creative discovery through practice. Quick sketches done in crayon inked with sharpie and pilot pen. Months later, I would re-create this hatching pattern using 3D shading software.A final thing to note in these three photos of Jem is the compositions created using simple, colourful shapes paired with the human form. This, too, will never go out of style. What's old is new. Take inspiration from any era. Gravitate towards the timeless.Spotting trends and connecting parts of them to history is done by keeping an open eye on both the old and the new. Build a catalogue of art and design from which to draw inspiration or start the next trend.This is one of three shots from a 'lewd' magazine from 60 years ago. What caught my attention is how fashion and design repeat or just stay the same. In the late 2010s, velvety turquoise couches were all the rage, and playful typography in negative space never goes out of style.These sketches aren't particularly great. But, creating a masterpiece every time you sit down to create is not the objective. The true goal is to improve, in some way, every time you do something.Quick timed drawings are one way to improve your skills. Make the time to practice with an objective in mind. In my case here, the aim was to capture proportions and foreshortening quickly. From there, a secondary activity is to recognize the errors and try to improve the next time.Talent is a fancy word for practice. While there may be the wiring of neurons that may allow some people to learn faster, it's deliberate practice that results in what most people call talent.Assuming 18 frames a second, 50 feet of film would run for three to four minutes. Can you imagine paying the equivalent of $20 in today's money, waiting 4-6 weeks for shipping, and then hauling out your 8mm film projector to watch a couple of minutes of scandalous film? It would take 60 years until technology would eventually drive the price and time down to zero.This is classic advertising from a mid-century gentleman's magazine featuring Frenzied Wrestling. From this ad, we know that back in the day, you could get a job 'profusely' illustrating a catalog of fetish films. Work is work, especially for starving artists.Inspiration can come from anywhere. Creativity starts by collecting ideas from the past, present, and future. Those ideas can be from any source, from any period. How do you manufacture and market sexual health products when talk of sexual health was taboo? Sell it as a dental health product! Now think of other ways to shift the frame.This is the first of three quick illustration studies I did in pink, blue, and yellow. It's an eye looking over long black lashes. Constraints in one dimension help you to explore other dimensions like composition or mood. They can also lead to surprising discoveries as you might not have otherwise approached a problem the same way without them.The third illustration study was done in pink, blue, and yellow features the tank top. The breasts curve up, and nipples poke through the fabric. Titillating. pPants is the second of three illustration studies done in pink, blue, and yellow. Drawing and painting the folds of blue denim, golden buckles, and pink belts round out this practice. For drawing practice like this, it doesn't matter if your sketch lines show through. You can see the crayon used to make marks on the paper before painting with a marker.When faced with a creative block, just set an intention for what you want to do. I wasn't sure what I would make when I started drawing this, but I had set the intention to fill a page with doodles. Since I didn't specify what kind of doodles, I was free to choose anything. As long as I put ink on paper and did some sort of illustration, I would progress towards my goal. I'm not sure why the bunny is saying this, but I suspect that you best heed its words.Read all about it
Bear & Fox Mini-comic-zine
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Now with words