Space-Bird posted:

I encourage you to check out the works of stuff like Mizuki Shigeru, because contrasting realistically rendered backgrounds with extremely stylized characters not only has a long standing tradition but a perfectly cool and valid way to do things.

Edit: Here is an example

mike12345 posted:

I'm currently working on the second draft of my first comic story. Thinking about the speech balloons - draw em freehand or use digital vector lines? What do you guys use for that? I like the digital option since it leaves more room for translations. Also, just use GIMP?

mike12345 posted:

Well there was the whole debacle about that street artist using a Reuters photo (?) to create the iconic Obama "Yes we can" image. Plus I've worked at a publisher for some time, and we definitely got sued by a mapmaker who recognised his map in one of our illustrations (to be more precise the peculiar shape of a country, interestingly enough something mapmakers have done as a copyright trick since the middle ages).

mike12345 posted:

You made a general statement about people not caring about using photographs as reference. All I'm saying is it's not trivial, but whatever.

SkaAndScreenplays posted:

So I can't draw worth a drat but I've found an artist who has reasonable rates and is willing to to that part for me. Is there a preferred or industry standard way of setting a layout for an artist to work from?

I know how I want certain scenes framed out and panel layouts and the like, but want to check if there's a certain way to communicate that.

KingKalamari posted:

Alright, I think I've almost got enough content built up that very soon I'll be ready to actually start me one of them there fancy webcomics but there are a few things I was hoping to get some advice regarding:

• First off I find myself in a bit of an odd situation story-wise. I've already done some instalments of the story I'm looking to do as standalone short comics and, all told, will probably have about three of these finished by the time I'm ready to collect everything together. The problem with this is that it sort of starts the story off in media res and I wanted to give things a proper introduction. I've got just such an introduction roughed out but as I have it now it's around 100 pages long which is going to take me quite a bit of time to go through. What I'm wondering is how the best way to organize this would be: Start with the introduction and then add in the stand-alones I already have afterwards? Start with the stand-alone stories and have the introduction as a sort of flashback thing? Put the stand alone stuff in its own separate section and go from the introduction?
  
• Second - Update schedule. How important is it to have a regular update schedule? Like I know that updating weekly or more frequently is more likely to attract an audience but at the moment I feel like I can only realistically hope to put out a page a week at most which is going to be a very slow pace so I'm wondering if I might not be better off updating in chunks and batches. Is that a workable strategy or is it going to end up biting me in the rear end?
  
• Finally, stuff that is not the actual comic I'm going to need to create. I feel like it's something that's often overlooked but I know there's a bunch of other graphics I'm going to need to create before I get this thing up and running so everything looks nice. Thus far I've got: A header image, Character portraits, navigational buttons and eventually some cool business cards (This one's a little further down the line but it's good to plan ahead). Anything major that I'm missing?

Argue posted:

I just asked this in the general thread, but since Manga/Clip Studio probably has a lot of users here, I thought I'd ask here too:

Are there brush settings that will let me have a brush whose color will fade after a long enough stroke (preferably a customizable length), but which lets me use the same stroke to keep blending after the color's dried out? I think I have such a tool in Sketchbook, and I believe Corel Painter has one too, but I've fiddled with the CSP brush settings and couldn't find anything similar.

Das Boo posted:

The Imgur thing should work fine. I was curious about the most digestible format, so here's what I got so far.

Das Boo posted:

Bouncing back in for a direction check. My main takeaways from your critiques were gutter size, balloon placement, ease of direction and tangents. So here's the first 8 pages again to see if I'm actually improving it.

I'll mind the panel placement faux pas (two short preceding one long) after this, won't repeat it. I'm trying to cut back on corner-anchored dialogue balloons and attempting to avoid dialogue placed towards the bottom of a long panel. I've got one instance of that last bit thus far and if my shot at guiding the dialogue downward doesn't work, I might just redraw the panel. And I'll mind my tendency for OTS shots from now on. It's a bad habit I didn't even realize I had!
I know I remain a complete novice with balloon poo poo, but I do very much appreciate the pointers you lot have given me.

sweeperbravo posted:

you will pour orders of magnitude more time into a single panel than any other human being will ever spend looking at it, possibly cumulatively

quote:

Despite their tough persona it is clear they are inexperienced.They take too long scouting an obvious small store and act too conspicuous.

readingatwork posted:

Minor gripe: You have two wildly different color schemes happening on the same page. They don’t conflict with each other per se but they don’t feel like they’re working together either. In future pages consider bringing at least some colors from one scheme into the other to give more of a sense of unity (for example, having the sunset be pink or the plates be blue).

If anyone has any video/book recommendations on choosing color palettes I’d also be interested btw. I’ve been struggling with this stuff lately myself.

CelticPredator posted: