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Depressing Box posted:The individual blades of grass are only suggested in a few loose tufts, and everything else is fields of color. That's kind of what I do, but I think I tend to get sloppy and lazy about coloring, so part 2 ruins anything that worked aesthetically about part 1. Sometimes it seems easier and sometimes I might as well be coloring with a purple marker held in one nostril? Some of it comes down to me still being lovely about lighting but here's some examples just 'cuz Times I thought I did grass ok:  the strong contrast from the sunset made it easier to be bold about coloring, making me feel more comfortable with the grass  likewise the diffused lighting of the cloudy day and the blueish hue made me comfortable about my color choice, evne though the sweeping marker lines mess up the texture a bit in the further away grass, i'm happy with this one  the shading is a little weird but I feel like this one is fairly accurately representative of a lumpy yard More recent, shittier grass:  however with that one I knew the minute I started adding in those individual grass blades with the darker marker that I had hosed up but didn't feel like editing it on the computer so I just followed through with it over the whole section of yard. (to say nothing of the perspective issues, I'm usually not THAT bad at it but it was like I forgot how to draw for that page or something- I mean it's not meant to be perfectly grid-like & aligned but that's not what I was going for either). The texture was entirely borked that whole scene though. I used to do more mixed media markers and colored pencils but more recently was doing just markers to work on my use of colro instead of relying on texture. Probably will swing that balance the other way more though in coming scenes I'm working on, especially since they're interior scenes and for some reason that makes me want to use colored pencils more for a more diffused effect. But that might literally just be my rear end cheeks clapping together post-fart Idk it's hit or miss. I havent' colored or pretty much drawn at all since hat last page there, which was now going back ot the beginning of October (sad I know). I recenlty started a new scene but it's only on pencils yet and it's inside at night. The scene that follows is exterior day, and will need (neatly manicured) grass, so I'll get to try again. Maybe that time will be easier. I feel liek I don't have enough green markers to adequately color the grass as I desire, but I know that- a) it is the lovely artist who blames his tools b) I can blend other colors in if the ones I want aren't in my palette c) as mentioned in the other post, I'm not going for realism so if it's not 100% Yes This Is a Shade of a Grass Blade color that is okay and cool and good. I miss drawing and making this stupid assturd comic. After dinner I should draw again.
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Jan 26, 2016 23:42
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Troposphere posted:pick is really great at making realistic but still stylized nature backgrounds using photoshop brushes and stuff she makes herself idk if she's posted her process anywhere but it's rad as hell Pick in general is pretty rad as hell so it makes sense
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Jan 31, 2016 01:36
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Av u got a new haircut? Looks nice 
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Feb 12, 2016 03:17
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Scribblehatch posted:I'm a bit confused which half of my post you're referring to there. The first part.
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Feb 17, 2016 13:29
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No matter what, I will always love you for this post
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Mar 14, 2016 20:31
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WrathOfBlade posted:My impulse is to say that it's a bit long-winded and meandering for a straightforward gag comic (brevity is the soul of wit, etc.). In particular I feel like you could chop off those last 4 panels and lose nothing - that pattern of "funny character says funny line, beat panel, straight man calls funny character an idiot" is something that I think betrays a lack of confidence in the actual joke. In this vein, and this would be a drastic cut, but I think the best punch is right there in the second panel, God just being like "poo poo, seriously?" IMO the reveals get less humorously rewarding from that point onward. If as a writer you want "an inebriated God's decision to extinct the dinosaurs" to be your punchline, I feel like the rest of the comic would have to be restructured so that that packs a bigger punch, right now it comes after the biggest punch and gets dragged on to the point where it feels like a setup for another punchline that doesn't come. basically, like WOB says, humor is something like 90% timing, and that boils down mostly to "how long does this go on for/how long until the best joke happens."
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Apr 9, 2016 20:09
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Avshalom posted:comic concept. a tropical city full of fleshy, fuckable buildings. an architecture lecturer falls in love with one of her students. he is a chapel please don't forget to feature a cameo by Choo Choo the alien
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May 5, 2016 00:11
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relieved to hear it. thx
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May 5, 2016 02:35
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Space-Bird posted:
Not to defend readingatwork's particular viewpoint because it's not really something I have much of an opinion on, but this is a message board where opinions are shared. Sunshine doesn't have to follow his advice if he/she doesn't want to, and everyone's allowed to have opinions on certain things in comics without being told "just make your own then if that's all you ever want to see." Otherwise everyone who's ever been displeased with food that was served to them in a restaurant should just stay home and cook for themselves all the time, you know? A few posts in a thread on making webcomics hardly counts as policing IMO. Everyone has different likes and dislikes and silly little quirky things that seemingly irrationally put us off reading a comic. I do agree with readingatwork's idea that decisions in art *should* be intentional as opposed to just on whims, but also realize that whims drive us to create so that "rule" doesn't always get followed. It's still a good suggestion and thing to strive for*. Being thoughtful about why you include certain things in your art is, in general**, a good thing. * and **- I put qualifiers in that sentence so people hopefully know i'm not saying "You need to get a PhD in any topic you want to write or draw about or else you are bad and your work is bad!!!" but figure I'd put this clause here anyway. I think readingatwork is just throwing in a devil's advocate sort of point here and not trying to discourage DrSunshine from making his/her comic, which is kind of the tone I'm sensing here. I could be wrong on either point but, I dunno, I think it's a good thing to just get that other point of view now and then. That's what makes art cool. edit: Just to expand and hopefully clarify the point I am trying to make. I know there've been plenty of times when I've been asked "Why do you draw [element] like [way]" or "Why does [character] have [stylistic element]." Of course, the answer is quite often "Because I like drawing it that way/think it looks cool." But that doesn't mean it's not a useful question to ask. And it's one of those things where if you find a lot of people asking you something like that, well, maybe you *do* need to take a closer look to evaluate it. Maybe not, again, it's not required that you give a poo poo, lol. Just sometimes it takes somebody asking those kinds of questions to get you to realize something yourself. Like I got a criticism in one of these threads a while ago commenting I always did close-up zoomed-in panels. I didn't even realize I was doing it, I just defaulted ot it because I liked drawing faces and it minimized the amount of "boring other stuff" I had to include. But it was a criticism that prompted me to take another look at my art and decide to change it in a way that ultimately made it better. Not saying that "zoomed in panels" is equivalent stylistically to "pastel eyelashes*" or anything but just offering my experience with it. sweeperbravo fucked around with this message at 02:18 on Jun 10, 2016 |
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Jun 10, 2016 01:58
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gmc9987 posted:I think the bigger issue is that those eyelashes are drawn bigger and bushier than the eyebrows. Make 'em whatever color you want, but you might want to reconsider how you are drawing them because they really don't look anything like eyelashes right now. Yeah I realized that they remind me of frosting Space-Bird posted:There's a big difference between asking a person why they're choosing to make an aesthetic choice, and advising people not to based on your own preference, and I guess that's what bugs me about it. Yes, any story is a relationship between the creator and the reader, and many readers will hold biases like 'i hate moe poo poo' for example. In fact, I don't like moe much at all... but to me that's very different than giving a good critique or good advice. I just went back to reread the whole exchange starting with DrSunshin's post, and I actually didn't see anyone advising based on preference for the most part. One person asked about the eyelashes, a few people mentioned whether they liked it or not, but I didn't see any of the people who didn't like it actually telling DS to change it. Then there was the side conversation about choosing an art style that supports your tone, which also did not directly tell DS to make changes based on other people's likes/dislikes. You could argue I guess that that meaning is implied in the post, but I don't interpret those posts as calling for change, just expressing opinion. It's possible I missed something, but I think in this case you might be addressing intents in posts that I don't think were really there. I appreciate you stepping in to support DS because it's intimidating to ask for critique and it's good when you know someone has your back, I just think you're reading something else into this particular exchange. One last note and then I'll let this drop if you'd like- You mention "advising people [to do or not do something] based on your own preferences." Unfortunately that's something that's going to come up a lot when people ask for critique online, you're going to get people saying "I don't like that part, I would do this that way, etc etc" and not every criticism you receive is going to be valid. As much as it would be really cool if everyone providing critique learned how to give useful critique, it's also important to us as creators to learn how to discern what's useful and what's not, and the degree of value. This includes how to tell whether a person is speaking from personal taste or whether they have a broader point that applies. The most important takeaway is not to rush and change a comic or aspects of it the minute people on the internet tell you to. When you ask for feedback, you have to anticipate that some of it (perhaps even most of it) is going to be either too "personal taste" oriented or just garbage for some other reason.
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Jun 10, 2016 12:25
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I like the look of the last panel, honestly. Though I'm poo poo at composition so if someone else gives you better feedback, listen to them instead  It's good to know when to stop working over something and just move on to the next thing. It's very easy to get stuck in a rut slaving over something that most people will look at for a fraction of a second. Not that you throw out anything you learned in making the page with the mistakes, or that you just churn out whatever and dont' bother keeping standards for yourself, but you just kind of pick up what you learned and take it with you to the next page.
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Jul 5, 2016 00:37
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There's an element of the style that reminds me of another cartoon* but the style on the whole is so unique. It looks really good, Mr Fart. *not a bad thing, as the second clause of the sentence may seem to imply
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Jul 14, 2016 14:38
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Avshalom posted:my comic is about a naked sprite who doesn't understand love what about Choo Choo?
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Sep 23, 2016 15:44
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In college it was relatively easy to keep up with my comic because I had a pretty manageable schoolwork load and no real bills yet. Now going to grad school full time and working part time, even though I still have a good amount of free time left over, I usually eschew spending much time on my comic in favor of doing other less taxing/less rewarding things like just watching TV, or, in "rewarding but not taxing" category, sleeping. What are you guys balancing on your plate along with comic stuff? How do you make it work? I know for some people drawing is like breathing or eating and they can't imagine going without it for a day or even several hours, but as much as I dearly value the hobby, I don't share that blood need for it. So I'm just interested to hear how you guys make it work with other obligations, whether it finds away into your schedule one way or another or whether you kind of have to slap that ketchup bottle of life.
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Nov 2, 2016 03:07
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SmackJeeves is getting a design overhaul right now, so I'm wondering if that's going to bring more people back to it. I'd hope so, it's always been a good host for me.
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Dec 14, 2016 17:38
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I had a buffer once 
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Feb 21, 2017 03:30
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I do everything up to coloring traditionally, and then edit digitally. I had a phase where I got good enough at coloring that I barely needed to adjust the color at all once it was scanned, but then I had a breakdown and p much didn't draw for like a year and a half so now my art is basically where it was back in high school all over again  I also need the computer to fix my increasingly worsening skew, and take the junk out of the dialogue bubbles when I color too sloppy. I just use GIMP and a mouse to edit. Colring is mostly prisma markers though I'm slowly collecting copics just for skin tones since I was loving burning through those and the copics last longer and can be refilled. My advice is more of a warning than a reccommendation.
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Apr 9, 2017 16:38
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Yeah I think your art is cool, I just haven't really been amused by either of the ones you posted so far. It almost feels like I'm reading them backward, like I start off on board and then it just kind of trails off. Copy pasting isn't a "never do." Some people overly rely on it, but some find a way to make it work. If it feels lazy, don't do it; if it feels like it's adding something to the comic, then do it. Basically it's a rule because a lot of comic artists starting out overuse it and in those cases it does look lazy as hell. But like, in that second comic you posted, I'm really only paying attention to the guy's facial expression and words anyway. You get the sense that that guy just sits there motionlessly on his porch all day, and I think that your style is effortful enough, yet not too overly detailed, that the copy pasting doesn't stick out like a sore thumb. I think the fact that you broke it up with that close up in the third panel helped a lot, if it were all four panels the same pose and framing that would have been less visually appealing.
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Apr 28, 2017 21:19
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Wowporn posted:What is even the point of having multiple panels if they're all gonna look the same. Like no bs or anything, especially if you're gonna redraw them for the principle or whatever why wouldn't you make it a more dynamic layout instead. I understand if you have a subtle moment to moment thing goin on but every time I see some comic where two people talk on a couch and everything but they're facial features stays exactly the same I question why they chose the format of comic strip in the first place. I dunno I see where sweeper bravos point kinda works but I think this specific thought a lot for me that's a matter of timing for the strip. Panel breaks indicate the passage of time, and when you're drawing something you can use that to manipulate the reader's sense of time. Not that it's always used to great effect, obviously, but (in the case of a well written, well set up punchline) sometimes you want each chunk of the set-up to be separate and then the punchline to also be visually, and thus temporally separated. The copy the sektch layer and ink it multiple times thing Reiley talked about is a really great method for getting most of the benefits of copy/pasting while having a product that doesn't look lazy. Also- one other thing that copy/paste does is I think your brain picks up on the fact that every picture is the exact same, and it sends the subconscoius message to tune out the art and focus just on the words. Which is ok if that's what you want the reader to focus on, but you have to make sure that your writing is really tight then. Though I think this also depends on the level of detail- I've seen it go both ways, where I just tune out the art entirely, or when something is just slightly different or off center in one of the panels and my brain goes into "find the difference" mode. This is all about improving yourself as an artist though and assuming most of your readers are also artists who will notice things. If you don't care and just want to get stuff out, and most of your readership is people who aren't looking at your work critically*, they probably won't notice that every panel is literally the same. And my opinion on this has changed a bit over the years, but right now I don't think there's anything wrong with making stuff because it's fun for you to do, and not focusing on improving with everything you do if it becomes a stressor that's taking away the joy of drawing for you. (I used to be of the opinion that "why wouldn't you want, and actively seek, to improve?" and learned that the answer is because for some of us that kills the love of drawing if you push yourself too hard but that's another story and another topic.) *I'd say "people who don't draw," but a lot of people who DO draw don't think critically about the choices they're making and would probalby think you're a genius for copy pasting and saving yourself the time.
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Apr 30, 2017 15:16
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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
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Jun 6, 2017 23:11
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it sounds counterintuitive but if you're not great at colors, full color is probably better than partial color. Partial color requires knowing what to include/omit in order to create an effect. It's a little like how a chef can create something delicious even with limited ingredients or tools, but someone just learning how to cook will struggle under the limitations. But a better suggestion is, if you aren't good at color, it's rpetty easy to learn and start experimenting with (espeiclaly since you're using digital media so you can change things at whim and not get trapped in an ever darkening, muddying bog of ink). Rowland Hilder's book "Starting with Watercolor" really changed the way I thought about color (and technique and stuff as well, but I'm recommending it to you arpticularly because of the color part). Yes the book is about watercolor paint but the color theory, as presented, can be applied to other media. See if you can pick up a copy, they may have one at a local library, and there's also some for less than $10 on amazon and such.
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Jun 7, 2017 00:52
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I use a white crayon to mask out the areas that are to remain uninked, then paint over the paper wet cat food diluted w/water 1:3.
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Jul 1, 2017 17:40
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Not easily. I once manually did it so that for an older archive that like you say wasn't needed for the main plot, a reader would click a link to read say ~10 of the pages, click "next" which was a hard url to the next page of ~10 pages, and so forth. I only had maybe 30 or 40 strips in that archive so it didn't take long to do, but I can't imagine having to do all that work every time I wanted to add a new page to it. I know on smackjeeves you can sort pages into chapters, which depending on how you do it affects how you view the archive, but it's still a shared archive.
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Sep 12, 2017 12:11
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Seconding that the action was really hard to discern. Especially the first panel. The duck's colors are really close in value to the things around him so I was focusing more on the large wave in the foreground. I'm also assuming that in context it would have been easier to understand what everything was representing. I'm still not really sure what is going on in the third (mostly green) panel. Whale is v. cute.
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Sep 20, 2017 12:10
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Welcome back, I'm a little jealous of your disposable income <3
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Dec 21, 2017 20:41
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Donald J Trump posted:fat people are impossible to draw loving drat it act as one who works with marble starting with a sphere and then erase where the person isn't
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Jan 10, 2018 18:13
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I bought the giga bimbo loaf once but even a family of four doesn't go through that much before it goes stale
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Mar 10, 2018 03:11
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i'm the dick hoof
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Mar 10, 2018 03:12
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Mercury Hat posted:But where is the gormless male lead who wins her heart. The comic, making full use of its web 2.0 capabilities, is "interactive"
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Mar 11, 2018 20:55
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Coloring- a book I recommend- "Starting with Watercolor" by Rowland Hilder. Even if you're not planning to use watercolor as a medium, it really helped me understand color in a practical way that I could apply to my art, instead of just theories that i always had a hard time really making use of. just plain advice- It helped me to think about color in comics as being less about what something "looks" like than what it "feels" like. Pick colors not to just represent an objct but to represent the time of day or year, the location, the relationship of multiple objects in a scene. For example- if you're drawing two characters sitting together having coffee on a porch, your palette should be really different if it's during wintertime, summer, sunset, night, etc. This might be an exercise you would find valuable- taking the same lineart and coloring it using several different palettes and noticing what changes about how the image "feels." another recommended exercise- Pick something to draw for fun, then pick your palette deliberately. You may want to limit yourself by omitting a few colors you know would locally actually be present in the scene. Try to go by the feel you want to evoke. One example is to avoid neutrals in the palette for this exercise. Breaking away from local color really helped me enjoy the act of coloring a lot more as it felt more like an expression than an obligation when I wasn't worried about whether something "looked authentic." I hope you'll find this to be true also .
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Apr 5, 2018 22:12
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I've always had a harder time motivating myself to do the drawing part, but back in 2010 and the next few years I was still really productive art-wise. In 2015 I had some mental health issues crop up big time and ever since then it's been really hard to motivate myself to draw. I find that if I can get myself to sit down and just do it, I enjoy it as much as I used to. But I have to prioritize work, sleep, and physical exercise over drawing, so it tends to get dropped from my day to day schedule. I had moderate success relatively a while ago by aiming to do 15 minutes of drawing a day. I would earn a star on the calendar, like a first grader remembering to do chores, if I drew for at least 15 minutes. That star was surprisingly motivating but there were still many, many days i just couldn't fit in that 15 minutes. I don't know when you were in your best stride art-wise in terms of productivity but that may relate. For me, as a teenager and in my early 20s it was easier to just sit back and enjoy drawing and see it all as just good fun and spend hours on it- but it was also easier to do that with other hobbies, too. I don't know if it's practicality or just a getting older thing but I've noticed a decrease in interest (in terms of amount of time I'm mentally able to devote to them) with all my older hobbies.
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Apr 13, 2018 12:27
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lofi posted:I know this is going to vary a lot from person to person, but how long do you guys spend on a page? This little fucker took me 7h, not including thumbnailing. I guess that'll speed up as I get more used to a working process. I hope it does. I used to be able to finish a page in 3 hours, but I had lower standards and I think my pages were actually smaller too. If I had to estimate capabilities these days, 15 minutes to thumbnail/layout panels, 1 hour for initial sketch, 30 mins to add/ink dialogue if that's in the scene, 2-3 hours to do the rest of the pencils, 2 hours to ink, anywhere from 2-4 hours to color depending on the complexity of the page... then editing is like 15 minutes if there is no dialogue and up to an hour if there's a lot of it. So 7 hours sounds within a reasonable range at least for me. That's with all traditional media up until editing post-scan though, I could see digital coloring taking either more or less time dpeending how you go about it. Yeah, the more you make it a habit, the faster it can go. It's a matter of building physical/mental stamina and just your mind getting used to patterns and routines and efficient ways to put your mind on the page.
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Apr 19, 2018 01:42
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Drive-by reply- I really like your use of color, but the gradient speech bubbles don't look right. Most of the time you want dialogue/thought bubbles to appear neutral on the page, right now each time I look at a word bubble I think to myself "I'm reading someone's iphone conversation" instead of just reading the words that are inside which breaks up immersion. Unless you specifically need to draw attention to the way a line is being said, I'd simplify the dialogue bubbles- think of it as the visual equivalent of the word "said." Like, try out your next page with just plain white dialogue balloons. Just as an experiment. If you find the typography doesn't look right, 1. try a different font or 2. make the typeface layer semi-transparent and then put another layer over it, and trace the letters by hand. This can help make the typeface look less like a computerized font and can help it match the "organic" look of the rest of the art. It can also help you to break up where/how your words are spaced so they look less crammed. There are some good tutorials about dialogue bubble techniques. I don't have the time right now but try some googling on the topic and I'll share what I found when I am home later.
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May 4, 2018 12:32
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Reiley posted:This is the method I used when I'd been using a font for years and wanted to switch to hand-lettering while keeping the text size and kerning consistent with prior pages. I like to think of it as a kind of Ames guide, and I try to draw the letters in my own style rather than going exactly with how the font is laid out, particularly changing Y, y, l, i, g, q & a. I think you're the one I heard the idea from to begin with
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May 5, 2018 20:52
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CelticPredator posted:That's the worst one. I didn't realize until I was about to post it when I went..gently caress. Being able to catch those things comes with time and practice. Your brain sees the image the way it wants it to be seen, so you might miss things like that when you initially look over it before posting. Doing composition studies can help, as can just waiting overnight to look at something again in the morning to see it "fresh." Because of the way pants details were cut off by the edge of a panel, I once made it look like a character had an uncovered (and incorrect skin colored) boner squeezing into the panel. I don't think I ever would have caught that alone but I was glad when a reader pointed it out.
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May 6, 2018 23:59
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this broken hill posted:rear end bum that's the sound of looooove, that's the way love goes
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May 20, 2018 23:21
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drat I think my highest was getting 500 visitors in a month back when I updated more regularly. I too don't know what to do once PW shuts down. I have to withdraw the measly funds I generated but now I'm going to be relying totally on donations which don't come along much if you're not a regular updator/have a relatively large and dedicated fanbase. I never wanted to do Patreon because I hardly have the time to make the comic let alone the motivation to make the bonus poo poo that nobody really wants. Oh well at least I sort of have a full time job to fund my art related purchases 
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Jun 12, 2018 23:55
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Ccs posted:Did anyone here used to post comics on aggregator sites like Drunk Duck or Keenspace? I was amazed to find Drunk Duck still exists, and some of the users that commented on my horrible comics back in 2006 are STILL actively using the site. I was on ComicGenesis nee Keenspace before I moved to SmackJeeves. The CG front page is pretty dead now. The "pogs" used to show three rows with whichever comics had updated most recently. I think part of what led to the decline of CG (prior to the social media explosion) was the relatively steep learning curve of customizing your own site compared to other sites. Like you had a lot of freedom to do what you want and change what you wanted, but if you weren't already hip to the language of web design, you had to roll up your sleeves and learn, or get somebody else to do it for you. Additionally there was no ingrained comment system- you had to use a third party comment site like Disqus and I never managed to figure out how to get a separate comment thread for each comic page. And no automatic archiving system except for the default calendar display which was pretty dated looking and looked out of place on most custom templates, so if you wanted an archive page you had to manually update it yourself unless you were happy with the calendar. Once twitter and tumblr et al started to corner the market on "young person making comics as a hobby in their spare time and probably going to make 3-5 strips before giving up," people coming in as spare time hobbyists didn't have the time to learn all the coding stuff anymore and went with whatever was easiest. Additionally, asking for help was usually futile because most of the people with any degree of authority or control over the comics-side of the site moved on and no longer were around to help newbies. Gradually the forums became more deserted and were for a time pummeled by spam accounts creating dozens and scores of pages of threads/replies. Some of the users still come by to post now and then a few times a year.
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Jul 10, 2018 14:32
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avshalemon posted:the best lesson i learnt when drawing a comic is to make sure you enjoy drawing all the characters, not just one of them, because unless you really commit to it there will come a time when your fun-to-draw character is no longer on the page and then what will you do?? related to this, I have a large cast so if I don't feel like writing about one of them I can work on somebody else's storyline for a while. it keeps the story from getting stale to me.
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Sep 29, 2018 18:49
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I have 5 updates in the pipeline to cover the next 5 weeks. I don't remember the last time I had a significant buffer. I hope I don't blow it and get to April 23rd with nothing ready to go. Getting back into routinely working on my comic feels good, but I've been looking back at older pages for part of a retrospective I'm doing and it makes me depressed how much better my art used to be at various points and how my skills have deteriorated from years of prolonged hiatuses and disuse
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Mar 15, 2019 01:58
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