Can you guess which character made me interested in the newer Empty #1 comic from Image? (Pencil, Copic, color in Photoshop.)
Pencils and Pens vs Copic and Water After an unexpected mishap with the Pentel mechanical pencil, I decided to do some testing with all the pencils and pens I had and Copics and water to make better decisions on what to use for lineart so I won't have any surprises, since I'm such a pencil person :) I'm sharing my results in case they are useful to someone else. On the left is Copic, on the right I used water (most were unaffected by water). The paper is Strathmore Mixed Media paper, which I've been getting a liking for (I generally also use their Bristol.) I've amassed a variety of pencils since I tend to be a sucker for anything that looks interesting. I tend to favor a regular HB for sketching and a mechanical for doing more precise lines over the sketch, but I've been trying to branch out some more. My favored inking pen is the Sakura gelly roll, although I'm working at getting better with the brush pens. The Pilot Parallel was kind of a lark because it sounded neat and I used to like calligraphy, but I don't know that I'd use it for drawing. I found it most interesting that some were good with water, but not Copic, and a couple were very water-soluble but ok with Copic. I used my N2 gray Copic, since I'd already kinda ruined the tip. I guess Copic just tends to not like pencils. I was a bit surprised the Caran d'Ache Pablo, which is specifically water resist, was still no good with Copic. I also didn't realize the Pilot Parallel ink was not waterproof. People have said Micron isn't good with Copic, but it didn't seem to bleed for me? I don't use Microns as much anymore. I may also experiment with using my Blender Copic with some watercolor pencils instead of water. I ended up not using it much anyway.
I posted the piece I had been working on as a Valkyrie secret santa gift since she received it :) This was a Sandman Overture #1 blank cover that I drew on. Brush pen and watercolor pencils. http://imaginaryfox.deviantart.com/art/Sandman-Blank-Death-508009325
Finally got mostly caught up on posting art on DA. Now I need to draw more! These were just a couple of my more recent favorites- a gift for a friend for loaning me the Rust comics, and a commission I got just before Xmas. Some of the stuff posted is in Scraps as usual.
http://imaginaryfox.deviantart.com/art/ATC-Rust-Jetboy-503794576 http://imaginaryfox.deviantart.com/art/Neybulot-Badge-503793919
http://imaginaryfox.deviantart.com/
imaginaryfox reblogged
Bravura Burst, a dice-rolling RPG style game designed by my roommate which I did lineart for (and tons of playtesting), now has been upgraded to have a deluxe version! GameCrafter added some new components, and we just had to use them! We now have these lovely wooden hearts for character HP, and we made a score card with quick turn sequence reminders each player :D The pricing has been re-tooled so that the original version is now cheaper, and the deluxe version is the same price as the original was! The game features: 26 job cards 8 fool cards 24 monster cards 10 trap cards 15 various dice
And now 4 scoreboards, 4 rings for scoring, and 70 heart tokens! Bravura Burst Deluxe: https://www.thegamecrafter.com/games/bravura-burst:-the-roll-playing-game-deluxe-version- Bravura Brust Original: https://www.thegamecrafter.com/games/bravura-burst:-the-roll-playing-game-original-version- https://www.facebook.com/honorableideas
I posted a couple of new things to my DA, including this- my first attempt with greyscale Copic Sketching markers. I just kind of drew it quickly so I'd have something to "color" in. I figured Death and penguins made good black and white subjects. The penguin turned into being a Prinny rather than a normal penguin. I don't really have the hang of Copics yet, but they're interesting. http://imaginaryfox.deviantart.com/art/Death-and-Prinny-472953098 I also have a handful of other works- mostly scraps, and a few other commissions.
imaginaryfox reblogged
Wisdom from Sherm Cohen by way of Character Design References!
I realized I didn't have wrapping paper for a gift, so I improvised :) http://imaginaryfox.deviantart.com/art/Quickie-Toothless-466553250
imaginaryfox reblogged
18 tips for comics artists by Moebius "brief manual for cartoonist "
My 8house collaborator and impressive dude, Xurxo g Penalta translated this Spanish Moebius list of advice for artists. I thought would be cool to post. (Thanks Xurxo)
http://www.jornada.unam.mx/1996/08/18/sem-moebius.html
1. when you draw you must clean yourself of deep feelings (hate, happiness, ambition, etc)
2 it's important to educate the hand, attain obedience, to full fill ideas. but careful with perfection, to much, as well as too much speed, as well as their opposites are dangerous. to much looseness, instant drawings,aside from mistakes, there's no will of the spirit, only the bodies.
3. perspective is of sum importance, it;s a law of manipulation in the good sense, to hypnotise the reader. it;s good to work in real spaces, more that with photos, to exercise our reading of perspective.
4.another thing to learn with affection is the study of the human body, the positions, the types, the expressions, the arquitecture of bodies, the difference between people. the drawing is very different when it come to a male or a female, because in the male you can change a little the lines, it supports to have some impressions. but with the female precision must be perfect, if not she may turn ugly or upset. then no one buys our book! so for the reader believes the story, the characters must have life and personality of their own, gestures that come from character, from their diseases; the body transforms with life and there's a message in the structure, in the distribution of fat, in every muscle, in every fold of the face and body. it;s a study of life.
5. when you make a story you can start with out knowing everything, but making notes (in the actual story) about the particular world of that story. that way the reader recognizes and becomes interested. when a character dies in a story, and that character has no story drawn in his face in his body, in his dress, the reader does not care, there's no emotion. and then the editors say: "your story is worthless, there's only one dead guys and I need 2) or 30 dead guys for it to work" but that is not true, if the dead guy, or wounded guy or sick guys or whomever is in trouble has a real personality that comes from study, from the artists capacity for observation, emotion will emerge (empathy). In the study you develop an attention for others, a compassion, and a love for humanity.
it's very important for the development of an artist, if he wants to be a mirror, it must contain inside it;s consciousness the whole world, a mirror that sees everything.
6. jodorwosky says I don't like drawing dead horses. it;s very difficult. it's very difficult to draw a body that sleeps, that's abandoned, because in comics you're always studying action. it;s easier to draw people fighting thats way Americans always draw superheroes. it;s more difficult to draw people talking, because there are a series of movements, very small, but that have a significance, and that accounts for more, because it need love, attention to the other, to the little things that speak of personality, of life. the superheores have no personality, all of them have the same gestures and movements (pantomimes ferocity, running and fighting)
7. equally important is the clothing of the characters, the state they;re in, the materials, the textures are a vision of their experiences, of their lives, their situation in the adventure, that can say a lot with out words. In a drew there's a million folds, you must chose 2 or 3, but the good ones.
8. the style, the stylistically continuity of an artist is symbolical, it can be read like the tarot. I chose as a joke the name Moebius, when I was 22, but in truth there's a meaning to that. if you bring a t shirt with Don Quixote, that speaks to me of who you are. in my case, I give importance to a drawing of relative simplicity, that way subtle indications can be made.
9. when an artist, a drawing artist goes out on the street, he does not see the same things other people see. what he sees is documentation about a way of life, about people.
10. another important element is composition. the composition on our stories must be studied, because a page, or a painting, is a face that looks towards (faces) the reader and that speaks to him. it's not a succession of panels with out meaning. there's panels that are full and some that are empty, others that have a vertical dynamic or a horizontal one, and on that there is intention. the vertical excites (cheers), the horizontal calms, an oblique to the right , for us westerners, represents the action heads towards the future, and oblique to the left directs action toward the past. points (points of attention) represent a dispersion of energy. something places in the middle focalises energy and attention, it concentrates.
these are basic symbols for reading, that exercise a fascination, a hypnosis. you must have a consciousness about rhythm, set traps for the reader to fall on to, and if he falls, and gets lost and may move inside them with pleasure because there's life. you must study the great painters, the ones that speak with their paintings, of any school or period, that does not matter, and they must be seen with that preoccupation for physical composition, but also emotional. in what way the combination of lines on that artist touches us directly in the heart.
11. narration must harmonize with the drawing. there must be a visual rhythm from the placement of words, plot must correctly maneuver cadence, to compress or expand time. must weary of the election and direction of characters. use them as a film director and study all different takes.
12. careful with the devastating influence of north american comics in mexico, they only study a little anatomy, dynamic composition, the monsters, the fights, the screaming and teeth (grin). I like them as well, but there are many other possibilities that must be explored.
13. there's a connection between music and drawing. but that depends also on the personality and the moment. for perhaps 10 years I've been working in silence, and for me the music is rhythm of the lines (the music he listens to).
to draw is sometimes to hunt for findings, an exact (fair, just) line is an orgasm!
14. color is a language that the artist (drawing artist) uses to manipulate the readers attention and to create beauty. there's objective and subjective color, the emotional states of the character influence the coloring and lighting can change from one panel to the next, depending on the space represented and the time of the day. the language of color must be studied with attention.
15. especially at the beginning of a career, one should work on short stories but of a very high quality. there's a better chance to finish them successfully and place them on a book or with editors.
16. there are times when we are headed to failure knowingly, we choose a theme, an existence, a technique that does not suit (convene) us. you must not complain afterwards.
17. when new pages are sent to editors and see rejection, we should ask for the reasons. we must study the reasons for failure and learn. it's not about struggle with our limitations or with public or the publishers. it's more about treating it like in aikido; the strength (power) of the attack is used to defeat him with the same effort.
18. now it is possible to find reader in any part of the planet. we must have this present. to begin with, drawing is a way of personal communication, but this does not imply that the artist must envelop himself in a bubble; it' communication with the beings near us, with oneself, but also with unknown people. Drawing is a medium to communicate with the great family we have not met, the public, the world.
august 18th 1996 compiled by Perez Ruiz
imaginaryfox reblogged
lolsob actually I don’t use PS to color at all…. I use SAI mainly haha
idk how to explain but I think the trick lies on the pressure you apply on your hand when you draw the stroke, control your hand movement and see when you do light stroke when to do heavy stroke??? but hopefully this helps lolsob TwT
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chroiio-deactivated20141223
People who say they’re bad artists but when they draw they’re like:
This was a piece I did for a Secret Santa gift for the Valkyries. I hadn't drawn in a while, and I knew this was going to be more elaborate than my usual stuff, so I decided to take pictures along the process. The pencil sketch seemed pretty promising, and I kinda think of this as a cover image. If I was actually cool enough to do an Adventure Time cover. Is it weird when I piece is done, I'm also kind of surprised I did it? Like 'how did I do this and it actually looks pretty cool?' Haha. Yay another Adventure Time / Sailor Moon crossover picture added to the internet! More details on the DA page. http://imaginaryfox.deviantart.com/art/Adventure-Scouts-457711546
Posted a couple more pieces on DA tonight. I was going to just post the lineart for this, but I had to color it when I saw it again. I like some of the AmeComi designs, but their faces are horrible a lot. http://imaginaryfox.deviantart.com/art/AmeComi-Poison-Ivy-453977073
Socialness
I *think* I have successfully added Facebook and Twitter share buttons, and Disqus for comments to my tumblr. Seems silly to have to add them manually. I should find a better theme...
imaginaryfox reblogged
The new Godzilla trailer looks amazing
imaginaryfox reblogged
awkwardsituationist
mushrooms — they don’t need psilocybin to be magical. photos by elaine owen, taylor f. lockwood, mike potts, gorastos papatsanis and steve axford, (click pic for species, photographer and, when given, location.)
(see also: mycologist paul stamets discusses how mushrooms will save the world)
Source: awkwardsituationist