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Thread: How do comic book artists do it?
January 11th, 2012 #1Registered User
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How do comic book artists do it?
Developing the ability to draw 100s of different poses, emotions, perspectives, landscapes, objects, etc all within a 30 day time frame? I can barely draw one panel containing those elements from my imagination, let alone 100s. Is it that they do a whole lot of life drawing?
Hide this ad by registering as a memberJanuary 11th, 2012 #2Registered User
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Practice. Honing the muscle memory so that they can recreate these objects quickly and accurately.
January 11th, 2012 #3Registered User
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January 11th, 2012 #4
Takes practice, like stated above. Comics force you to do all of those things, then when you do them through hundreds upon hundreds of frames you are likely to get better at it.
Also don't assume every artist does it all from imagination, they use references.
January 11th, 2012 #5
Personally, lots of practice and an equal amount of legal stimulants. Not having a deadline helps.
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January 12th, 2012 #6Registered User
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they eat a lot of wheaties and spinach!
January 12th, 2012 #7
After a while of constructing things from your head and finishing/correcting from reference you find that there are things you can now do from memory and you can speed your process up. But stuff doesn't get into your head by magic, you have to put it there with observation and nail it in place with practice.
January 12th, 2012 #8
Like Vineris said, comic artists do also use references.
Here's a walkthrough of Sean Gordon Murphy's page, and it starts like this:
Here's the rest of it: http://seangordonmurphy.deviantart.c...thru-278822691
After thumbnailing pages it's not a huge job to go and shoot your own refs.
January 12th, 2012 #9
Drawing is not the biggest obstacle in comics. Anyone can figure out how to draw. What you should really look for in a comic book is the storytelling, achieving good story telling is so much harder than drawing muscled super heroes and crazy perspectives.
January 12th, 2012 #10
I second Alternative-- I've been working in comics for two years now and have been lucky enough to observe how the big wigs do it: surprisingly, it's not usually the drawing that trips you up so much as the story telling-- trying to keep in mind flow, dialogue, creating an element of surprise, keeping things loose and dynamic and of course keeping the viewer excited about what they're looking at-- well, after all that problem solving, sitting down to draw is a bit of a treat.
January 12th, 2012 #11
Comic book artists do it in four colours.
The Nezumi Works Sketchbook - Now in progress
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"Skill is the result of trying again and again, applying our ability and proving our knowledge as we gain it. Let us get used to throwing away the unsuccessful effort and doing the job over. Let us consider obstacles as something to be expected in any endeavor; then they won't seem quite so insurmountable or so defeating." - Andrew Loomis
January 12th, 2012 #12
When I practice I get so caught up in the drawings that I often forget the overall story. Especially since you can't rush it, people try to cut out as much drawing as they can so they skip integral transitions often.
Though I will say there's the other side of the spectrum. It takes balance because if you've ever read any crappy webtoons many spend little to no time on the actual art and only on getting their story out, so the art is utter crap lacking any foundation or basics but the story is ok.
It's a big balancing act.
January 12th, 2012 #13
I've been killing myself trying to get just 3 PANELS RIGHT! by the script given (think I finally got the third one down...after 2 weeks?!). I won't even go into the first panel shot...damn!
It's not even a story, but a sequence with specific needs asked for in the assignment.
Believe me, working from someone elses script then my own for practice is a WHOLE different game.
My SketchBook http://www.conceptart.org/forums/sho...d.php?t=139784
http://www.conceptart.org/forums/sho...d.php?t=192127"Everything must serve the idea. The means used to convey the idea should be the simplest and clear. Just what is required. No extra images. To me this is a universal principle of art. Saying as much as possible with a minimum of means."-John Huston, Director