Comics for Beginners

How to Write & Draw Comics

comics

ProFile: Kody Chamberlain

by 2 Comments

ProFile-Kody-Chamberlain

Kody Chamberlain spends most of his time creating comic books and graphic novels, but also works in film, animation, video games, and television. Credits include DC Comics, HarperCollins, IDW Publishing, Image Comics, LucasArts, Marvel Comics, MTV, MTV Comics, Mulholland Books, Sony Pictures, 12 Gauge Comics, Universal Pictures, and Warner Bros. In addition to his work in entertainment, Kody also an inspirational keynote speaker and consultant on the subject of creativity. Credits include CTN Animation Expo, HOW Design Live, INNOV8, Modbook, Macworld, iFest, Wizard World Comic Con, as well as AdFed groups and major universities throughout the United States.

You can find out more about Kody at his website: http://kodychamberlain.com.

His latest book SWEETS: A New Orleans Crime Story:

Print edition: http://tinyurl.com/amazonsweets

Digital edition: http://tinyurl.com/digitalsweets

What made you decide to work in the medium of comics?

As high school was wrapping up, I had no plan on what to do next. I was interested in a few different things but no real goals so I decided to go to college and figure it out along the way. I thought I might try engineering because I was doing very well in math so I signed up for an advanced math class that was part of the engineering program. I also signed up for a lot of the usual classes you have to take early in college including basic art classes. I was already doodling a bit here and there, so I thought the drawing classes would be fun.

I quickly realized that I hated the math class, and really enjoyed the drawing class. It was a dilemma because I was good at math and bad at drawing. I discovered graphic design somewhere along the way, thinking it might be a nice combination of the two and I picked it as my focus. After a few months in, I started hanging around with a few guys that were serious about comics and that’s what got me hooked.

I was also writing a bit, and thought it’d be fun to try getting into comics. I sucked for a lot of years but I was making slight improvements here and there, and slowly, things got better. I don’t recall ever having a big breakthrough where everything clicked and I made a big jump. I know that happens to artists sometimes, but for me it was a slow grind over many years. I was having a lot of fun and I knew if I kept pushing forward I’d eventually get to a professional level, so I stuck with it.

I started drawing around 1990 or 1991 and started sending out submissions around 1994. In 2002 and 2003 I started to get favorable replies from publishers and editors and I got my first paid work in 2004. Basically, it took me about 15 years of practice to get paid work.

What part of the process is the most challenging or frustrating to you?

The toughest part for me is letting go. I have to constantly remind myself to stop and move on to the next thing. I’ve talked with enough people to know that it’s a very common problem, and I think it’s one of the main reasons many aspiring creators never actually become professionals. I know plenty of people that have been talking about a project for years and claim to have something done on it, but I have yet to actually see anything from it. They’re stuck in the “loop” of reworking material and they never get out. I’m able to work past it, but I’m always a little grumpy when I have to let something go. In reality, if I were to keep reworking it I know I would kill it. Letting go is a daily struggle, but after an issue of a comic hits the shelf, I always feel good about the work. A little distance solves most problems.

If you could give one piece of advice to an aspiring comics creator, what would that be?

Stop sending out scripts, drawing sample pages, and mailing out submissions. Make a comic. You don’t need a team or a publisher, just make it. Write it, create some artwork, letter it, and then put it out. Then do it again. Even if you don’t end up doing every job when you get into the industry, you’ll have a detailed understanding of the process, and that’s an asset. You don’t need permission from anyone to make a comic, and you don’t need much money. The cost of making comics versus film, animation, etc is incredibly low. Once you’ve made a comic you are now a comic book creator, not an aspiring comic creator. You’ll find the industry treats you differently.

Colorful sex with Jason Little – Comics for Beginners Podcast episode 20

by Leave a Comment

Jason Little is a Brooklyn-based indie comics creator, most famous for his Bee books, such as Shutterbug Follies. Although his style is colorful and uses clean lines, the books are NOT for kids – something the US audience seems to disagree with. Besides having the most impressive sideburns I’ve ever seen, Jason is extremely talented and eloquent speaking. Take a listen and see if you agree, and check out Jason’s work at http://www.beecomix.com and on his blog http://beecomix.blogspot.com.

Also in this podcast: news and more news! For tutorial videos and more on how to write and draw comics, go to https://www.comicsforbeginners.com/

bee-jason-little

Art tutorial: 5 hacks for drawing backgrounds quicker

by 8 Comments

Do you have to draw backgrounds on every panel? The short answer is no. If you start with a good establishing shot and learn these 5 hacks, you can get away with very little background drawing!

1: Structure

If you place your characters against a wall or another big surface (like the sky!), a few rightly placed lines will give the illusion that we’re still in the place you showed us in the establishing shot (usually a wide shot in the first frame to establish the room or setting we are in, who is present, where the door is, stuff like that).structure-background

2: Silhouette

The outline of whatever is behind your characters can be quite enough – and a LOT quicker to draw! So if the scene takes place in a living room, just black out the shape of the lamp and a couch, if it takes place in the woods, black out tree trunks and leaves.

Pro tip: If you let elements poke in from the sides it lets us know there is more outside the frame. It’s a cheap trick but it works every time! Hint or show part of an object or shape and our minds will fill out the rest.

silhouette-background

3: Shadow

Some shadows – from a window, a tree or other objects nearby – is a great way of showing us what is outside the frame while avoiding to draw it all together. Don’t try to think realistically of where the light would be coming from or how the perspective would look, just treat it as a nice shape to liven up your drawing.

shadow-background

4: Gradient

A color gradient – or in this case just a grayscale one – can sometimes make it out for an actual background. It’s perhaps not the most sophisticated solution, but it makes the character “pop” and that’s often all you need.

gradient-background

5:  Riff

A “riff” is a graphic shortcut. Every artist has her own. Sometimes a riff is just some shapes/lines, not a realistic rendering of anything. Make your own riff or copy from another artist whose style resembles yours. I think I lifted this one from Mike Mignola, a brilliant background artist to steal from – because he rarely draws much and has a superb sense of graphic storytelling.

riff-background

Again, you need some background, at least in one or two frames per page, so the readers know where the characters are. But once you’ve established the world around your characters, it’s OK to cheat a little on the rest of the page. And now you know how!

—

If you want to know more about background drawing and perspective, check out this episode of the Comics for Beginners course.

What if I can’t afford a studio space?

by Leave a Comment

TAW-students-making-comics

I often give aspiring artist the advice to get a studio space with peers, to help boost your creative skills and work ethic. But an office in town is pricey and what if you live in a place where there aren’t really any studios that fit the bill?

Sitting in a room full of people working, is a great way to ensure you get some work done too. And an inspiring work environment with people who are better than you, will certainly make you up your game!

Investing in a studio space is actually an investment in your skills and your productivity, not to mention the network of other artist who may become your job entry. I personally think going all in on a studio space I couldn’t afford at the time absolutely made my career. And remember: it’s tax deductable!

If a studio is still out of reach, see if you can’t find some peers to connect with online. Commiting to post a certain number of pages each week or check in every Friday with a report of your progress and next week’s goals, can easily make up for lack of an actual studio spot. Hold each other accountable and try to be constructive in your critiques.

An online peer group should not be too big or to ambitous in terms of tech solutions. A Facebook group or a Skype call should suffice. Find just a handful of talented and dedicated peers with a common interest and start from there.

A lot of creators make good use of coffee shops or the local library for working, especially in the writing phase. But you can also do rough sketches or character designs in a cafe or the like. For some, the noisy public space is where they do their best work. And experts will tell you, that changing location is a proven way to kick your creative brain into gear.

Hope these few tips to beat the procrastination and gain some momentum without the actual studio space. But if you CAN get a spot, even just for a week or a month, give it a try and see if it doesn’t boost morale and skills tremendously. I know it did for me!

Related podcast: Working from home

ProFile: Vince Hernandez

by Leave a Comment

Vince Hernandez has worked in the comic book industry for over fifteen years and is currently the Editor-in-Chief for Aspen Comics. He has created and written the comic book series Charismagic, Trish Out of Water and the upcoming Damsels in Excess. He also has worked as a writer for Electronic Arts, Def Jam Entertainment and Marvel Comics.

What made you decide to work in the medium of comics?

Actually, working in comics happened rather coincidentally for myself. When I was eighteen years old, I was looking to take on a second job and my brother mentioned a position that was available with the comic book publisher, Top Cow. Since he was already employed there, I certainly had a great start and after interviewing there, I became the assistant to the Director of Marketing, Kate Sherwood. I worked at Top Cow for four years before I took the position with Aspen where I’ve been Editor-in-Chief for the past decade. It’s not the usual route to get into comics but I certainly think I’ve made the most of the opportunities I’ve been presented with.

What part of the process is the most challenging or frustrating to you?

Editing comics in general is a very demanding and oftentimes frustrating position. It encompasses scheduling, talent management and crisis control while also maintaining a professional level of creativity necessary to make a product fans will enjoy. I think if I had to pinpoint one aspect which usually ends up more frustrating than any other, it’s dealing with talent’s schedules and their understanding of meeting a deadline. I can literally name off the small list of creatives that understand this process. The more frequent response I get from artists is that the quality of their work will suffer if they rush, which I have found is little more than an excuse because they can’t meet a deadline.

If you could give one piece of advice to an aspiring comics creator, what would that be?

One thing I would tell aspiring comics creators is to be realistic with their work. This is a broad tip of advice, but it’s something that a lot of aspiring artists and writers haven’t yet learned. Realistically look at what professionals are doing and judge your work accordingly. There’s no shame in admitting that you’re not on the level yet, but there are consequences when you put yourself out there prematurely. It marks you as an amateur before your career even begins.

http://www.aspencomics.com/