How good do you have to be at drawing before you start working on your first comic? What if you’re not talented enough? And how do you make the most of whatever talent you have? These are some of the questions I try to answer in this episode.
improving as an artist
The Monthly Grind – Comics for Beginners podcast episode 21
The rabbit is out of the hat! BOOM! Studios is releasing the first issue of creator-owned book Thomas Alsop in June 2014, an occult New York story, written by Chris Miskiewicz and drawn by yours truly. Bleeding Cool did a nice little write up here: http://www.bleedingcool.com/2014/03/12/are-you-missing-hellblazer-here-comes-thomas-alsop/. I’ve obviously known about this for a while, even recorded an interview with my friend and mentor Peter Snejbjerg (http://www.snejbjerg.com) on the topic of working on a monthly book. Listen for more details.
You can read a 12-page short featuring Thomas Alsop here: http://welcometotripcity.com/2013/05/thomas-alsop-the-case-of-dead-uncle/ and watch the live action promo at http://welcometotripcity.com/2013/05/thomas-alsop-the-hand-of-the-island-official-trailer/
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
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/
What if I can’t afford a studio space?
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
Seth Kushner and Nathan Schreiber – Comics for Beginners podcast episode 18
Seth Kushner (http://www.sethkushner.com/) is a photographer and writer, known for his awesome portraits in Leaping Tall Buildings: The Origins of American Comics and his Schmuck series and photocomics on Trip City. Nathan Schreiber (http://www.nathanschreiber.com/) is an Eisner and Harvey Awards nominated artist, whose own book Power Out won a Xeric award in 2009.
I talked to both Seth and Nathan about the art and craft while I was in New York this fall, only later realizing what a great double feature the two interviews would make, as they worked together on Seth Kushners Schmuck! Their collaboration on the Schmuck series can be found at http://welcometotripcity.com/2013/10/schmuck-14-size-11/
