Comics for Beginners

How to Write & Draw Comics

Periscope Studio

Working from Home versus Getting a Studio

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As I’ve mentioned before, I wouldn’t have had the career I have today, if it wasn’t for my time at Gimle Studios. This is where I learned from the best, grew my network and got the jobs that laid the foundation for my business. Most importantly, being surrounded by other hard working professionals was how I built my work ethic and self-confidence as an artist.

Later on I got a spot at the larger co-op Republikken, which was as far from what Gimle was as I could get. I needed to shake things up a bit and sitting with designers, photographers and other types of creatives as well as entrepreneurs certainly helped me get a new perspective. This is where I came up with ComicsForBeginners.com and where I started to really focus on my own projects. 

After working out of my house for a year while I studied at Film School (yet another way I started to think outside the box) I’m not back at a studio space. I have my own room which is perfect for when I’m writing and need to concentrate, when I have people over for podcast interviews or I’m doing videos. In hindsight, I would probably have benefitted from isolating like this sooner, as I tend to get involved in conversations if I’m in an open office environment. I love having an office in town as it helps my focus to have a dedicated workspace and just a good reason to get out of the house every morning.

If you want to work from your house, an office space or the local coffee shop is up to you. Of course it depends on what you do, what area you live in and what your economic options are  – and what kind of set-up your work requires. I’m sure an opera singer will have a harder time working from a café than a blogger.

Pros and cons

To help you decide where to work from, here’s a list of some of the advantages and disadvantages.

Home office pros:

  • A pretty quiet work environment, no office chatter or ringing phones besides your own
  • No extra rent (and maybe even a tax deduction – check with your relevant authorities)
  • You always have all your tools and files at hand and can work anytime – even after the kids are put to bed
  • Speaking of kids, you may find it convenient to be able to take care of your young ones at home, while you’re running your business
  • Speaking of kids, you may find it convenient to be able to take care of your young ones at home, while you’re running your business

Home office cons:

  • Lonely lunch hours and probably nothing interesting in the fridge
  • Work habits can be hard to maintain and things can start to slide
  • Working alone no one will notice your procrastination

Office space pros:

  • Getting away from your house chores can do wonders for your productivity
  • You can take longer days and not be interrupted when the kids come home
  • Your friends tend to leave you alone and not lure you out for drinks if you’re in an office
  • No obligation to do dishes or laundry, you can focus on the work
  • Procrastination is harder to fall into when everyone around you is working
  • You have a support group of peers handy if you get stuck creatively or run out of work

Office space cons:

  • Commute
  • Rent
  • Other freelancers can be noisy and/or lazy too
  • Water cooler chatter can eat up your days

Alternative working spaces

More and more business hotels and co-ops are popping up, where you don’t have to have a desk but rather just plop down where ever is available. A lot of freelancers take their laptops to the local library or set up office at the Starbucks. Some people find it hard to work with a noisy espresso machine going on in the background, others find the buzz of people inspiring and appreciate the constant supply of coffee availabe. The coffee isn’t free though. You could end up spending more money on lattes than you would on an office space – and gain twenty pounds!

If getting a spot at a studio or a co-op is out of reach, try finding a peer group online that you can check in with on a regular basis. Committing to a weekly hangout or uploading new art every Wednesday can help you stay on track and keep you motivated. Accountability and moral support is solid gold for a struggling, self-doubting creative.

This post is an excerpt from my book SOLO – Survival Guide for Creative Freelancers – Pre-order now on Amazon.

ProFile: Lukas Ketner

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Lukas Ketner is the artist and co-creator of Witch Doctor, the hit launch title for Robert Kirkman’s Skybound imprint at Image Comics. He was a 2009 nominee for the Russ Manning Award for his Witch Doctor work, which has earned praise from fans and creators alike. Other work includes stories for Dark Horse Comics’ Creepy Comics and Supersized: Strange Tales From a Fast-Food Culture, along with covers for BOOM! Studios’ Hellraiser title. He has twice won entry into the Communication Arts Illustration Annual for his album artwork. He survived a successful full-body transplant from his hometown in Anchorage, AK to Portland, OR in 2000 where he currently resides. You can check out his work and drop him a line on Facebook.

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

For me, it was the realization that I could tell stories as well, if not better than prose and film — both of which I tried my hand at, and NO you may not see the results, they’re awful 😉 For me, comics can tell a story as well (if not better) than any other medium, and all it requires is ink, paper, and time. Sure, money helps, but that’s an obstacle that’s easier to overcome in the digital age to reach an audience.

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

Well, challenging and frustrating aren’t always the same thing, although they do overlap quite a bit 😉 For me story flow and lining up shots is very challenging and non-intuitive for me, but very fun and rewarding, much like solving a puzzle. It’s frustrating when I’m inking that same page and I can’t do it fast enough because I’ve added detail to areas that don’t need as much attention as I’ve given them. Then, that elegant puzzle I solved previously turns into a 2-3 day grind that’s totally unnecessary— comics pages shouldn’t take that long for a monthly horror book. It’s a mistake that I’m slowly making less and less, but it still happens. I really admire artists whose styles are more economical, but still great to look at. My studio-mates Jonathan Case and Steve Leiber come to mind, along with Sean Murphy. Murphy does have a very detailed style, but you’ll notice it’s rarely more detail than necessary to make the image really sing.

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

A rule I learned in design school, “Very Little, Very Well Done.” If you’re trying to get noticed, do a “done-in-one”, the comics equivalent of a short film. Make it one issue tops to start with, and NO cliffhangers. It’s got to be a full story, start to finish, no “prologues” or “to be continued”. That doesn’t mean it can’t take place in a world that you’d like to explore further in the future, but it needs a satisfying conclusion, and maybe a hint that there’s more story to tell (if that’s relevant). Print it up! Put it online for free. Put it everywhere that people can see it. You can sell it at shows to try to recoup some expenses, but don’t expect to make a profit. It’s proof that you can do the work and do it well; that’s what’s important. Get some interest behind you, and as much feedback as you can possibly get from editors and other successful creators. Maybe do another, again, done-in-one applying what you’ve learned. Why such small bites? Because you don’t want your first work to be a 12-issue epic, and then find out via feedback that you’re doing it wrong story-wise after you’ve put out two issues of hard work, and editors need to see that you can complete a story in a satisfying manner. I guess that’s a bit long for ‘one piece of advice’, but there it is 🙂

 

ProFile: Natalie Nourigat

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Natalie “Tally” Nourigat lives in Portland, Oregon, where she writes and illustrates graphic novels, webcomics, storyboards, concept art, character designs, superhero comics, children’s books, animated PSAs, and movie reviews.  Natalie is a member of Periscope Studio, and has worked with great companies like Dark Horse, Image, BOOM!, and Oni Press. Her graphic novels include “Between Gears” and “A Boy & A Girl”.  Natalie loves traveling and learning languages.  She majored in Japanese in university and spent 2013-2014 in France (Annecy and Paris).  You can find her drawing around Portland with a sketchbook in one hand and coffee in the other.

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

I think I was trying to find the comics medium for a long time, that combination of text and images that’s so good for telling a story.  I remember when I was 6 I did my best to retell a scene from my favorite movie with a series of images.  When I was 12, I was writing a lot of prose and interspersing drawings to help tell the story.  When I finally read my first graphic novel at 13, it was like, “Oh!  This is what I was trying to do.”  Once I started reading comics and had that model to study, I switched pretty much immediately to telling my stories in that medium.

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

I agonize over my scripts before I start drawing.  Writing doesn’t come easy to me, especially dialogue, and I can spend weeks writing and rewriting even a short comic.  Having an editor helps a lot (including the times they say “hurry up!”).

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

Don’t compare yourself to others too much.  A little competitive drive is good, but you wouldn’t want to draw like anyone else, even if you could.  It’s better to develop your own, unique thing.  As you create more and more pages, your personal voice will emerge and a lot of people will love it because it’s different than other creators’.

More at http://NatalieNourigat.com/

Money for nothing with Ben Dewey – Comics for Beginners podcast episode 25

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“Think about things in terms of story. Anything else is just flourish and self-promotion”

I talk to artist Ben Dewey about art, music and the Faustian aspect of working crappy jobs while pursuing a carreer in comics creation. Besides being the artist and writer of his own Tragedy Series (http://www.tradegyseries.tumblr.com), he is the artist on Tooth and Claw with writer Kurt Busiek, released this week from Image Comics. Luckily Ben is not just incredibly talented but also very articulate about the craft and the life of a creative person. Really good advice in this episode!

For a preview of Tooth and Claw, go here.

Related podcast: Episode 25 – Periscope Studio with Steve Lieber

ProFile: Jeff Parker

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ProFile-Jeff-Parker

Jeff Parker is a writer for comics currently on titles Batman ’66 and Aquaman for DC Comics, as well as Rovio’s Angry Birds. The past decade he worked mostly at Marvel, with acclaimed runs on Hulk, Thunderbolts, Agents of Atlas, and X-Men: First Class. Jeff drew comics for several years and worked in television animation (The Big Guy and Rusty The Boy Robot) and live storyboarding, ultimately returning to comics with his graphic novel adventure The Interman.  Among his other original creations are the cave thriller Underground with Steve Lieber, the supernatural Mysterius the Unfathomable, and the webcomic Bucko with Erika Moen. He is a member of Periscope Studio and lives in Portland, Oregon.

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

I liked writing and drawing, and nothing else brings those disciplines together better for storytelling than comics. Ultimately it’s telling stories that I like to do, and comics lets me tell a lot of them where other media would limit that amount.

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

Good names or series titles are tougher than you’d think, at least for me. I’d rather build a whole story around a good name than start with the concept, it’s actually easier.

I don’t find much about building a story hard, it mainly requires enough time and I’ll get there. What’s much harder is raising awareness of a new project and bringing readers to that. Creating a book and selling it are two different things altogether.

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

My advice would be, if you want to be employable on a number of projects and have longevity, adopt a very zen approach to your assignments. Curves will be thrown at you by the publishers, the readership, everyone involved; it’s unavoidable. You can either grouse about it and become known as difficult to work with, or you can ride the wave instead of fighting it. I usually take it as a challenge that I can make almost any editorial note or change work and still get a good story from it.

There have been cases when the requested changes seem arbitrary and start coming way too often to make the job profitable, and I’ve had to bow out, so it’s not like I can always zen my way through. But I give it my best try before I resort to that.

Can I only give one piece of advice? I would also say to do whatever you can to make your collaborators’ jobs easier. If they’re happy with the process, it will just reflect well on you and make the story work that much better. Like, don’t ask for crowd scenes repeatedly, for instance. Do a lot of the visual research for the artist already and save that creator some time by including reference. Don’t try to push them to be other artists that they aren’t, work with who they are. As the saying goes, you go into battle with the army you have.

More at parkerspace.com