Comics for Beginners

How to Write & Draw Comics

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ProFile: Jason Copland

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ProFile-Jason-CoplandJason Copland has produced art for various companies, including illustrating The Perhapanauts: Molly’s Story for Image and short stories from Trickster: Native American Tales and Postcards: True Stories that Never Happened. He recently provided art for a story in Ed Brisson’s Murder Book, and is currently working on the online comic Kill All Monsters. He also runs an experimental comics blog called Poutine alongside fellow artist Noel Tuazon.

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

The discovery of comics at age 13. There was so much awesome work coming out from artists like Frank Miller, Walt Simonson and John Byrne that it inspired me to start drawing comics. Miller’s RONIN in particular really opened my eyes to what could be done in comics.

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

Inking. I try to do most of my drawing in the inking phase. I keep my layouts/pencils pretty loose and then start inking over those so that the lines I put down are more spontaneous. I think the act of drawing should have a little fear infused into it. There should be risks taken. Needless to say, I use a lot of whiteout.

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

Don’t be afraid to fail. Drawing is an adventure and should have the risk of failure present. Don’t let mistakes stop you from pushing on. It’s only lines on paper; there is nothing to worry about.

More at http://jasoncopland.com/

Finding time to do comics

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A lot of us struggle finding the time to make comics. There just aren’t enough hours in the day!

Though some of us are richer or more talented than others, there is one area were we are all equal: we all have the same 24 hours in day. Here are a few tips on how to make your comics hours count.

Get up earlier.
An hour a day can really make a world of difference. Small steps towards your goal is better than none.

Plan ahead.
Before you go to sleep at night, decide what piece of the big picture (page, panel, scene, character) you will be working on the next day – Or whenever you get a time slot. Oftentimes small breaks pop up during the day, which we end up wasting on Twitter or goofing around. Have something ready that you can just pick up and work on whenever the opportunity arises.

Focus on one little step at a time.
When we think of our comics as a whole, it’s easy to get overwhelmed by the amount of work that lies ahead; outlining, scripting, thumbnails, rough sketches, research, more sketches, character design, pencils, inks, color, lettering, promotion… Arrgh!

Stop, take a deep breath and focus. One thing at a time.

Just say no.
If we all have the same amount of hours in the day, how come some people get more done than others? My guess: They either have enough money that they don’t have to spend all their time shovelling coal. Or: they prioritize. If you really want to make comics, you will probably have to sacrifice some things to clear your schedule. If you can’t cut down on working hours, maybe cut down on the hours you spend playing videogames or watching tv.

What are your tips for making more of the time you have available? Please share!

Related podcast: Getting Stuff Done

Two free one-sheets for freelance artists

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As told in this article on Muddy Colors, artists Lauren Panepinto and Marc Sheff are putting together a book for freelance artists called Make Art Work – in their own words: “a guide that gives artists the most specific information in the simplest  language possible”. The two held an Art Business Bootcamp at Spectrum Live and some pretty valuable info came out of that, as these two one-sheets will tell.

“There’s not one absolute rule that works for everyone, but these one sheets  present a good place to start, and a general consensus on a lot of the questions  that we Art Directors hear repeated from con, to con, to panel, to email, etc.”

I agree completely! And hereby present you with the two PDF’s for your convenience:

ONESHEET-BOOTCAMP1-226x300

ONESHEET-BOOTCAMP1

ONESHEET-BOOTCAMP2-228x300

ONESHEET-BOOTCAMP2

You can learn more about the book here and sign up to the newsletter at http://www.drawnanddrafted.com/ and stay in the loop about their upcoming Kickstarter campaign for the book.

The price of praise

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The-loser-takes-it-allI was up for an award here in Denmark this weekend, the Ping, something like the Danish equivalent of the Eisners. I was nominated for my graphic novel, STILETTO, in the main category. I didn’t win, which puts me in a position to talk about the nature of validation and the need for praise, instead of just tooting my horn and talking about how awesome I am.

Of course I would have loved to win that award, I was hoping for it and at the same time trying NOT to hope for it, because dissapointment is not the greatest feeling in the world. But here’s the thing: If I HAD won that award, it would have felt great for a few moments, maybe a few days. But the need for praise and validation never really goes away.

It’s never enough.

The needy little part of an artist’s soul is always going to want more. I don’t know anyone who feels they have enough fan mail or awards on their shelf that it fulfils their need. I don’t belive those people exist. You can never drink enough water that it keeps you from ever being thirsty again.

So while I would loved to have won, it’s more because it would have helped me with press and such going forward. It’s like those booster points you get in computer games, where you pick up the coin or whatever and you get a rocket attached to your back. An award or a great review gives you that boost for a few seconds, and then the effect wears off. The game continues. You start looking for the next gold coin.

What I’m trying to say is, if you ever find yourself up for an award or a job or anything, think of it as a step towards an end goal. Always keep that in mind. And stay busy! Keeping busy and working on your craft is not only great for building a career, it’s also your best defense against the needy, selfish little part of you that worries wether anyone really, I mean REALLY, loves you or they’re all just pretending. The part of you that looks on other people with envy and want to keep you from building confidence and self-sustainability. I don’t know what the purpose of that part of our brain is, but I’m willing to bet good money we all have it.

I try to teach my kids to be grateful of the things they have rather than bitch about what they don’t have. It’s hard for a kid to see another kid with an ice cream. But that’s LIFE. And it goes on like that.

So I’m here at the studio hunched over my desk as the sun is baking outside, grateful for working on the Thomas Alsop comic more or less full time, grateful for the praise I DO get and the support of all the subscribers on Comics for Beginners, thankful for every “like” on Facebook, but not depending on it for my sense of self-appreciation. Grateful for having done work I’m proud of and having it published, and having a supportive wife who takes care of our kids while I’m at work on a national holiday and who never asked me to get a real job instead of wasting my time doing comics. I am so very, very lucky and very happy right now, doing what I love and am relatively good at.

Thank you.

Now back to work.

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Related post: Why you can’t learn from success

 

ProFile: David Lloyd

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ProFile-David-LloydDAVID LLOYD is the well-known illustrator and co-creator of the globally successful, V For Vendetta, who’s also worked on the Hellblazer series, Aliens, Global Frequency, War Stories, and many other projects.  His acclaimed crime graphic novel, Kickback, is now available as an app with all kinds of extras including a commentary. He’s collaborated on an Asterix collection ; produced his first limited-edition print,‘ The Prizefighter ‘; and written and drawn a book on Sao Paulo.  His most recent work in print is a retrospective collection of short stories – Materia Oscura – which was published in Italy and Spain. He also helps manage the educational website, Cartoon Classroom,  which aims to centralize all information available on the study of cartooning and sequential art in Britain and Ireland. His current occupation is editing and publishing an exclusively digital comic art magazine, Aces Weekly, which features top talent from around the world.

More information on David’s past and present projects can be found via www.lforlloyd.com,  on Deviantart.com, and on his Facebook page.

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

I was good at it, loved telling stories and expressing myself that way – in the same way that any artist has to paint, I had to create these things once I realized that I could – and had seen how effective they could be! If you can write, you write. If you can draw, you draw. If you can write and draw, you naturally produce sequential art! If you want to.

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

None of it. Damn publishers sometimes not selling it or printing it badly is the only challenging and frustrating part of it.

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

Work hard to be the best you can be at it.