Anonymous asked: How does one write for a webcomic or a comic in general?
This is a loaded question. Comics combine visual art and the written word to create something unique, and it’s very difficult to give tips on how to make art of this kind without being a comics creator myself.
With those facts firmly in mind, here are my general bits of advice about learning to create comics.
- Read comics. Read graphic novels and Sunday paper strips and webcomics. Just as reading other writers’ work can improve a writer’s style and understanding of the art, so too can reading other comics improve a comics creator’s style and understanding.
- Read The Comic Books series by Scott McCloud. The books are Understanding Comics: The Invisible Art, Reinventing Comics: How Imagination and Technology Are Revolutionizing an Art Form, andMaking Comics: Storytelling Secrets of Comics, Manga and Graphic Novels.
Understanding Comics really helped me take a closer look at the way I read comics, their function and method and form. It is an interesting, fun, easy-to-read book that is crammed with great tips for comics creators.
- Study fine art, good writing, and pop culture. Study fine art to get a grounding in the style and composition. Study good writing to find examples of story structure and the importance word choice. Study pop culture to understand what and how people consume the art around them. From music to advertisement to movies, videos, and memes on the internet, tapping in to pop culture will help you find topics to write about and a niche to nestle into.
My strategy has always been to find the story that needs to be told to your generation and hold yourself responsible to tell it. After all, only you know what that story is and what it can be. Go and share it with the world.
So, how do you learn to create comics and webcomics? To quote my favorite line in the Bleeding Cool series (see below), “You teach yourself. You find a way to put in however much time and effort is necessary to gain whatever you need to gain.” (x)
Here are a few great resources on creating comics:
- Don’t Write Comics Series:
- How to Write Comics & Other Stuff by Robert Weinberg
- How To Write A Comic Book Script and Other More Important Things by Chris Oatley
- Writing Comic Books by Barry Lyga
- Comic Book Writing How by Terrance Griep, Jr.
- Bleeding Cool Series:
- How To Write Comics And Graphic Novels by Dennis O’Neil #1 – First Class Discipline
- How To Write Comics And Graphic Novels by Dennis O’Neil #2 – Recommended Reading
- How To Write Comics And Graphic Novels by Dennis O’Neil #3 – Homogenized For Safety
- How To Write Comics And Graphic Novels by Dennis O’Neil #4 – Why Don’t You Grow A Spine?
- How To Write Comics And Graphic Novels by Dennis O’Neil #5 – Network King
- How To Write Comics And Graphic Novels by Dennis O’Neil #6 – Whoever Knows Fear…
- How To Write Comics And Graphic Novels by Dennis O’Neil #7 – A Beached Hero
- How To Write Comics And Graphic Novels by Dennis O’Neil #8 – Bester Both Worlds
- How To Write Comics And Graphic Novels by Dennis O’Neil #9 – Continuity Day
- How To Write Comics And Graphic Novels by Dennis O’Neil #10 – End Times
- How To Write Comics And Graphic Novels by Dennis O’Neil #11 – A Reading List
- How To Write Comics And Graphic Novels by Dennis O’Neil #12 – Creating A Narrative
- How To Write Comics And Graphic Novels by Dennis O’Neil #13 – The Rule Of Three
- How To Write Comics And Graphic Novels by Dennis O’Neil #14 – Serial Killers
- How To Write Comics And Graphic Novels by Dennis O’Neil #15 And #16 – Double Sized Edition
- How To Write Comics And Graphic Novels by Dennis O’Neil #17 – Making Pictures
- How To Write Comics And Graphic Novels by Dennis O’Neil #18 – Aren’t They All?
- How To Write Comics And Graphic Novels by Dennis O’Neil #19 – The End Is Now
- How To Write Comics And Graphic Novels by Dennis O’Neil #20
- How To Write Comics And Graphic Novels by Dennis O’Neil #21
- How To Write Comics And Graphic Novels by Dennis O’Neil #23 – Take Notes
- How To Write Comics And Graphic Novels by Dennis O’Neil #24 – More Notes From A Lecture Theatre
- Ten Things To Know About the Future of Webcomics by El Santo
- So You Want To Start A Webcomic… by Kitsune64
Thank you for your question! If you have any other writing-related questions or any comments about this post, hit us up!
Principles of Problematic Character Design, the First
The tendency of artists to keep female characters close to idealized human proportions, even when male characters’ proportions are dramatically stylized.
WIP that I’ve been working on. Haven’t been able to do anything with it sense my computer pooped itself.
My first time confessing ^_^; so take it easy on me please?
…Maybe this is selfish of me…but I do want an art friend, someone who is willing to push me as I am willing to push them. Someone who is willing to listen about my problems and help me correct them, to laugh with me, cry, jump scream….everything. I know I don’t deserve someone like this when I did have those friends and lost them because of a mistake I made. Ever since then I’ve been lonely, slowly repairing myself, but never the same. Since then I’ve spoken to friends about my problems…only a little so as not to overload them, and I’ve helped them here and there, and smiled to them when I really didn’t feel like smiling. Those very friends either have a relative or friend who does art with them, they inspire one another and feed of each other’s creativity, they laugh, they joke and the push at each other’s limit.
Maybe I am jealous, or I envy them. Is it bad to do so? I don’t even know.
I don’t have anyone like that at home, I’m the only who draws, though my family encourages me and compliment my art…I still feel lonely. I wish I could get up in the morning and feel excited to speak to that special friend, to tell them of my day and never get tired of their company. Why don’t I go find someone like that? Because I don’t know, I’m afraid of letting people see me? The me inside and get rejected. So easy for people to say and think…but it’s soo hard to do.
-submitted by cyan-wolf
:) I don’t mind being your friend, sweetheart. ^.^
I get so annoyed because there are no good hoodie tutorials that I decided to try and make my own. (note TRY.)
The reason they’re so weird to draw is because they are different depending on how thick the material is they’re sewn with, and the amount of fabric used in sewing. There are SO MANY different ways for a hoodie to work! In fact there’s totally different types of hoods, so there’s no one specific way to draw them. In this mini tutorial I’m going to highlight the main three that i saw floating around on google images.
The first type of hoodie is the “high and tight” kind
The fabric on this guy’s hood is thicker, making the fabric more stiff and it sort of curves in higher up on his head.
It’s also a smaller hood, so its clinging closer to his head.
Also take note of how the hood doesn’t just end with the edge of the fabric, but it goes up to where the top of his hair is. This happens when the hood is pulled far forward or they’re bending forward, because then it can drape down over their face.
The other two types are the limp and tight ones and the drapey ones:
Limp and tight don’t really have a curve outward because the fabrics tight, so the edges dont move outward. Also, the limp kind have more oval-shaped openings in the front, so the fabric goes to the top of the head.
The drapey ones are sort of adventure-looking and they flare out near the bottom as apposed to the top or middle. They have a lot of fabric used and are probably the hardest to draw (for me anyway). Lots of folds and movement.
generally hoodie fabric goes like this, outward from the face
it doesnt fold down like normal fabric unless its the limp kind like this
So, that’s the front. As far as the side view of a hood goes, it generally looks like this.
The folds go down towards the rest of the hood and the back a bit, and the fabric covers most of the side-view of the face. Notice how there’s only a little bit of the front of the face showing. You cants see their ears! Even if its a drapey hood, it looks like this (with probably some exceptions depending on the weather and how the hood is being moved). Also, if the hood isn’t very tight there’s usually a bit of a “bump” or space at the back of the head like above.
But that bump’s only there if they’re trying to let you see their face. In hoods that are pulled all the way forward like this
there’s no space at the back, because the fabrics all forward. Spooky.
Another thing to consider when drawing hoods is how they’re deciding to wear them. A more shy person or character might have it forward more, which will in result make the hood look tighter and hide their face more.
And of course, the most important thing to think about when drawing hoods is “how is the fabric moving”? There’s plenty of different ways for the fabric to move, depending on how their head is turned and what they’re doing. Here’s a few good reference pictures I just found.
Oh, also, when people turn their heads, the fabric moves by a focal point
Her body is facing one way, and her head is turned the other, which makes the fabric tilt itself like that. This is on the drapey hoods only usually.
Just always remember that all the hoods very from hood to hood. You might get a sort of drapey one that looks like the tight ones, or maybe a gradient between the three i showed you, or even something weirder.
This is just me covering the basics as best I can, and if you feel the need to add anything, feel free!
Images found on google, I don’t own them.
Skulls, Noses and Lips and a great painting process all done by Griffinfly!
The skull model is a google sketch up model you can grab from 3d warehouse.
If you do the skull studies I would suggest throwing some eyes into the skull for an added bonus and it gives an awesome creepy personality to the skull. It’s something I picked up from my kickass teacher Erik Gist.
Via Art Reference Blog
I just downloaded SketchBook Copic Edition. AND IT’S REALLY GREAT!
The interface it’s like the other SketchBook programs but I love how the colors can be blended and treated almost like real Copic markers!, I’m exited.
I’m sharing my first drawing here so it’s not so cool…but I’ll be practicing a lot with this thing.
The download it’s easy and you can find the program for free in the AppStore, here: DOWNLOAD
Hope you guys enjoy the program as much as I did!
http://copic.jp/en/sketchbook-ce.html And a link for Windows users.
mi-ashi replied to your post: Do you have any tips on drawing frills? I have a really hard time trying to draw them despite how much I try to study folds and such.can you make this post rebloggable please?…. ;o; it’s so useful!
Ohhh okay! Here it is, I’m so happy to hear I could help ;3;/
Via Art Reference Blog
Anon asked for some advice about eyes, and I… may have gone a bit overboard, ahahaha. I hope it turned out at least a little worthwhile!
This is a great guide! I’d like to make one small note though—when drawing the pupil in profile in a realistic style, it should be slightly recessed in the iris.
But sometimes it just works to have the pupil right next to the cornea in a cartoony style, so it’s up to you for whatever you’re going for.
Sharing another tutorial for those interested. :) (I know this isn’t about the female form, but I get a lot of requests for resources on drawing people in general, so I thought for those who might be interested, I’d share it in case they haven’t seen it reblogged yet. :) )
Via Escher Girls
I think one of the most fundamental misapprehensions people have about the value of commissions is that no one really gets told how mass production defrays costs to the consumer. So, when they see the prices for custom artwork online, they expect the retail prices they see in stores, and it doesn’t work like that.
You go to the poster section at wal-mart. There’s an amazing poster there. It’s got dragons. It’s got wizards. It’s huge. It’s, what, 12 bucks? Awesome, good deal. You can afford that. It’s as much as three or four cheeseburgers, dang, that’s some serious amounts of art.
You go on the internet. Some asshole wants 12 bucks for a crappy sketch of one character sort of standing there. What the fuck? It looks like crap. It’s nothing compared to the poster you just bought from a store. If that dragon poster is worth 12 bucks, this dumbass sketch should be one buck. Maybe fifty cents. That’s if you’re being generous. You don’t even get a print, it’s just going to be a file on your computer, it’s not even actually real! What a rip off.
The thing is, that sketch took an hour, or two hours, or maybe even four hours. The artist drew it for a fraction of minimum wage. Drawing is hard. It took thousands of hours and a really special kind of dedicated self loathing to learn to do that. It might have taken thousands of bucks of tuition money, which means semesters, which means years of early mornings and late nights and maybe even some crying here and there.
Your dragon poster was not made by a guy who got paid 12 bucks. Your awesome dragon poster was made by a guy who got paid hundreds of bucks. Maybe thousands. Because a company paid him, and then turned around and made even more thousands of dollars off that artwork, by selling instances of it to multiple people, 12 bucks at a time. It’s called mass production, and it leaves the general public with no real clue as to the sheer amount of time and effort and skill that goes into every single thing they can buy for the price of a couple cheeseburgers.
Artists who work on commission don’t generally have the advantage of mass production. Every picture is made new and custom for each client. Instead of charging the hundreds of dollars an hour a professional artist could ask for from a company, we’re asking for just enough to get by, and sometimes a hell of a lot less than that. Because it’s what people will pay, because it’s what they think art is worth, because it’s what a lot of young, naive, desperate artists are willing to agree their art is worth, and because there’s always going to be some kid who thinks they’re being ripped off because they don’t really get what they’re being asked to pay for.
I should have some pithy and clever thing to say here to wrap it up but all I can think to say is basically the whole situation is sad and scary and I hope eventually we’ll all have a better way to deal with each other, and everyone will be a lot clearer on what it takes to do art and to get art.
OMG THERE’S MORE
This is honestly the best post in existence
My favorite ones have always been Meg and Alice! *U*
Via Land of Empathy and Music