merry merry

found this online comic...

...thought I'd share it

http://www.romanticallyapocalyptic.com/home?page=3

http://www.kapowcomiccon.com/


i already got my tickets

Comic continues...

Although the first projects over i intend to ink the entire thing, because... well, because I'm actually buzzing off doing it.
This is the fifth page (of 12) for 'Hotdog Hansel', the first glimpse of the monster 'Gret'. Its coming along, I've stopped putting speech bubbles in, as computers apparently take care of that easier... so yeh any feedback is good feedback.


oh and the rest is on my blog, leehallamillustration.blogspot.com

fumetto - Comix Competition (Int.)

http://www.fumetto.ch/index.cfm?nav=162,473,702&DID=1&SID=2

Comix Competition (Int.)

Energy

 

Each year, Fumetto – International Comix-Festival Lucerne holds a competition to give comic creators the opportunity to compare their work, present it to a broader public and to exchange views with others. The competition’s theme this year is Energy.

Conditions

• Deadline: 17th of January 2011 (date of postmark)
• Format: A4 or A3 (other formats will be disqualified)
• Form: only Comics (stories in picture form), no cartoons accepted, no digital entries
• Number of pages: maximum 4 (only 1 comic)
• Labelling: name, address, telephone number, e-mail and date of birth on the back of each page
• Packaging: sturdy envelope, no rolls
• Return Postage: if the return postage is not enclosed or not sufficient, the works will not be sent back but kept for one year only
• For Siwss Nationals: stamps, or money in the value of the stamps needed
• For Foreigners: 5 Euro
• Categories: Cat. 1: 18 years or older / Cat. 2: 13 to 17 years / Cat. 3: up to 12 years of age
•  Schools: Please enclose a list with names and details (see Labelling ) of the participating students and information about the school/class.

Sandman's Assistant 02 and 03

There are parts of this page that look off to me now, after looking at it again. And I'm not too pleased with some of the colour-work. But I'm determined to finish this, lol.

EDIT: I need to make some changed to the third page, there are a few inconsistencies with the room that have been bothering me.

Sandman's Assistant 01

This is a coloured and worded version of what I started working on for the summer project. I had so much fun with it that I decided on continuing it in my spare time.

General idea of my first page, If anyone has any finishing suggestions would be greatly appreciated :D

http://joysukew.blogspot.com/

i know its a late update but i found the blog of one of the artists ive been looking at, i found it really helpful,

Emergency post!

The BIAD Moodle brief link:

http://moodle.bcu.ac.uk/biad/course/view.php?id=1179

is completely incorrect - it is one that George put up without my knowledge

You should be following this blog, and the brief on the following moodle link only!

http://moodle.bcu.ac.uk/biad/course/view.php?id=1302

lol!

page 2

this is a photo of page 2 i think it is a long way from finished so ill be adding to it until the final hand it date haha i want to edit it digitally but i would rather have everything else up to date before i do, same with page one, plus i need to make the panel edges neater because the markers had a bleeding effect grrr
sorry about the lateness of this post

Final inks...

This is one of my final pages. I think a cel-style digital colour will compliment the bold linework, but I'm not sure. If anyone has any good finishing ideas, please suggest some. Still got to word it, but I'm looking for a suitable typeface. This was a last minute change of idea, and with it comes a different brief, which I'll post also.

I found the humour in this really hillarious

I found this random image on the net, its very funny and the thing that makes it work is the text even though the imagery isnt very imaginative.

return to Eurotica and why

(from bottom to top)
these 3 examples are published by eurotica
first the story of o
similar style to where with development my work may be

second perverts of the unknown
similar niave figure style and shading

third chica
similar cross hatching style to the current pages im working on

this is the work of Michael Mannings who im going to compete with i know you will say he's better but he's got 20 years of illustration experience over me so in time i hope it to be of this quality

Inking attempts

After roughs, and drawings i decided to attept inking. So these are re-drawn panels off the main pages to attempt inking some characters and settings.

http://leehallamillustration.blogspot.com

Digital Coloured Strip

step by step start to finish process

this is a from start to finish look at how each page of the artemis fowl graphic novel was created not everyones thing nor mine necessarely but one of the best examples i have found so far

new brief top shelf publications

this is the new brief i found last week
Submissions

Regarding submissions, we're easy. Just send us a xerox copy of what you'd like us to look at (or a URL link), and enough postage if you want the materials returned to you. Just please do not attach and send image files to our email addresses. Also, we cannot accept scripts or plot synopses, unless they are accompanied by a minimum of 10-20 completed pages (i.e., fully inked and lettered comic book pages).

Please note that while we do read through everything, it's not always possible for us to respond to each and every person (as the quantity of submissions has been rather surprising of late). But don't let that discourage you. We want to know what you're up to. And we prefer to respond via email, so be sure to include your email address with your submission.

You can send submissions to either Chris or Brett at:

Chris Staros
Top Shelf Productions, Inc.
PO Box 1282
Marietta GA 30061-1282
USA
chris@topshelfcomix.com

Brett Warnock
Top Shelf Productions, Inc.
PO Box 15125
Portland OR 97293-5125
USA
brett@topshelfcomix.com

For digital submissions to our online comics program, Top Shelf 2.0, contact Leigh Walton at leigh@topshelfcomix.com with a link or small attachment. For 2.0, short stories work best, although we can also do collections of individual pages or serialize a longer story in chapters.

Digital Inking

Check this guy out, for those that havent seen Eduard Visan he is seriously badass.

eduard visan

The power of the cartoon – Patrick Chapatte

paul o connell british cartoon artist/ animator/ concept illustrator!!

http://www.youtube.com/watch?v=M-2eUfGacrQ&feature=player_embedded

New York Times - The Funny Pages

several interesting stories in PDF format here:

http://www.nytimes.com/ref/magazine/funnypagesModan.html

• Low Moon
• Mister Wonderful
• Watergate Sue
• George Sprott (1894-1975)

colour ideas. non too ott however i am now changing the layout of the page

Bus Interior

rough tablet drawings  getting a tone of the atmosphere of my story-setting (bottom of a double decker west midlands bus during rainy coldly weather which near the end clears up).

Process and finishing

http://www.sorcery101.net/process/step4/

unedited first 2 pages

8 pages more to draw... what u think?

krystiangarstkowiak.blogspot.com

colour dropping practice

Just a little practice in the colour dropping we were shown in the workshop on friday,

to be honest this is very similar to the way i colour on photoshop anyway, but i found the workshop really useful, as i found out the proper way to do this, rather than the "i kinda figured it out myself" way (which takes 5 times as long).

lucy

Lovely internship making comics!

This is a link that Karoline Rerrie shared on facebook. It's for an internship making comics and running workshops, at London Print Studio. If you're at all interested then you should apply asap, the closing date is not far away!
http://www.londonprintstudio.org.uk/F13-intern.html

Chloe x

My first effort at digital colouring.

I simply threw on a very light tone to overlay the figures, then simply darkened the shaded areas.

Before:

After:

A question about sizing

Hey, I'm just wondering about a few things to do with size choices. I know we should be working bigger, and then reducing, but what if drawing stuff at a larger size reduces the ability to draw to your normal standard? I've never worked at A3, or only very rarely, and it seems that I'm incapable of drawing as well as I would be if I were to draw the same thing on A4. I'd like to know if I should continue on with the A3, or work on A4, which is what looks better.

Thanks, and sorry if the question was badly phrased, I wasn't quite sure how to word it.

British International Comics Show

http://www.thecomicsshow.co.uk/

Over the weekend of the 16th-17th of October the British international comic show was in Brimingham. It was Located within the Millenium Point complex. Which had a series of Writers, Artists and a fair few comic enthusiasts, (suprisingly) out in force.
Unfortunately i was only able to attend the Sunday's talks and exhibits. However it was still a worthwhile and enjoyable visit.
When i arrived i joined a que with a a number of fellow comic fans and geeks, all suited with their favourite characters t-shirts costumes etc. These were enthusiastic people!
As the line slowly dissapated and we filed into the lecture theatre, a small table was visable with a collection of microphones and the always necessary bottles of water. We took our seats and waited expectantly for the talks to begin. A beared man sat down along with UK writer for Doctor who and comics Captain Britain and Knight and Squire, Paul Cornell. He and the beared man who i then realised was the host or interviewer for the talks, began discussing his favourite comics and characters, what he dose in his field etc. They were then joined by Yanick Paquette, Marvel cover artist and serial illustator. He talked about his methods of work and how he treats the scripts he is given for illustration, his methods of work, how he takes whats written and see if he can adjust to what is needed and what he can push ideas further.
Finally we were introduce with Jimmy Broxton DC comic artist. this was one of the most interesting parts of the talks featured as he and Paul Cornell had and are currently working together on the Knight and Squire comics for dc in britain. They went on to describe how we in britain differ to the american audiences, the way we are able to get away with more risky elements in comics opposed to the more formal american comics. They went onto discussing the relationship of writer and illustrator how they have to work very closely and edit or change elements of each through discussion and trials to see how each could better the other, how it is more of a symbiotic relationship.
This gave food for thought in how to approach my own works present and future. As the talks came to a close people poured out of the theatre only to see Johnaton Ross signing autographs and promoting his new comic series called Turf.
After the stargazing i wandered aimlessly trying to find the poorly labeled and almost hidden exhibit hall, In which had the professional and would be artists were displaying and promoting their works. It was interesting to see what was on show. I saw two artists in particular that i recognised and owned some of their work, Kev Crossley and Sean Philips unfortunatley the ques for both were very busy. Other than this room there was very little else to see.

Overall i enjoyed the afternoon spent there, i learned some intersting facts about the life of illustrators and writers in the industry, along with seeing some fine works.
My only complaint was i wish there was more on offer maybe a few more recognisable artists and writers available for individual talks.

Yanick Paquette



Kev Crossley

Renee French

http://www.reneefrench.com/portfolio.htm

Steven Appleby - Inspiration for Godman

great website, great work, f***ing freaky dress code (I must be getting conservative in my old age!)

http://www.stevenappleby.com/
http://www.stevenappleby.com/news/videos/howtodraw.mov (for the dress code)

Some more roughs

BRITISH INTERNATIONAL Comics Show 16th & 17th October

This WEEKEND in BIRMINGHAM the 2010 BRITISH INTERNATIONAL Comics Show 16th & 17th October

 http://www.thecomicsshow.co.uk/

My (as always) last minute idea change.

Chiu, taking onboard of what you said I have spent the last few days REALLY thinking about my style and how I would fit into sequential art/comic art. I done a lot of research and realized that there are more than one way of writing a: comic strip/ graphic novel/ sequential art visual. Looking at The Observer brief entrants of the last couple of years has helped me realize that it is not ALL about the images and it helped me refine my research into what I actually need/want to be doing.

I chose to scrap the Chinese traffic jam and come up with a new idea for the Observer!

Below I have spent time writing out a creative piece that i will turn into a visual, panel to panel, sequence of illustrations. I want to convey feeling and to keep the gutter/transitions easy for the viewer to fill with their own imagination.

Creative Written Short Story by Sidders.

"The Coat Of Courage"

Page 1

I stand in line, waiting.

It used to be that I'd stand and wait to be served, to draw my money out without passing a glance and be on my way.

Now it feels like so much more than that.

I'm waiting for an opportunity, for my moment, my time.

Days come and go but my moment never comes, never stands shoulder to shoulder with me, to whisper in my ear, 'Just ask her.'

But maybe there won't be a sign, something physical, something real.

Maybe it's a feeling.

Maybe I won't know until it has gone.

Maybe - my number is called.

Cashier 6.

My lucky number.

It's her.

Maybe this is the sign.

I approach the desk.

She smiles.

Asks how I am.

Ask her back, stupid.

She counts out my money.

Hands it to me.

She looks at me with those piercing blue eyes.

She does not recognise me, "Have a nice day."

My moment has passed.

Page 2

I walk out into the cold November morning, the frosty air siezing my face.

I take a deep breath.

All it takes is a little self-belief.

A little bit of courage.

Courage.

Mom.

What was it she used to say?

No.

It was so much more than that.

'The Coat Of Courage'.

The on thing more than anything that released me from my shell, gave me the strength to face the challenges that lay ahead of me, to overcome any boundaries.

Primary school christmas play.

I was chosen to play the lead, King Herod, in an effort to bring me out of my shell.

I couldn't do it.

Those first rehearsala, the bright spotlights that cast gloomy shadows over the audience's faces, highlighting their eyes.

Just staring at me watching, waiting.

I ran home crying to Mom, told her I couldn't do it, I couldn't stand the pressure.

She knelt downin front of me, gently brushed her hand down my forehead telling me to close my eyes...

Page 3

"Close your eyes. Now picture yourself on that stage. You have your costume on, your crown is on your head. You're looking from the audience. You can see yourself, nervous, scared. Now you're on the stage, looking out. You put a coat on. Not just any coat - this is a special coat. It's invisible, and no one else can see it but you, no one else can feel it but you. It's 'The Coat Of Courage'. When you wear it my son, it makes you strong, brave and fearless. It makes you whatever you want to be."

Mom would motion over my shoulders putting on the 'The Coat Of Courage".

The smell of her perfume surrounded me.

The coat was on, and I felt it change me.

I opened my eyes, a new boy.

For the rest of the day I wore 'The Coat Of Courage', only taking it off after I came off stage.

I kept it.

I knew it was my secret weapon, what I'd need again one day.

It was time to dust it off.

I stood outside the bank wearing 'The Coat Of Courage'.

It was now or never.

As I walked in 'I can do this'.

All my life I had been afraid to take a risk.

It's time.

Page 4

I stood in the queue.

There she sat, smiling brightly, her eyes the colour of summer sky.

I approached the cash desk.

I felt different.

My posture, my eyeline, everything about me felt different.

I was a presence.

She spoke to me, her usual 'by the numbers' customer service.

Then she looked at me...

I looked her square in the eyes.

This time she noticed me.

She spoke, 'It's Joe right?'

She didn't read it from the screen.

Realising this, I squeezed the inside of my coat pockets for support.

I spoke back, our conversation flowed, I made her laugh.

My courage shone through me and made me stronger.

I loosened my grip on the coat.

As I turned to leave I siezed my opportuninty, not knowing when the next moment would occur.

Using everything the coat had to give me, I asked her to meet me sometime.

She agreed, giving me an honest wave and smile.

I stepped out into the street, a reinvigorated man, I thankfully wrapped my arms around the coat.

I knew I had it inside.

pikistrips fun!!

Heres my Pikistrip!!

picci strip evil kitty dont like jesus

">my picci strip staring my moms cat snowy the original evil kitty

Todd Shcorr

I found some really intriguing videos in to how this incredible painter works I plan to utilize his style of color and layout in to my weird place story.

 His influences are sort of similar to mine so there is a connection but its Todd’s total surrealism and narrative behind his work that’s very compelling and thought provoking to me although his amount of nostalgic references in his pieces is enormous.   

This is my pikstrip!! ENJOY!!!

http://www.pikistrips.com/ps/gallery/view_image/34972463

sidders pikistrips!!!!

http://www.pikistrips.com/ps/gallery/view_image/34969863

week 03

Critique, observations, formative assessment, tutorial forms

Task 06 Make notes of your own and other related comments throughout the critique on given tutorial forms – include very specific action points alongside comments

i)                Third year students will critique the work without knowing who has drawn what.

Identifying support material necessary for graphic short story development

Drawn/Sketchbooks

Photography & film

Three dimensional objects

Comic Artist’s Photo Reference – People & Poses: Book/CD Set with 1000+ Color Images

http://www.amazon.com/dp/1581807589/?tag=comicsworthreadi&link_code=as3&creative=373489&camp=211189

Task 07 To make a photo/drawn comic using:

PikiStrips or equivalent student’s choice

http://www.pikistrips.com/

Nonsense 01

http://www.pikistrips.com/ps/gallery/view_image/34791308

Task 08 (research) Find out how applicable/related sequential artists use support material as part of their practice

LARGO WINCH LE DOC : la bande annonce

http://il.youtube.com/watch?v=tDNsDNJ3b7c&feature=related

rough out script pages

Page rough outs very basic idea

Page1

boy makes a wish at devils creek for a friend, the devils hear his wish and they think it’s the perfect chance for some mischief and start making him a little gift they take the gift to him.

Page2

the boy turns and finds the gift and goes to it

Page3

the boy picks it up and hugs it tightly, the gift gives a evil grin cuts off,

Page4

showing the location of the story, boy sits with gift at dinner table mother cooks in kitchen, gift turns to boy and tells him to throw food at his mother

Page5

splat mother is hit with food turns around, and yells at boy boy tries to tell her about the gift, but thinks his lying because it’s a toy

Page6

boy walks down road, gift tells him to smash a car window, the boy picks up rock and then drops it

Page7

smash the cars windows broken, owner comes out and chases boy

Page8

boy gets home, mother finds out, boy in trouble

Page 9

gift tells boy to get rid of her boy squirms and protests and fights the idea

Page10

gift takes it into his own hand and attempts the assassination boy and mother shocked

Page11

boy fights gift

Page12

boy fights gift mom grabs frying pan hits gift

Page13

bear hits floor and goes to move when bam his hit again

Page14

boy grabs bag mom grabs the gift ties it up puts in bag

Page15

fast diving to devils creek out of car mom holds bag out and sets alight and drops it into the creek

Page16 bag vanish mom turns hugs her boy devils reappear and find the out come amusing

The end

I find it helpful to rough the pages out first this is a very rough idea page one has been scirpted basic breaking down a story i think it needs more excitement its based of ape entertainments ive been studying two comics from this publisher there stories are simple and easy to understand im just affaid this idea is to simple

rough out script pages

Draft Script page 1 and 2

Godman Meets Aphrodites

Introduction - Godman is introduced to the beautiful Aphrodites, daughter of Uranus.

Activating Agent - Godman falls in love with Aphrodites.

Rise in Conflict - Aphrodites has no interest in Godman and goes out with Adonis who has the hots for Godman.

Climax - Adonis tries it on with Godman to no avail. Godman tells Aphrodites he loves her and Adonis cannot.

Resoloution - Godman gets the girl and Adonis falls for Cupids bow!

Scene 1 Godman Meets Aphrodites.

Page 1
The scene begins in the beautiful setting of Ancient Greece. Everybody is wearing togas and ancient greek jewelry. The first scene is set in Cyprus just off a cliff looking over the sea, the weather is almost like paradise. There are two men , Godman (our hero) and Uranus (camp as christmas and father to Aphrodites) and one woman, Aphrodites (a very beautiful woman) standing together...
Panel 1: Establishing shot of setting and characters Width of page height of one panel.
Godman - Hey Uranus!
Panel 2: Uranus looks behind as a gust of wind blows up his toga showing his butt. Godman looks on in shock.
Panel 3 -Uranus looks at sky while pulling his toga down embarrased.
Uranus - Oopsiee! Shouldn't stand so close to this cliff, Hello Godman!
Panel 4 - Uranus reveals his daughter Aphrodites, a beautiful looking woman in her 20's, wearing a drape covering her nakedness with one hand on her breast (she is always in the same classic pose of Aphrodites). Flowers flourish by her appearance alone and birds sing.
U - Have you met my daughter, Aphrodites...?.

Page 2
Panel 1: Godman and Aphrodite have a one to one. Godman in mesmerized by Aphrodites beauty...
G - Is she?
Panel 2: Uranus gives an all knowing look while shrugging:
U - Naked? Yes we all are, It's ancient times you know?
Panel 3: Godman stares while pointing at the hand on Aphrodites left boob:
G - Why do you have one hand on your boob like that?
Panel 4: Godman attempts to remove her hand from her boob, Aphrodite looks down slightly shocked slightly annoyed.
Panel 5 : Close up of Godmans hand peeling away Aphrodites hand to reveal...
Panel 6: Pan out as Godman is violently slapped around the face:
G - owww!
Panel 7: Godman faints and falls into a dream...

Junji Ito Interview

This isn't the best interview in terms of how in depth they talk about his creation of manga, but there is so little out there on Junji Ito, and he's the single biggest influence on my own work so I wanted to post at least something about him.

Not a great interview, but it's kinda fun and interesting.

new impoverd Script

I am in a Weird place

This new script was inspired by the chorus of a song in the Animated short Dry fish done by Andy Martian.

Quote by Andy on the narrative: “Sometime you find yourself in a place that you just cant explain and quite often it can be a little bit worrying. This animated short tells of one such occasion as our hero tries to express his feelings in the only way he can...via the medium of song”.

I plan to something similar but on a personal level but this is what I have got as of now. 

Introduction

Scene 1

(Birds eye view) Our setting is inside a crowed squashed Bus interior around 4 or 5 pm. (rush hour time)

• ·       Weather wet and rainy
• 
  
• ·       Many ethics and groups can be observed from the disabled seating area
• 
  
• ·       Atmosphere and emotion is loud with social discussions and talks. While at the same time people are restrictive to make eye contact or speech with any other members of the public.

Scene 2

Compositioned in between two imposing silhouetted figures slouching on their chair our main protagonist of the story a University (collage) student.

• ·       He/she
• ·       Silently looking down away from the clutter and mess of sounds
• ·       Maybe stressed
• ·       Physically looks a bit of a scruff
• ·       Bored

Scene 3

(Close up) The student comes out of his comfortable position to look vaguely at the person sitting next to him on the right. 

Scene 4

(Medium shot) The figure is that of a young women (25 or 33) yapping on her phone.

• ·       Middle class
• ·       Stereotypical female Chav

Activating Agent

Scene 5

(Close up) without any logical expiation Her very words start becoming visible clouds weird forms start to twirl and evolve as if she were breathing out heavy smoke.

• ·       Scene 4 and 5 is a action to action transition
• 
  
• ·       She is Oblivious to the smoke 

Scene 6

(Close up) of a surprised Student

Scene 7

Things take a surreal turn here

(Close up quarter splash page) The clouds have magical formed a small Hallucinated mass of land populated by moving living symbols and images based on the women’s phone conversion.

• ·       Illustrates her desires and dislikes about herself

page 1

Scene 8

(Medium shot) The student suddenly watches another passenger on the other side of the vehicle interior the persons an apposed young businessman consorting his friend over the phone.

Scene 9

 The same pheromone accusers as his sentences transform and warp in to a virtual moving reality of a Movie his planning to see with his mates.

• ·       No one seems to be ware or even care about the trippy shenanigans
• ·       The movie could be a lose parody of a recent movie or a popular genre

Progression

Next few panels are more like Splash pages and their subject to subject transition of other passengers (in the same area) conversations breaking the froth wall of reality and becoming visual miniature worlds, martial, and symbolism.

Scene 10

(Birds eye view) A couple of old dears discussing about their recent holiday trip to the coast.

·       The old women’s Imaginary world begins to attach and wrap it self around the rails and poles of the interior space.

Scene 11

(Quarter Splash page) A young pre schooner and his sister (friend) play with their action figures and toys with all the noise and groups of people. They’re made up sound effects create a clashing miniature galaxy of both si fi and nature.

·       A small panel in the corner showing the children as they were before the continued event 

Page 2

Conflict begins

Scene 12

This transition continues until panel 14 and no acknowledgement from anyone apart from the student.

• ·       Many different ideas and concepts appear from every mouth but the visuals start crossing paths and connecting to each other within the entire interior.

Scene 13

A hug (splash page) of non secqutor objects and symbols produce a void of utter mess and mental confusion that the student starts to panic as it becomes more and more Closterfobic to the point where the surrounding interior has become non extinct (completely vanished) with only a couple of human figures still speaking loudly.

page 3

• ·       Student needs to be centred to show the amount of pressure they are under.
• ·       There’s no weight or visible walls so the figures are now arranged around the space to demosate the sheer imagination all theses people have.

Scene 14

(Close up) of a terrified expression on students face exposes the panel.

Scene 15

(Medium shot) Spontaneously out of nowhere the whole scene is back to the premise it originally was (scene 1) even though time has moved forward.

• ·       Not one single reaction from the surrounding public after all that
• ·       Student sweating and clinging to their chair in sheer worry

Scene 16

Student casually slightly puzzled moves to the buses entrance with ignorance from the passengers.

Rise and Conclusion

Scene 17

 (Birds eye view) The Student exits the buses doors on to the street pavement while tossing a discarded object of some sort on to the concrete.

Scene 18

(Worms eye view) reveals the object to be a cigarette or a dug of some kind with random non sequitur visuals emerging from the exterior of the cigarette packaging with the faint silhouette of the student exiting the scene.

• Weather is damp but clear

The End

page 4

·