Ask Loston (Dr. Stupid Jr)...

[Bruce Lee]

PLEASE READ THIS FIRST!

This thread is for people to post some questions about my work, me, licensing art, comic collecting, or anything that comes to mind. Don't get too silly though. I would like this thread to be more than just a goofing-off thread.

Please feel free to comment on my answers, but please don't try to start a debate with me in the event that you don't like how I answered something, or if you find that you have a differing opinion. Online forums are filled to capacity with pointless debates, and I personally don't feel like adding to that. I'll do my best to keep my answers to the point, and hopefully helpful. I appreciate your cooperation in helping to keep the atmosphere friendly, folks. :)

That said...

Ask away! :D

Loston

[SpawnSC]

Loston can you go over the many tools you use to create your work? :)

[Repo Man]

Speaking of tools, I wanted to thank you for the tip concerning Raphael 8404 brushes mentioned in another thread on this board. I purchased a few of them recently and I must say, they are notably better than the Winsor Newton series 7 brushes.

I've been practicing inking like crazy and I've run into a problem. I'm kinda' desperate so I'd thought I'd take a chance on asking you.

My question, good Doctor is this:

From this John Byrne panel, what's the best technique to ink those "explosion lines"? By free hand with a brush? Propped up ruler and brush? Or should I not be using a brush? I've had limited success. :(

http://homepage.mac.com/the_tone/.Pictures/splosion-lines-1.gif

Thanks in advance. :)

[benrosa]

For me, I'd like to know what areas you struggled to excel in. What did you do (apart from practicing) to overcome the areas you struggled in. Career wise? artistically?

[jeremy dale]

Al's father is 45. He is 15 years older than twice Al's age. How old is Al? Karen is twice as old as Lori. Three years from now, the sum of their ages will be 42. How old is Karen?

[benrosa]

Al's father is 45. He is 15 years older than twice Al's age. How old is Al? Karen is twice as old as Lori. Three years from now, the sum of their ages will be 42. How old is Karen?

um :confused: 24???


feels stupid.

[Bruce Lee]

Loston can you go over the many tools you use to create your work? :)

I use many traditional tools of the trade. My weapons of choice include depend on what stage of drawing I'm engaged in.

For Layouts:

-2H Design pencil. I'm not much for lead holders and mechanical pencils. I break them. Give me a real, wooden pencil any day. When it comes to pencils, I'm definitely "old school".

-Copy paper. For layouts and prelims, regular copy paper works fine for me.

-Sharpie marker. I like sketching with sharpies. They're good for most anything, but require a certain level of skill to use, maybe, but they're great for spotting black shapes.

-Faber-Castell Pitt Pens and Pitt Brushpen. Good for tightening up rough art over pencils.

For Finished work:

-2H Design pencil. Sometimes an ebony pencil if I'm doing finished penciled commissions or something like that.

-400 Series Strathmore Bristol Board. I sometimes use the GOOD stuff, the 500 Series Strathmore.

-Speedball Super Black India Ink. I used this ink for brush inking.

-Raphael Kolinsky Red Sable Series 8408 and 8404 Brushes. I like both series of brushes, preferring the #3 and #2 brushes from each series. Brush inking is my preferred method of inking.

- 24" C-Thru brand skid-proof metal ruler. It's not actually "see-thru" as the brand name implies. It does have a raised surface, thanks to a strip of cork on the bottom of the ruler, which helps with inking.

-Faber-Castell Pitt Pens. I've been known to do finished inks with these if I'm looking for a specific look, or in a deadline jam. These pens use Black India Ink, perfect for finished work, unlike many rival disposable brands.

-3M Scotch brand Matte Finish Removable Tape. This is the take that comes in the blue box--not the green box. It lifts up without tearing the board. I highly recommend it.

-Porta-Trace 12X 18" lightbox. I use the lightbox to transfer enlargements of my rough prelim artwork onto bristol.

Staedtler Electic Eraser. It's an invaluable, battery powered erasing tool. You can't beat it for a $12 price. It comes with 10 graphite erasers, but I thought it wise to invest in the box of 70 graphite erasers. Love this tool. A favorite in my arsenal.

Staedtler circle and ellipse templates. These come in various sizes, and many have raised bumbs on the back side of the template, allowing for ink flow, etc.

Rapidograph 7-Pens Tech Pens. I don't use tech pens much anymore, but I have this set handy when I do. It's the best affordable set on the market, I think. Most of the time though, I opt for Pitt Pens for tech pen work.

Dr. Martin's dyes. These are an old standard used by comic book colorists for producing color guides before the age of Photoshop. Some people still use them for that, but I used them for coloring commission artworks.

These are the main tools that I use in my work. There are other items that often come and handy, but these are the usual suspects.

Loston

[Bruce Lee]

Speaking of tools, I wanted to thank you for the tip concerning Raphael 8404 brushes mentioned in another thread on this board. I purchased a few of them recently and I must say, they are notably better than the Winsor Newton series 7 brushes.

I've been practicing inking like crazy and I've run into a problem. I'm kinda' desperate so I'd thought I'd take a chance on asking you.

My question, good Doctor is this:

From this John Byrne panel, what's the best technique to ink those "explosion lines"? By free hand with a brush? Propped up ruler and brush? Or should I not be using a brush? I've had limited success. :(

http://homepage.mac.com/the_tone/.Pictures/splosion-lines-1.gif

Thanks in advance. :)

Well, if you're accomplished enough with the brush, that would be the best way to go. Since you have had limited success freehanding such lines with a brush so far, you might try practicing those lines using a ruler to guide your brush. You'll need to lift up one side of the ruler about 45 degrees off the paper when you practise this technique so that the metal part of your brush can slide alongside the ruler as you put down the line.

If that still isn't working for you, then you can try using a disposable pen and a ruler. Use a thicker point pen (I recommend a Medium size Faber-Castell Pitt Artist Pen) and a ruler, quickly practice dragging your the line, pulling the line away from your body. You should get a decent thick to thin ratio that way. You may need to go back and add a little to your line at the back, just to get the triangular tapering look right, but it can work pretty well. This is probably the easiest way to tackle those "zap" lines on Byrne's page.

Hope that helps.

Loston

[Bruce Lee]

Al's father is 45. He is 15 years older than twice Al's age. How old is Al? Karen is twice as old as Lori. Three years from now, the sum of their ages will be 42. How old is Karen?


Al is 30.

Karen is 24.

Math is boring.

Loston

[Nerdface]

Can you explain to me exactly how one goes about bringing sexy back?

[Bruce Lee]

For me, I'd like to know what areas you struggled to excel in. What did you do (apart from practicing) to overcome the areas you struggled in. Career wise? artistically?


One of my biggest assets as an artist is that I can work in many different styles. It helps me get lots of work, but it is also one of my biggest drawbacks too. I have to constantly struggle to have my own artistic identity. I've spent so much time drawing in styles that I'm paid to draw in (using model sheets and so forth), that I sometimes feel like I've not had the chance to really develop a style of my own--just a hodgepodge of other peoples styles.

I work to overcome this problem by continuing to hone my basic drawing skills to ensure that I don't fall victim to stylized shortcuts. I also try to do a lot of sketching and experimenting. In my SUPERMAN RETURNS book, I got a chance to create my own stylistic approach. I kept things very simple for an animated look. I also used a french curve and a pen to ink the figures. I varied the lineweights so things didn't become too mechanical looking, but the french curve and pen technique gave me interesting, sweeping shapes and a very clean, crisp look. I think this was a very successful experiment for me because it accomplished all the goals I wanted to, and met all the goals that DC and Meredith wanted to see, stylistically speaking.

A sample page from the book, finished with the pen and french curve technique:

http://www.lostonwallace.com/color5and6.jpg

I feel that experimentation and not being afraid to fail is the best course of action that I can take towards developing my own artistic personality. Eventually, I'll figure out my own pathway.

Loston

[benrosa]

Thanks Loston

[jeremy dale]

I'm curious about the "sexyback" as well. ANSWER ON, Loston!

[bushiboy]

I can cover that one:

KILL DANE COOK.

Jesus will return too.

[Repo Man]

Thanks a heap, Loston. :)

[Art of Drowning]

Since your on the topic of styles, What are your more influential artists? I know you have something similar on your site but maybe you could throw in a few newly found favorites. Also, what drives you as an artist? What made you pick up the pencil as a kid? :)

[Bruce Lee]

Since your on the topic of styles, What are your more influential artists? I know you have something similar on your site but maybe you could throw in a few newly found favorites.

-Bruce Timm is obviously a big influence on my own work, having worked on the BATMAN Animated and SUPERMAN Animated books for DC. He's certainly one of the biggest modern influences on me. Timm's primary influences include several of my favorite artists as well--the likes of Jack Kirby, Wally Wood, Alex Toth, Frank Frazetta, and his curvy female characters pay major homage to Archie legend, Dan DeCarlo. The things that I like most about Timm's art is that there's so much energy and power to his drawings. His style often strips the art down to the bones, but it really is anything but easy to pull off. His minimalist approach leaves nothing to hide behind. To be truly successful at the style, you have to have some solid drawing skills. Bruce Timm is nothing short of amazing.

-Mignola is something of an influence. His composition and style are a combination of raw energy and precise calculation of composition. If you look through any of the HELLBOY comics or trades Mike has drawn (even the older ones), it's difficult to find even a single panel that doesn't have something nice to gaze at.

-Arthur Adams is pretty amazing. I love how clean his work is, even when he uses lots of hatching and so forth. He's got style and personality galore. He loves drawing things I love to see and also love to draw--babes, gargantuan monsters, monkeys, dinosaurs, alien creatures--yeah, I love me some art Adams.

-Darwyn Cooke's DC NEW FRONTIER series took me by storm. He's one of the best artists working in comics today as far as storytelling goes. His SPIRIT series is top-shelf all the way, and his issue of SOLO is one of the best comics I've bought in years. Cooke has received a lot of fanfare, Eisners and is fast approaching legend status in comics. He's earned every bit of it in his short, but amazing comic career. His background in animation and advertising brings something special to his work that's hard to match.

There are a couple of others guys working in comics today that I enjoy. Ryan Ottley, Ed McGuinness, and Michael Lark do fantastic work. Adam Warren's EMPOWERED stuff is pretty sweet. That guy sure can draw a nice babe.

There are other influences on my work too--many of them are outside of comics. Illustrators like Frank R. Paul, the great Virgil Finlay, Franklin Booth, Joseph Clement Coll, Andrew Loomis, and painters like Frank Frazetta have impacted my work greatly.



Also, what drives you as an artist? What made you pick up the pencil as a kid? :)

It's a difficult question to answer, for me. I've been drawing steadily since age four, so it's something I've always done and enjoyed doing. I think just seeing other artists work in comics made me want to follow what they did. "I wanna draw Batman like that someday." I uttered that sentence to my mom before I had learned to read, and I was pointing out a panel in a BATMAN comic that Mike Grell had drawn. Seeing someone of Grell's talent draw such a nice Batman was inspiring to me. I would look back at my own sad, scribbled Dark Knight and then look back at Mike's beautifully drawn detective. I really wanted to be that good someday. I still want to be that good!

The think that drives me most these days is thinking back to my childhood and realizing just how much impact comics and characters like Batman and Spider-Man had on me growing up. I swear that much of my morale compass probably comes from Captain America and Superman, and much of my stubborn nature from Batman, Hulk, Conan and the like. Comics made a big impact on me. I'm not whining about it, but my life growing up often wasn't very pleasant. A big family. A poor family. My dad was a drinker...etc. Comics and comic book characters provided a great source of escape for me. I don't know what I would have done without them, honestly. Kids need heroes--real or imaginary. When I draw a children's book, I try to remember that. There's a great responsibility that comes with producing children's books because these things shape developing minds. I take my job seriously. It's great fun, but I know that some kid's very first time seeing an iconic character like Superman will be the one in my books, so that motivates me to do a good job of it. I don't mind letting down a 32 year fanboy--I can take lumps from those guys all day, but no way am I gonna let down a kid! I know how sappy all of this might sound, but it's how I feel about things, and that's a prime bit of motivation for me.

Of course, the paychecks are also a nice bit of incentive...;)

Loston

[thebigone]

How exactly did you get into storybooks?

-thebigone

[Bruce Lee]

Can you explain to me exactly how one goes about bringing sexy back?


In your case, "sexy" is a lost cause. Just enjoy life, and try not to scare the children.

Loston

[Bruce Lee]

How exactly did you get into storybooks?

-thebigone

Well I got work with DC's Licensing and Publishing department drawing BATMAN THE ANIMATED SERIES coloring/activity books after taking some sample work in to show some editors. I spent a few years drawing coloring books and doing spot illustrations for DC and working for different editors there. I managed to build up a decent rep, I suppose, for hitting deadlines and producing decent work, so I was asked to draw some storybook stuff (which pays better than the coloring/activity book work). I've worked on two official movie properties and hope to do more that kind of work, because the pay jump is considerably higher than storybook work, even if (sometimes) the headaches involved might be greater.

I'm not sure if DC takes submissions via the mail these day, but I know there's an active talent search going on, and both DC and Marvel are looking at sample packs at various conventions around the nation.

Loston

[thebigone]

Thanks, you've been an extra helping hand (seriously). Now to escape from prison.

-thebigone

[Bruce Lee]

Thanks, you've been an extra helping hand (seriously). Now to escape from prison.

-thebigone

Heh. No problem, dude. Good luck with that prison thing...

Loston

[Spidey]

3 questions.
1. Was the whole artist life what you expected it to be when you were younger?
2. How do you keep such a faithful passion for comics or art in general?
3. Has there ever been any moments when you entertained the thought of changing careers?

[Bruce Lee]

1. Was the whole artist life what you expected it to be when you were younger?

No. For one, the comic industry itself has radically changed in the early 90s, and it's a completely different animal than it used to be.

I don't think I had any real concept of how difficult it would be to overcome deadline pressure either. When I hear other people refer to an artist as a "hack", I often wonder if those folks take things like deadlines into account at all. You often don't have an opportunity to do your "best work" in the publishing industry. The reality is that you can only do the best work you can possibly muster in the brief time limit that you get. Deadlines are the name of the game, so time management is a big factor in a freelancer's daily life. If you're good at time management, you can survive the tough deadlines, but that sometimes means sacrificing. Birthday parties, an upcoming NFL Sunday game, the opening of an anticipated summer flick, and video games are often time management casualties.

I don't know what I really expected when I was younger, but I feel find the experience to be rewarding and often satisfying, regardless of the deadlines and so forth. Your work gets published, you get paid for it, and it beats working an office job--at least in my opinion, it does. :)



2. How do you keep such a faithful passion for comics or art in general?

Well for comics it's a little tough for me, because to be honest, I'm not really into many modern comic books. Some, but not many. That probably is largely due to growing up in a different era. I inherited a lot of my uncle's comics when I was a kid. A lot of Marvel, DC and Charlton comics from the 60s. I collected off the spin racks in the 70s and 80s too. Comic books were different then--aimed at a different age group, and were written, drawn, and produced differently. They were simpler affairs back then, fun and entertaining. Based on what I've seen in the last decade or so, I feel like many modern comics seem to take themselves too seriously, try too hard to re-invent the wheel, or to shock readers with a mind-numbing, surprise endings and so forth. I guess I'm just not into that so much. I do collect a lot of older books though, the sort of comics I was into growing up, and those comics fire my passion. I give a lot more money to Ebay sellers than to my local comic book shop, I'm afraid. I think I'm just picky about what I like. I tend to follow creators rather than titles anyway.

As far as art though, I've always had enthusiasm to draw. Sometimes when I'm taking a break from my art desk, I'll wind up sketching. I often sketch while watching the tube, or talking on the phone. I can get a little burned out sometimes. When that happens, I do something else (if I can afford to do so timewise). It's good to have other hobbies. City of Heroes used to take up a little of my down-time.


3. Has there ever been any moments when you entertained the thought of changing careers?

Yep. All the time. Then I remember I'm 38 years old, and drawing is about the only real skill I have outside of bagging groceries for a living. ;) I have eleven years under my belt as a working pro, meeting deadlines providing artwork for published books, and my career is going pretty well as of late, so I'm in it for the long haul, I guess.

Loston

[spidey976]

An odd couple of questions from me ... is drawing still fun when it is your job ... and what would you say is your average work day time wise (oh and the extremes would be cool to hear too)

[The_Standard]

Loston,

Have you always been fast enough to meet deadlines? And if not, what steps did you take to increase your work speed?

Thanks!

[Karim]

What happens when you don't meet deadlines?

[Spidey]

Excellent, thanks for your time, Loston.

[Bruce Lee]

An odd couple of questions from me ... is drawing still fun when it is your job ... and what would you say is your average work day time wise (oh and the extremes would be cool to hear too)

Drawing is still fun. Even though it can sometimes become a chore, it's still a fun chore.

I usually don't work days-I prefer nights. Mostly because there's less distraction at night (phone calls, etc). My work time varies depending on a project's deadline, but I usually put in something akin to an 8 hour day. Sometimes it's only a 4 hour day, or sometimes, it's a 12 hour day. Working at home, I CAN take a day off if I'm sick or need a break, providing 1) I can make up the loss of time, and 2) I'm caught up enough on roughs for approval and so forth.

Loston

[Bruce Lee]

Loston,

Have you always been fast enough to meet deadlines? And if not, what steps did you take to increase your work speed?

Thanks!

An excellent question. Generally speaking, YES, I am fast enough to meet most of my deadlines. I'm actually quite fast when I have to be, and usually turn out pages at a good rate of speed. Sometimes though, you can be handed a project that has an extremely CRAZY deadline. Usually this is the result of a delay with the script approval or some other third-party hold-up that's out of your control. It happens sometimes. When it does happen though, the publisher still has to make sure that the initial deadlines are met in order to get the product on the shelf at a specific time. If a book misses a shelf deadline, a publisher can lose a bundle.

When this happens, crap rolls down hill, and as the freelance illustrator, you end up with a near-impossible deadline. When this happens, the publishing company is usually good about providing some assistance. I've been paid extra for a tight deadline or two in the past, and been given extra money to bring in extra help. Recently on the BATMAN: RACE AGAINST CRIME book, I had a very tight deadline. The publisher needed all of the book's art (pencils, inks and colors) done pronto by a projected date. They knew there was no way I could make this deadline, so I was informed that I should just work as fast as possible to finish the book as close to this deadline as I could get. This would ensure that they could make a certain window to get the book on the shelf a few weeks before the DARK KNIGHT movie happens this summer. I was asked to do whatever I could to speed the process up. The only thing that could realistically be done to speed up the process was for me to have someone help me with the coloring, so I hired someone to take over colors on the book. Lucky for me, my friend Andy Park (not the Tomb Raider guy) does nice work, and is on the same page I am when it comes to coloring aesthetics. I did layouts, pencils and inks for the book, and provided some coloring on the book's cover and a few of the interior pages, but Andy took on the lion's share of the coloring.
As soon as I got an approval on a penciled page, I'd send a high rez pencil file over to Andy to flat. We did this until all the pencils were approved. Then I did inks, while Andy completed pages in color over the penciled art. Once I finished an inked page, I sent it over to Andy and he replaced the penciled layer with an ink layer and finished off the final art. I figure this sped production on the book up at least two weeks. Yep--I had to share the money, but I also had less headache and stress. I still made out well, financially speaking, as did Andy. It was a win/win situation, and the book came out looking very nice! I had input on the coloring the whole time, and Andy and I work well together, so I was very pleased with the results.

Most of the time though, the deadlines are reasonable enough. The tightest deadline I ever took on involved penciling and inking 54 pages of a coloring book over a single weekend! It seems that 75 pages from a 200-page SUPERMAN coloring book had been completely botched. A contract studio had turned in 75 unusable pages, so I was hired to redraw them (most completely from scratch). I was told on a Friday morning to do as many as I could by Monday. The closer I could come to the 75 page count meant more money for me, and this was helping an editor out of a jam. I think the editor was expecting that I'd get about 25 or so pages done, and that doubles or triples of these pages could be staggered throughout the book to fill up the page count. I don't think anyone expected any sort of great quality out of artwork produced that fast, but I did manage to do decent work, all things considered. The editor was surprised at how good the pages were (frankly, so was I), and that I doubled the number of pages they'd been expecting. I helped the guy out of a jam, and made some money doing it. I've worked with this editor twice since. We've had a great working relationship because I do quality work, get books done in a timely fashion, and I'm a team player.

Being a team player is very important. Good communication is important. If I'm running behind, I let the editor know I am, and when he or she can expect to see more stuff coming in. I give status reports to keep the editor in the loop. I never duck an editor's email, phone call, or "disappear". I make sure the editor knows I'm available--only an email or phone call away. This helps them stress less, and lets them know I'm dependable. It's a positive way of working such a relationship. If you become a thorn in an editor's side, you're not likely going to be at the top of the list for gigs. If you show an editor you can do good work, are willing to work with them, and keep things on schedule, you'll soon find yourself getting more and more work.

Sorry to be so long-winded. Hope that answered your questions well enough.

Loston

[Deth]

when trying to break in what are some of the things we should remember? Are there any tips you can give?

[Bruce Lee]

What happens when you don't meet deadlines?

You lose your job, and probably won't get hired for future jobs. I know a few very talented people who were late on assignments that no longer get callbacks for work because of too many missed deadlines.

Loston

[Bruce Lee]

when trying to break in what are some of the things we should remember? Are there any tips you can give?

None outside of those you probably already know about. Keep sending/showing your newest work. Make sure your portfolio meets submission guidelines, and learn to listen to an editor's criticisms. If you're rejected, refocus. Keep submitting, and put in the time at the desk to allow your skills evolve and improve. Don't take forever to send in new work, but only send in work that shows great improvement. You can send in new stuff every week, but if you haven't improved much, you'll only be annoying the editor. Take some time and hone your skills, then resubmit.

Listen and learn. Don't make excuses about your work. Get better. Work harder.

Loston

[JeanNiBee]

Hi

I'm a total amateur artist who has really started to enjoy coloring my work. (I hate inking, I feel it ruins my drawings so I color my pencils... maybe another topic.)

What I'm trying to do is get myself the right tool for what I want to 'see'.

I love solid vibrant colors and to get that I use oil Pastels. The problem now is I am finding they are hard to work with as they are too thick for small designs /sketches. Pencil crayons, although more accurate give me the 'non professional feel' and I am looking to step up my game into ink / watercolors / markers.

What would you suggest for the budding artist? Understand if it's a decent watercolor / ink set what are some good brushes I should look at?

I really have no idea or formal training on this and would be just as happy with a "RTFM" and a link as a person reply.

P.S. I am not sure I have thanked you for having once pointed me to Jack Hamm's (How to Draw Cartoons) and Ben Caldwell's (Action Cartooning).. I loved them. Thanks!

[Bruce Lee]

Hi

I'm a total amateur artist who has really started to enjoy coloring my work. (I hate inking, I feel it ruins my drawings so I color my pencils... maybe another topic.)

What I'm trying to do is get myself the right tool for what I want to 'see'.

I love solid vibrant colors and to get that I use oil Pastels. The problem now is I am finding they are hard to work with as they are too thick for small designs /sketches. Pencil crayons, although more accurate give me the 'non professional feel' and I am looking to step up my game into ink / watercolors / markers.

What would you suggest for the budding artist? Understand if it's a decent watercolor / ink set what are some good brushes I should look at?

I really have no idea or formal training on this and would be just as happy with a "RTFM" and a link as a person reply.

P.S. I am not sure I have thanked you for having once pointed me to Jack Hamm's (How to Draw Cartoons) and Ben Caldwell's (Action Cartooning).. I loved them. Thanks!

You might want to give Dr. Martins dyes a try. You can get some very vibrant colors depending largely on how much you delude the dyes with water. Using a palette tray, you can mix a single drop of a color dye with several drops of water and get some amazingly intense colors, or mix more drops of water to make the colors more subdued. You can apply the dyes with a brush like watercolors, and I often just use a clean inking brush for applying the dyes--a Raphael Kolinsky Red Sable 8404 series #3. Dyes actual dye the actual paper, saturating into the material of the paper. This means they aren't especially easy to control, so before you put down dyes onto paper, you'll need to wet the area to be colored with a thin layer of water--just dip your clean brush in water and then brush it throughout the desired area-- before applying the dyes by brush. This will allow the dyes to spread smoothly and prevents major streaking, etc.

A google search should reveal a few places where you can order/buy Dr. Martins Dyes. There's probably a few tutorials on the web as well. Give 'em a try.

Loston

[The_Standard]

Loston,

Thanks for the info on deadlines, I guess actually the question I should have phrased it different, I meant to ask, before you where a pro, did you have any issue's with being speedy enough to get pro work? And if so was there anything you did to become faster?

Thanks again happy Tday

[Vivat_Rex]

Do you consider what you do to be art or commerce?

[Bruce Lee]

Loston,

Thanks for the info on deadlines, I guess actually the question I should have phrased it different, I meant to ask, before you where a pro, did you have any issue's with being speedy enough to get pro work? And if so was there anything you did to become faster?

Thanks again happy Tday

Before going to the Kubert School, I, in fact, rarely finished a single piece of artwork. I was terrible in this regard, and had little chance of making any sort of deadline. Going to JKS instilled in my head the ability to complete work, and complete work in a timely fashion. Joe Kubert's methodology towards making an artist better is to bombard them with a huge workload. Ie: the more things you draw, the better you'll get at drawing. At the school, we almost always had 10 assignments to complete a week. Each assignment would be at least a page, and often as much as 2-4 pages. Sometimes an assignment would be a single image of a character on a page or a single comic page. Often it would be a pencil and ink assignment. Sometimes full color. When you have 10 such assignments a week to complete, you will get better, and you will become faster too, if you want to make the grade. A lot of artists couldn't keep up, or struggled to produce any sort of quality work under such time constraints. But such an environment and constant regiment of assignment forced students to work harder, work faster, and plan their time better.

If you're very slow at work, the best way to get faster is too 1) draw more often, and 2) practise drawing against a clock. Learning to budget your time is crucial to making deadlines.

If you have a single day to produce a finished drawing, and you're not a particularly fast artist, then it's a good idea to start early in the day, and keep at the work until you've finished. Take as few breaks as possible, because lacking in speed, you can't afford the distraction from the drawing board. Don't even think about playing video games or watching your favorite show until your work is finished. Earn those things by drawing to completion. That's what time management is all about--being realistic with yourself. Not everyone is Sergio Aragones, as far as speed goes, but you actually don't have to be to make it as a pro. You just have to be reasonably fast, but utterly practical when it comes to time management.

Loston

[Bruce Lee]

Do you consider what you do to be art or commerce?

Both. It's creativity, skill and craftsmanship, but also it's business as well. It's hard work with difficult hours, but it's work that I have passion for. It's challenging work that brings out the best of me, creatively speaking, and it's work that is subject to inspiration and the influence of other outside creative forces.

Even though I'm a pencil pusher who is called upon to draw only simple objects at times, I'm happiest when I can utilize my art for the purpose of storytelling. That is what I'm meant to do, and therein lies the true artistic essence of what I do. The fact that my illustrative abilities are also my trade, and the fact that I receive payment for my work doesn't change the artistic nature and value of what I do, and it is a source of pride and pleasure, naturally.


Loston

[The_Standard]

Loston,

Thanks again for taking the time to reply to my question and going into specifics. Thanks!

[MAD!]

Don't believe a word Loston says, Hes just out for the MONEY!! and and the sweet young comic girl groopies that all the pencilers get!!!

Whats Up LOSTON MAN! XQB represent! LOL

Garan

[Bruce Lee]

Don't believe a word Loston says, Hes just out for the MONEY!! and and the sweet young comic girl groopies that all the pencilers get!!!

Whats Up LOSTON MAN! XQB represent! LOL

Garan


Howdy, Bermutant. Nice to see you 'round these parts. :)

Loston

[SpawnSC]

loston any shading tips on making things shiney, like black leather, metal, hair ?

[Bruce Lee]

loston any shading tips on making things shiney, like black leather, metal, hair ?

Let me tackle the last part of your question here now, and maybe I can help you with some of the others later.

In regards to hair, let me say that the first thing you have to think about is your light source. Once you determine where that light source is, then you figure out where on the head the highlights should fall. Areas in the direct path of the light source will receive the most area of highlight, naturally, and areas furthest from the light will be in shadow. This applies also to the human head, and how it is shadowed also. Keep the lighting of the hair consistent to the light source of the drawing.

Here are a few more tips:

-You must also keep in mind that the skull is round. The human head is round and not flat. So the hair growing on the human head isn't flat either. This means that the highlight will likewise be rounded on the head. If the highlight is too straight and linear, then it will not look right.

-Think about hair as being one complete unit or area. Don't concentrate on it being individual strands, etc.

-Think of highlights in the hair to be masses (these often connect together in longer hair types).

-When in doubt, seek out photo reference images. Black and white images are great, because you can focus on light and shadow without the distraction of color. Note where the shadows on the human form fall and how that relates to the hair.

Let's take a look at some photos. First, a black and white photo featuring a young girl ("Photo A"):

http://www.lostonwallace.com/girlface.JPG


Notice in PHOTO A how the light source is coming from the left side and from slightly above. The cast shadow of the girl's nose and from her fingers tell the tale. Now look at how the light hits the top of her hair, forming an elliptical highlight that continues from the front of her bangs, around the side of her head, and around the top. This elliptical shape is due to the roundness of the human head--which is not totally unlike a ball or even a cylinder--in shape. The highlight is mostly one giant mass here.

The second image PHOTO B is originally a color image. I've reduced it to a black & white photo so that the highlights present themselves more clearly. The light source in this photo is a little higher over the figure (note the shadows under her nose, etc). Still, the upper-most highlight is an elliptical mass around the top of her head. Notice how the weight of her long hair creates a tight tugging/pulling shape to the highlights on the length of her hair, creating more of a vertically dominated, zigzag shape.

Here's a couple of doodles for you to also check out. In tier one, we see a gal and guy with typical hair. They're faceless because we want to focus on the hair here. I drew these specifically to illustrate how I would personally approach the hair highlights given the suggested light sources.

In tier two, I've included an "overlay" image depicting how the highlights contour with the shape of the head. Notice how the girl's highlight dips in places. This is to show the tugging and tension of the weight of her hair, which occurs in real life. I still follow the elliptical nature of her head, but this sort of personal detail will help hair seem more realistic.

I've also drawn two images at the bottom that display poorly executed highlights that leave the hair looking flat and lacking in credibility. To make hair look credible you must keep in mind the notion that the highlights must be rounded in conjunction to the shape of the head! That's the key to creating believable hair, I think.

http://www.lostonwallace.com/hair1.jpg

For wavy and curly hair, the same ideas apply, but you have to consider the twisting shapes.
http://www.lostonwallace.com/sumiahead100.jpg

Human hair differs from person to person, so a good mantra to remember when it comes to drawing hair is:

When in doubt, seek out reference.

This mantra applies to drawing anything human related, really.

Hope this post helps some. I'll tackle a few of the other things when I find some time.

Loston

[SpawnSC]

AWESOME LOSTON! I greatly appreciate your time to learn us on this stuff because it does help. I look forward to seeing your answer to the other questions :)

[Bruce Lee]

AWESOME LOSTON! I greatly appreciate your time to learn us on this stuff because it does help. I look forward to seeing your answer to the other questions :)

No problem, man. I'll see what I can do.

Loston

[The_Standard]

Thanks for the explanation, good tutorial.

[Unregistered]

Loston, I want you to have my children.


That is all Dr. Stupid Jr.

[Unregistered]

wow how come we can post without registering now?

[Victor-17]

Thanks Loston, next to hands and feet, hair is the bane of my drawing skills. Thanks for an excellent tutorial.

[Bruce Lee]

Thanks Loston, next to hands and feet, hair is the bane of my drawing skills. Thanks for an excellent tutorial.

I'm sincerely happy to be of some help. A lot of what I said here is probably stuff most everyone knows already or should probably know. Sometimes we just need someone to point things out so that things congeal in our brains. Remember, an artist's best weapon is observation. :)

Loston

[Caimano]

Ciao Loston,
I'd like to ask you if you can explain (with pactical samples of real comic book) the pre ruled frames (in blue) I can find when i use USA boards to draw.

I know its a very basic question for most of the Pjers here but I'm out of US guy and I neer used them before for my drawing

[Bruce Lee]

Ciao Loston,
I'd like to ask you if you can explain (with pactical samples of real comic book) the pre ruled frames (in blue) I can find when i use USA boards to draw.

I know its a very basic question for most of the Pjers here but I'm out of US guy and I neer used them before for my drawing

Well, there are different brands and formats of the blue line, pre ruled boards out there. It might be simplest to just post an image that sort of breaks down what all the lines mean. I found this corner image of a blue line page online a few years ago that explains each of the blue lined areas pretty well:

http://www.lostonwallace.com/blueline.jpg

That make it clear? If you're still confused about things, KA-BLAM's website has some explanation depicting art, and a template that might help you further:

http://www.ka-blam.com/index.php?page=Specs_comics

Loston

[Caimano]

Very clear! Thanks really a lot pal:)

[sadman2000]

Hey Loston, throughout the years of your professional career I'm sure you've had your share of fun and not so fun projects. So my question is: When you look back on past jobs which ones do you absolutely shudder to think about and which ones do you feel you enjoyed and was happy to be a part of?

Thanks,


sadman2000

[FIG]

Loston, I want you to have my children.


That is all Dr. Stupid Jr.

Oh yeah, this was me and I was kidding also Loston. I really enjoyed reading through this thread and checking out your advice. incredibly useful and informative. Peace out. :)

[Bruce Lee]

Hey Loston, throughout the years of your professional career I'm sure you've had your share of fun and not so fun projects. So my question is: When you look back on past jobs which ones do you absolutely shudder to think about and which ones do you feel you enjoyed and was happy to be a part of?

Thanks,


sadman2000

I've had some rough projects with tight deadlines, but I think the roughest project was the SUPERMAN RETURNS: THANK YOU, SUPERMAN! book. That had little to do with the project itself--that project is probably my most favorite project ever, in fact. The difficulties came from circumstances outside of the job.

I had just finished pencilling a KRYPTO THE SUPER DOG book, and was about to begin the Superman project when I became quite ill. My right side felt like it was on fire for a day and night. My wife convinced me to go to an Urgent Care Center. The doctor there told me I had all the symptoms of Appendicitis, and arranged for me to have immediate surgery at a local hospital. Turns out my situation was far worse than Appendicitis. When the surgeon opened me up, he discovered I actually had of chronic diverticulitis. Basically, my lower intestine had developed small pouches that were bulging out of the weak spots in my intestinal wall. These areas had become infected. To complicate matters, a small section of my intestinal wall had perforated, which could have resulted in the growing infection spreading throughout my other organs. I was pretty sick during this surgery, so all they could do was clear out the infection, but I would have to have additional surgery to have a 9" section of my intestine removed, and reconnected. They didn't want to risk that procedure until I had regained strength. So, for two months, I had a tube in my stomach connected to a bulb that helped to drain gunk from my digestive track.

Now all during this time, my Superman deadline's been ticking away. It had been a generous deadline before my troubles started, but time was now against me. I hadn't even started the project, and I was still very sick, waiting for the second surgery--going back and forth to the doctor for regular check-ups and so forth. My editor at DC knew my situation, and in a great show of support, he refused to replace me on the book (even though I asked him to because I didn't want to be the cause of this book not coming out). "You're the guy to draw this book, Loston. There's no one else we want." That was great to hear, but also very scary too. That meant that I still had the worry of getting a book out on time on top of everything else. And this wasn't just an ordinary project--this was a movie tie-in project. At that time, this was the best paycheck I'd ever looked forward to receiving, and the first project where I was allowed to pencil, ink and color. This project had another benchmark as well--I was asked to basically create a kid-friendly style for the book. No model sheets to adhere to, save my own design! And I was sick. Fate sure is funny sometimes.

Anyway, the second surgery was rough, but I recovered quickly. I was still not well, but I began working on the book at last. I came up with a design for Superman that worked with the movie version, still felt like the quintessential "Man of Steel", and was simple enough for kids. I soon discovered that I was in over my head though. While laying out the book there were times when I literally was lying on the floor, just trying to breathe. My wife was a saint during all of my troubles--there for me at every turn--but things were tough. The deadline was coming fast, and I wasn't up to full speed. My good friends John Trumbull and Andy Park came to my rescue. Each assisted me to lighten my workload. John helped with some of the layouts, and Andy helped with some of the colors. My wife Carolyn helped flat some pages also.

When the smoke cleared, the book made its deadline, and it really was a BEAUTIFUL book. It's the book I'm most proud of, and not just for the sentimental reasons. I really think it's good stuff. Some of my best work, enriched by the hands of others. It's not every day you get to work on a book with two of your best friends and your wife. The editor's involved loved it. They were incredibly nice and supportive from beginning to end. The fact that the book could be done at all seemed like a miracle! Everyone was happy. You start to realize how lucky you are after an ordeal like the one I went through during that book.

http://www.lostonwallace.com/color3and4.jpg

Loston

[sadman2000]

Excellent stuff Loston, thanks! :)

[WolfSpiritZero]

Hey Loston, have you ever had a block or fell in to a slump either before or during your professional career. And If so how did you get through it did you take a break or fight your way out of it by drawing more?
And I have a second question.
I have a problem with being too impatient with my art and rushing to the point it looks bad. Do you know of a way to stop this habit?

[Bruce Lee]

Hey Loston, have you ever had a block or fell in to a slump either before or during your professional career. And If so how did you get through it did you take a break or fight your way out of it by drawing more?

I don't know about having a "slump", but I think every artist goes through a period of time when they're dissatisfied with the quality of their own work. I think that's actually a healthy thing. If you're not dissatisfied with your skills, then there's a good chance you're not doing much in the way of growing as an artist. I certainly have had my share of this dissatisfaction in regards to my own work. Back in the '90s, when I was freelancing for several companies in the roleplaying game business, I often felt like I was struggling. I went through a lot of roughs trying to work out specific poses and layouts just to get one decent drawing sometimes. Looking back on things now, I realize what really was happening. I was going through a period of artistic growth where my actual drawing skills were struggling to catch up with my newly-acquired artistic knowledge I'd gained from my experience at the Kubert School. Since I had deadlines to consider, I had no choice but to continue drawing through and figure out the drawing problems at hand.

I did find solutions and eventually overcome many drawing problems I had at that time, but I think it's not a bad idea at all to take a break from drawing for a little while just to let the information in your brain congeal a little so you can better apply what you've learned. I learned a lot at the Joe Kubert School of Art, and that was some of the problem. I hadn't had much time away from drawing to allow all that info to congeal, and my skills just weren't quite there yet. I needed a break.

Remember, good drawing comes from life, and if all you're doing all the time is drawing, you're not really living. Life experience is important for art. Without experiences to draw from, it's difficult to create art that others can relate to.

Sometimes it's just good to do other things, and those experiences outside of drawing can actually help stimulate the artistic side of your brain, or at least give it a much-needed rest. :) So in the end, my advice is to take a break for a day or two, if you can spare the time. Once you've rested, get back to drawing with gusto, and work through your drawing difficulties with a fresher head and body.


And I have a second question.
I have a problem with being too impatient with my art and rushing to the point it looks bad. Do you know of a way to stop this habit?

There's nothing wrong with taking a break to think about what you're doing--to consider what you're trying to achieve. Work in phases, and try not to jump ahead of yourself. If you've finished pencilling and inking Spider-Man's head before you've even worked out the body, you've gone WAY too far. Heh. Take things one at time. Rough out your thumbnail first. Then work out your layout on the board. Then work out your anatomy. Then tighten up the pencils. Follow that with inking. Etc.

You already know you have this problem, so perhaps it might be good to make a checklist of things to do in order. Don't move to the next thing on your list until you can check off what's in front of it.

Hope that helps, Wolf.

Loston

[amadarwin]

I love checking off.

[WolfSpiritZero]

Wow, Thanks so much Loston! I'll take all you advice to heart. And your right I don't take time in between the steps, I tend to race to the next part and start to see errors in my work. Now I know to plan out my work before move ahead.

[Bruce Lee]

I love checking off.

It's all you have left in life. :p

Loston

[Bruce Lee]

Wow, Thanks so much Loston! I'll take all you advice to heart. And your right I don't take time in between the steps, I tend to race to the next part and start to see errors in my work. Now I know to plan out my work before moving ahead.

That's the way to do things. Take care of business one step at a time. Set some personal goals and stick to them. :)

Loston

[SpawnSC]

loston any shading tips on making things shiney, like black leather, metal, hair ?

don't forget about me loston! :) we got the hair part done and you did a great job on that so looking forward to the others when you have time.

[Bruce Lee]

don't forget about me loston! we got the hair part done and you did a great job on that so looking forward to the others when you have time.


I haven't forgotten.

"Shiny" leather. "Shiny" metal. "Shiny" anything. Something that is shiny requires that there must be a strong light source that comes into play with an object to create shine and reflection. This means you have to (once again) determine the direction of you light source(s). Once you do that, it's a matter of developing high contrast shadows and light. on the object. Naturally an object's shape and material will effect the shape of highlights and an objects reflectivity. A bulky jacket will probably wrinkle up and form odd shapes, thus catching the light differently than a skin-tight cat-suit would. Though both objects might be of the same material, their highlights are likely to differ in shape and size. It's also possible that certain types of leather, rubber or lycra materials might be clear coated with some protective agent, making them more reflective than other types. This is why a little image searching is beneficial. Visual reference will aid you and eliminate a lot of guess work on your part. When in doubt, always seek out reference images for help. Don't be afraid of doing that if you're unsure. There's nothing wrong about using reference. It's likely to aid you in making your textures seem more credible.

I recently did a drawing of a character I co-created. She is a British Royalist upstart named Posh Meow. She wears a '60s catsuit, and I decided it would be very shiny and glossy. Since Posh was drawn in an animated style, I sort of winged the highlights of her suit, but I did keep in mind some things:

-Since her suit was to be skin-tight (for the most part), it would have long vertical highlights on her legs, midriff, and gloves.
-I wanted the suit to be catching the light from two light sources of nearly equal strength and distance from the character.
-The highlights should taper and triangulate whenever possible for style, effect, and a sense of realism.

Below you can see what I came up with. Note I also put to use some of the things I mentioned in the previous hair highlight tut as well:

http://www.lostonwallace.com/poshmeow100.jpg

In the color stage of things, I added in some cuts to soften the highlight a bit in hopes of making the material feel a little more delicate:

http://www.lostonwallace.com/poshcolor.jpg

All things considered, I think it came out okay.

On the subject of METAL rendering, allow me to do a quick walk-thru demonstrating how you might approach rendering his chrome-polished look.

http://www.lostonwallace.com/metalarm.jpg

Figure "A" represents Peter Rasputin's arm when he's in his normal, human phase. His muscles are well defined because Pete's in fantastic shape, naturally.

Figure "B" shows the same arm in Peter's armored phase. Notice how I broke up the individual muscles into separate shapes. This is an important first step. The next thing is to add in the banding along the various muscle shapes. It's important that the banding rounds out the individual muscle shapes and isn't just flat horizontal lines. You want the arm to still have good dimension, so rounding the shapes is crucial.

After these things have been taken care of, it's now time to determine where the light source(s) are. I decided that the main source of light was coming from the right side of the image. I represent this main source with two arrows to illustrate the point. From the left, I have a secondary light source that will provide some rim lighting on the arm. Notice that the black shadow shapes running through the individual muscles of the arm are located further back to the left (away from our main light source). Because there is reflective light, there is some highlight from the left also, but the highlights from our main light source on the right are far larger.

The last thing I did was make sure that I left a little tiny bit of white to break up the shadows found in each banding section of each muscle. This gives the illusion of further reflective lighting, and helps to show off the banding effect.

Anyway, I don't have time for more at the moment, but I hope that was of further help to you, man. Just remember: reference is your friend.

Loston

[WolfSpiritZero]

Hey Loston, you already cover hair but what about facial hair?
everytime I try to draw a beard or moustache it looks funny.
And how do you approach animal fur?

[Ugga Bugga]

And how do you approach animal fur?


From behind.

Sorry, couldn't help myself. Carry on.

[WolfSpiritZero]

From behind.

Sorry, couldn't help myself. Carry on.

Its okay, when you see an opening for humor take it.

[Bruce Lee]

Hey Loston, you already cover hair but what about facial hair? everytime I try to draw a beard or moustache it looks funny.

Well, when in doubt, seek out some reference to help you. If you're not sure how to draw a certain type of mustache, do a google search and find an image of a similar mustache to extrapolate from. There's nothing wrong with using reference, and you don't have to resort to tracing to get the job done--just use the photo as a guide to help you feel in the gaps where you can't figure things out.

Here's some quick sketches of some headshots with various types of mustaches. These were doodled with Pitt Pens and brush pens, but should give you some ideas of how I might approach things. Like with hair, lighting still factors in determining the rendering.

http://www.lostonwallace.com/mustache.jpg




And how do you approach animal fur?

Well, the thing I try to do is to keep tufts of fur visible in the contour lines of the animal/creature. Smooth outlines never says "furry" to me. Otherwise, it's a matter of doing a little fur rendering around the areas of the shadows. You don't want to add too much fur rendering/texture because it's important that the areas of the fur receiving light remain free of rendering--otherwise, things will become to flat and too involved. It's good not to overdo things with the rendering. A little truly does go a long way.

Hope that's some help.

Loston

[SpawnSC]

thank you very much loston very helpful :)

[The_Standard]

This thread should come with a tuition. Thanks Loston for sharing your time and knowledge!

[Bruce Lee]

This thread should come with a tuition. Thanks Loston for sharing your time and knowledge!

I accept PAYPAL and money orders. ;)

Seriously speaking, I'm glad to help answer questions about the business, drawing, etc. It's not always easy to find answers to things from crits & comments feedback alone. Google of course is really great for finding answers, but Penciljack has a wealth of artists with experience who can be helpful. Chances to share and exchange artistic knowledge is one of the most attractive things about these forums. It's one of key things that's makes Penciljack stand out amongst similar boards.

Loston

[WolfSpiritZero]

Thank you for taking time to answer everyones questions. It really helps when we get tips straight from somone with experience like this.

[Bobby Day]

Loston, I took a lot of short cuts when I was younger and never gained a full understanding of how to draw because of it. I hoped taking short cuts would help me become a better artist quicker. What happend was quite the opposite, my skill at drawing diminished because I never actually understood how to draw. I ended up faking and guessing most of the basic fundamentals of drawing and still do today.

It is because of this I have decided to go back and re-learn how to draw the right way. I have been planing to start with Andrew Lomis's Figure Drawing for all its Worth.

Do you think this would be a good book for me to start off with or do you have any other recommendations?

How long do you think I should study each chapter?

Thanks! I think it's great that you are doing this thread.

[Bruce Lee]

Loston, I took a lot of short cuts when I was younger and never gained a full understanding of how to draw because of it. I hoped taking short cuts would help me become a better artist quicker. What happend was quite the opposite, my skill at drawing diminished because I never actually understood how to draw. I ended up faking and guessing most of the basic fundamentals of drawing and still do today.

It is because of this I have decided to go back and re-learn how to draw the right way. I have been planing to start with Andrew Lomis's Figure Drawing for all its Worth.

Do you think this would be a good book for me to start off with or do you have any other recommendations?

How long do you think I should study each chapter?

Thanks! I think it's great that you are doing this thread.


You'll be hard pressed to find a better "how-to" drawing book than the Andrew Loomis FIGURE DRAWING FOR ALL IT'S WORTH volume. I suggest reading through it often, and trying to put to practice some of the drawing info inside.

In addition to that volume, there's a wealth of knowledge in the Loomis SUCCESSFUL DRAWING book also. THREE-DIMENSIONAL DRAWING has even more info.

Several books can be bought on the shelf that can help you build your artistic foundation, Bobby. One of the best is Jack Hamm's DRAWING THE HEAD AND FIGURE book. I'd put it on the same level as FIGURE DRAWING FOR ALL IT'S WORTH. DRAWING THE HEAD AND FIGURE is very affordable also. Usually, it can be found at any bookstore for under $10.

http://www.amazon.com/Drawing-Head-Figure-Jack-Hamm/dp/0399507914/ref=pd_bbs_sr_1?ie=UTF8&s=books&qid=1197483652&sr=8-1

Another great book to get is an anatomy book by David K. Rubins called THE HUMAN FIGURE: AN ANATOMY FOR ARTISTS:
http://www.amazon.com/Human-Figure-Anatomy-Artists/dp/0140042431/ref=sr_1_1?ie=UTF8&s=books&qid=1197483908&sr=1-1

The best recommendation I can give you is to start working on the basic building blocks of drawing again. Don't be afraid to restart from scratch, and don't hurry to play catch-up. Just start drawing as often as possible and paying attention to your environment, the people around you, etc. Observation is key to learning to draw. Study proportions, light and shadow, anatomy, wrinkles & drapery, etc. Keep a sketchbook handy.

Practice drawing from life as often as you can, and digest the info in those drawing books. If you do, I guarantee you'll start noticing some improvements in your work very soon.

Loston

[NickRocks]

hey loston, thought id join in on this..this is purely a personal question (or 2)...

you seem like a very "old-school" minded artist, and id like to think im the same in alot of ways. that being said, when i ink, i prefer the pencils to be loose so i can have more freedom with it. do you feel that way as well, or do you prefer tighter pencils to ink?

[Bruce Lee]

hey loston, thought id join in on this..this is purely a personal question (or 2)...

you seem like a very "old-school" minded artist, and id like to think im the same in alot of ways. that being said, when i ink, i prefer the pencils to be loose so i can have more freedom with it. do you feel that way as well, or do you prefer tighter pencils to ink?

If I'm inking myself, I prefer doing loose pencils and tightening things up in the inking stage of the game. When inking others, I'm pretty flexible.

Inking tight pencils can be a little dull, but the guess work is usually taken care of.

Back at the Kubert School, I did practice inks over guys like Gene Colan and John Romita Jr, who work very loose, and I enjoyed the challenge involved in re-interpretting the line work. That was a bit more satisfying, artistically speaking, than simply adding lineweights and filling in black shapes on tighter pencils.

[Dawnsknight]

Hey Loston,
Great thread by the way.
My question is how do you decide on the pricing of commissions?
Thanks, DK.

[Bruce Lee]

Hey Loston,
Great thread by the way.
My question is how do you decide on the pricing of commissions?
Thanks, DK.

A lot of people set standard rates for commission art, but I often determine the price based on the individual commission description. I have my own sort of formula to estimate using the following criteria to determine pricing:

1) Medium. I do pencils, inked, and full-color commissions (Dr. Martins dyes). Pencils are the quickest to do, so they are the cheapest route to go. Inking means extra time, so that means extra charge, and full-color means the most time and cost.

2) Amount of Detail. The amount of detail in a drawing most effects the final price. The number of figures in a drawing can especially add to the final cost. It's a matter of time involved, mostly. Obviously it takes far less time to draw a single image of Batman than it does to draw the entire Justice League of America, so a Batman commission would be less expensive. The Justice League would be pretty expensive. The medium also would factor into things, naturally, but extra figures and detailed backgrounds have to be taken into consideration.

3) Size. I normally work at 10X15, but in the past I've done larger pieces. I once did a double-page spread of the Fleischer Superman flying over the 1939 World's Fair with an American flag in hand. I charged a LOT for this piece because of the size, and the amount of detail involved. I had to do a lot of reference hunting of the 1939 World's Fair buildings, and try my best to find aerial shots. Then I had to figure out how the buildings related to one another too! It was a major headache, and the price reflected that. The customer understood the difficulties involved, and was willing to pay the price I quoted. That piece took weeks to do, because the background was very reference dependent, and the client wanted it done right. It turned out to be one of my best works. My biggest regret was not getting a scan of the image. The customer did promise to send me a scan of it, but I never received one. Sigh. Anyway...

4) Style. Believe it or not, some styles are simply easier to do, and are less time consuming than others. I usually do two types of commission styles--a more realistic approach, and a more animated approach, depending on what the customer might want. I usually knock off a few bucks for animated-style pieces because figures in that style take less time to draw most of the time, and are less involved.

To give you some idea of what I might charge for things, let me give you an example of price quotes here. Many pros won't discuss prices on forums like this at all, and think it's uncouth and awkward to talk about money stuff in public. Generally, I concur with that, but I've never made a secret concerning what I charge for commissions, so for the sake of being helpful in regards to you figuring out how and what to charge for your own commissions, I'm going to throw up some price quotes.

Let's say a customer emails me, requesting a commission of a single image of Batman, running in a dynamic pose. Here's how I might break it down, price-wise, based on the criteria above:

-Realistically rendered Batman in pencil at 10X15: $120
-Animated-style Batman in pencil at 10X15: $100

-Realistically rendered Batman in ink at 10X15: $200
-Animated-style Batman in ink at 10X15: $175

-Realistically rendered Batman in full-color (pencil, inked and colored) 10X15: $280
-Animated-style Batman in full-color (pencil, inked and colored) 10X15: $240

Most of my commission request tend to average around the $225-325 dollar range, I've noticed.

I also add a charge of $15 for shipping and handling, as I mail out artwork flat, between two pieces of foam-core board. I always ship priority mail with delivery confirmation. I only accept PAYPAL and money order payments, and all commissions must be paid in full up front. Otherwise, commission request don't get onto my "to do" list. I never start a commission without receiving full payment. I make no exceptions to that rule. I also let clients know that commission works take a backseat to work done for publication. Published work always remains my chief priority. If I'm working on a DC project or something of that nature, I put commissions on hold until I'm finished with the pro work. Therefore, turnaround time can vary a lot. Most of the time, customers don't mind waiting a little while, provided you don't take forever, and I've never had complaints from people receiving commissions. I give them what they pay for. Good business is good business.

Hope that helps some, DK.

Loston

[Dawnsknight]

awesome.
Thanks Loston. That is the most comprehensive answer anyone's given.
I appreciate the great advice.

[Bobby Day]

Thanks for the recommendations! I will definitely look into those books. I also agree with you on the advice, thanks again!

[Ugga Bugga]

What is your favorite shirt to wear at a convention?

[Bruce Lee]

What is your favorite shirt to wear at a convention?

Hawaiian shirts-preferably with images of Bruce Lee on them. Like this one:

http://ecx.images-amazon.com/images/I/51A1TX3PCAL._AA280_.jpg

Loston

[Ugga Bugga]

Hawaiian shirts-preferably with images of Bruce Lee on them. Like this one:

http://ecx.images-amazon.com/images/I/51A1TX3PCAL._AA280_.jpg

Loston

there is nothing classier. :)

[Bruce Lee]

there is nothing classier. :)

Comic conventions are rarely white dinner jacket affairs--even in Toronto, I'll bet. :D Speaking of which, I'd really like to make a trip to Toronto next year. I'll look into hotels, etc, soon.

Loston

[spidey976]

Dude ... you in Toronto ... I will have to do my damndest to get out to see yah ... might be tough with the new baby and all on this end ... but I will really try to get to the con... :D

[Bruce Lee]

Well, I'm looking into going, if possible. I'll have to contact the convention folks, and look into getting a pass port made. Last I heard, it was taking around 5-6 months to acquire a pass port here in the U.S., so there might not be enough time to get things in order. I'll get the ball rolling and see how things go.

Loston

[Dawnsknight]

If you get to TO, let me know man.
I wanna shake your hand.

[e_t_i]

What do you do to keep your pencils from smearing as you draw?

[Bruce Lee]

What do you do to keep your pencils from smearing as you draw?

Mostly I use pencils that aren't prone to smearing so much in the first place--harder graphites like a 2H. I only use HB, 2B and below when I'm rendering portraits or something halftone centric.

If it's a hot, humid day, I turn the AC on or use a fan to cool things down. Working under hot desk lamps can bring on persperation, so I try to nullify that with some air flow whenever possible.

Loston

[spidey976]

Hey Loston

Just a quick one ... I have been working on model sheets for various characters ... some of which are in my blog. However I am having some difficulty staying on model. I know it is practice practice ... and practice ... but are their any other tricks that you have ...short of measuring each face with a ruler??

This is an awesome tread m8 ... keep it up PLEASE.

Shawn

[Bruce Lee]

Hey Loston

Just a quick one ... I have been working on model sheets for various characters ... some of which are in my blog. However I am having some difficulty staying on model. I know it is practice practice ... and practice ... but are their any other tricks that you have ...short of measuring each face with a ruler??

This is an awesome tread m8 ... keep it up PLEASE.

Shawn


Shawn,

Using horizontal grid lines is your best bet for keeping features accurate. On character turnaround model sheets the grid lines will help you keep all the features placed at the same height and distance. Here's an example of some Catwoman turnaround headshots. Notice how the horizontal gridding helps all the shots of her from different angles stay fairly close and on model. Features like the bottom and top of the eyes, the nose, top and bottom of the mouth, the tip of her chin, etc are pinpointed by the gridding, anabling the artist to line things up accordingly, figuring out the placement of the features:

http://www.lostonwallace.com/catturns.jpg

When it comes to drawing heads in particular, you might try to employ a visual unit of measurement such as the eye length method. Basically you measure the distance between features in terms of eye length. For example: the distance between separating both eyes on a human is typically one eye length apart. Here's an image from Jack Hamm's DRAWING THE HEAD AND FIGURE book that illustrates measuring facial features using the eye length method. It should prove helpful to you in figuring things out in regards to a more realistically drawn face:

http://www.lostonwallace.com/eyespaces.jpg

All faces can vary a bit, so you can deviate from the basic eye length map above and still wind up with a good face, but generally speaking, it's a good idea to stay within these perimeters if you want to draw a typical comely face. If you were to space the eyes one and a half eye to two eye lengths apart, that's sure to make for some awkwardness, producing a more alien and odd face. When I draw monstrous characters like the Hulk and the Thing, I often space their eyes two or more eye lengths apart just to make them seem more alien or monster-like. I'll also make their mouths wider, etc. Depends on what your goal is.

Hope that helps some.

Loston

[spidey976]

Thanks Loston that is great stuff ... I am still working on all of this ... and unlearning some old bad habits. I LOVE THIS THREAD.

Shawn

[OldNoob]

Al's father is 45. He is 15 years older than twice Al's age. How old is Al? Karen is twice as old as Lori. Three years from now, the sum of their ages will be 42. How old is Karen?

Karen is 9 years old.

(45-15)/2=15

15+2y+y=42
15+3y=42
3y=27
y=9

[OldNoob]

Hey Loston;

Another appreciative fan here! When you do comissions of copyrighted characters, are there any legal copyright issues? I know many artists do it, but I wondered what the legal landscape looked like. You do fantastic work, and that you are so willing to give so much of your time to help others is a tribute to your character. You sir, are one of the great ones in the vein of Eisner. I salute you!

[Bruce Lee]

Hey Loston;

Another appreciative fan here! When you do comissions of copyrighted characters, are there any legal copyright issues?

As a single work of original art a commissioned artwork containing a copyrighted character isn't usually considered much of a copyright threat or infringement, and there's little likelihood of any feathers being ruffled over such things.

However, if an artist were to make a large number of prints to sell from such a particular commissioned work, containing a copyrighted character, that might be another matter. That sort of scenario might easily be considered infringement--especially if the copyright holder believes they are being forced to compete against their own product, or made to feel like someone was usurping their profits.

Most companies (like Marvel or DC) don't mind if an artist to makes a limited number of prints to sell at conventions and so forth. These companies often see that as free advertisement or PR for their product/property. Does the law allow that sort of practise? Yes and no. There is a FAIR USE doctrine in the U.S. Copyright law that provides some protection in some instances and circumstances:
http://en.wikipedia.org/wiki/Fair_use

Copyright law and the limits of copyrights and trademarks are constantly being reinterpreted and re-examined all the time. There are many gray areas and loop holes in the laws that must be decided on a case by case basis. A copyright holder could always ask someone to stop selling prints, etc--putting forth a "cease and desist" request. In the event that request goes unheeded, the copyright holder could challenge with legal action.

That's not likely to happen to someone producing a small, limited number of prints, and it's rarer still to happen in the case of an artist producing a single piece of commissioned original art.

Copyright law isn't easy to understand, but I hope that helps some.

Loston

[W.Blankenship]

Hey Loston,

Any advice on getting quicker? I'm having trouble finding the line between fixing problems and obsessing over perfection, and I'm still closer to the latter than the former.

Peace,
3!LL

[Bruce Lee]

Hey Loston,

Any advice on getting quicker? I'm having trouble finding the line between fixing problems and obsessing over perfection, and I'm still closer to the latter than the former.

Peace,
3!LL

Well, my best advice is to practice limiting the time you spend on a drawing or page. Give yourself a deadline, and try to stick to it. When you're faced with a deadline the idea that "good enough" is "good enough" will start to seep its way in to your brain.

You should also practice doing timed sketches and drawings. This will help your drawing speed tremendous. When your time expires, call it DONE.

Stick to that and you may kick the habit of trying to perfect every line, and start drawing with more speed and confidence. :)

Loston

[Atlas]

Hi Loston...I'm not too sure if you have been asked this before but this thread is huuge...and i'm well, lazy. I was wondering about the Joe Kubert School...I've always wanted to go when I saw an Ad for it in an American comic...What sort of stuff did you learn? what was the sort of structure?...what sort of skill were you at before you started the course?...is it like College course?

Sorry for all the questions :D

I went back and read some of the posts...I may have read this wrong...but did you work on the Batman and Superman animated series? or did find them an inspiration?

[OldNoob]

Hey Loston;

I know you love those Pitt Pens, and I came across this tip on Youtube for extending their life! You probably already know this but here ya go!

This guy just pulls out the tip using a tweezers, turns it over and puts it back in. There is a brand new point hidden up there!

http://www.youtube.com/watch?v=g7xexDwNG2A

[Bruce Lee]

Hey Loston;

I know you love those Pitt Pens, and I came across this tip on Youtube for extending their life! You probably already know this but here ya go!

This guy just pulls out the tip using a tweezers, turns it over and puts it back in. There is a brand new point hidden up there!

http://www.youtube.com/watch?v=g7xexDwNG2A

I've got to remember to try that. I saw this posted on PJ before, but I forgot about trying to flip the tip of the brushpens.

Loston

[Atlas]

Hi Loston...I'm not too sure if you have been asked this before but this thread is huuge...and i'm well, lazy. I was wondering about the Joe Kubert School...I've always wanted to go when I saw an Ad for it in an American comic...What sort of stuff did you learn? what was the sort of structure?...what sort of skill were you at before you started the course?...is it like College course?

Sorry for all the questions :D

I went back and read some of the posts...I may have read this wrong...but did you work on the Batman and Superman animated series? or did find them an inspiration?

I thought I'd just post this again...just incase you didn't see it...I'm not meaning to annoy :o

[Bruce Lee]

I thought I'd just post this again...just incase you didn't see it...I'm not meaning to annoy :o


Hey, Atlas! Sorry--I overlooked your original question somehow. My apologies.

I did go to the Joe Kubert School of Art, which is more like a technical school than like a university or college courses. The school instructors are professional artists who must be working in the business of comics, illustration, animation, etc for at least five years.

There are 10 classes a week, two classes per day. Each class is around two hours and 45 minutes as I recall. Each class assigns homework (at least one page of work, sometimes much more!), which means you will be drawing during class, and every evening of the week. I averaged about 12-13 hours at the drawing desk every day.

The grading system at the school was the standard letter grade system (A+, A, A-, B+, B, B-, etc) but you received two different grades on ever assignment. The first grade was your personal effort grade, and the second your "professional" grade. So you could have a grade like "A/A-" or "B+/C" and so forth. My average grades were usually "A/B+" or "A/A-". Being late on your homework assignment meant losing one whole letter grade per day of lateness. So if you would have had a "B+/B+" grade if an assignment was turned in on time, you would have a "C+/C+" if it was only a day late. Worse still is the fact that a "C-" = failing grade at the school. :eek: It was pretty tough to avoid missing deadlines when you sometimes had only a week to draw as much as 15 pages worth of finished art! For the record, I was only late on one assignment in my two years at the school, and I was only a single day late. I was sick and couldn't physically make it to class, but being ill wasn't considered an excuse for not turning in work. Lucky for me I'd worked hard on the assignment, and the quality was considered to be good, so I still came away with a decent grade of "B+/B" on that assignment.

A lot of people couldn't hack the school, only lasting the first semester of the school in the first year. Many never made it into the second year, and few still made it all three years. I would have loved to have taken the third year at JKS, but I couldn't afford to go beyond the first two years. I was fortunate though to be working professionally by the end of my second year.

The sort of courses we had (and I forget all the names of them) were something like:

-Life Drawing (with live, nude models)
-Basic Drawing (drawing people, animals, perspective, etc)
-Methods and Materials (Inking, using haltones, zips, washes, duo-shade, scratchboard, Coquille board, etc)
-Painting (Acrylic, watercolors, airbrush)
-Color (Photoshop and Illustrator work)
-Paste-Up & Mechanical (at the time I went, this was still a "by-hand" class. Now it's computer oriented, I'm sure.
-Lettering (this was done "by-hand" at the time I attended. Today it's both by-hand and computer, I've heard)
-Humor and Caricature (First semester is humor strips work, and the second semester is Caricature)
-Sequential Art (Comic pages)
-Animation 101 (Basic by-hand animation at the time. Everyone gets basic animation in the first year, but in the second year, you get to chose whether to stick with a graphic arts curriculum or whether you want to do an animation curriculum. If the latter, your classes would all be animation based. Life drawing is still manditory either way.
-Layout (composition and layout in illustration)
-Creative Marketing (How to sell your work)
-Design (learn to be "artsy" ;) )
-Illustation and narrative art
-Creative Writing (only available in the third year)
etc.

As for Batman and Superman stuff, let me clarify that. I didn't work on the animated series. I drew license products relating to the animated series for DC Comics. Coloring books, children's story books, etc.

[Atlas]

:eek:

I don't think I would be able to hack it there...I went to the website and it said the two year course was too demanding having to make it a three year course...imagine doing that

It all pays of in the end i suppose...:D

Also do you have any tips on the Bruce Timm style? [I'm going crazy over this guy at the moment]


-Bruce Timm is obviously a big influence on my own work, having worked on the BATMAN Animated and SUPERMAN Animated books for DC. He's certainly one of the biggest modern influences on me. Timm's primary influences include several of my favorite artists as well--the likes of Jack Kirby, Wally Wood, Alex Toth, Frank Frazetta, and his curvy female characters pay major homage to Archie legend, Dan DeCarlo. The things that I like most about Timm's art is that there's so much energy and power to his drawings. His style often strips the art down to the bones, but it really is anything but easy to pull off. His minimalist approach leaves nothing to hide behind. To be truly successful at the style, you have to have some solid drawing skills. Bruce Timm is nothing short of amazing.

This is exactly why I love this style at the moment...see ya around

[bindlestitch]

Loston,
A few more questions on the Kubert school.
Do comic companies actively recruit from the school? I know some tech schools "guarantee" work placement and I was wondering if kubert's had something similar.
Also, is it possible to have a full time job (like a third shift or something) and still have time to do assignments? Or do you think that would be overload?

[SpawnSC]

Loston,
A few more questions on the Kubert school.
Do comic companies actively recruit from the school? I know some tech schools "guarantee" work placement and I was wondering if kubert's had something similar.
Also, is it possible to have a full time job (like a third shift or something) and still have time to do assignments? Or do you think that would be overload?

yeah good questions..

Is there any online courses for art schools dealing with comics? that are reasonable in price? what if PJ did something like this! be neat and if the price was right I would pay to attend :) especially if you was teaching loston. I work full time and have a family so its nearly impossible for me to attend Joe's school.

I know Bob McLeod does something similar to this
http://www.bobmcleod.com/lessons.html

[Bruce Lee]

Loston,
A few more questions on the Kubert school.
Do comic companies actively recruit from the school? I know some tech schools "guarantee" work placement and I was wondering if kubert's had something similar.
Also, is it possible to have a full time job (like a third shift or something) and still have time to do assignments? Or do you think that would be overload?

The Joe Kubert School arranges for students to show their work to companies like DC and Marvel in the third year, when student's skills have been honed, and they have amassed a portfolio of quality work. When I was attending JKS, a few of the smaller companies sent representatives to the school to look at portfolios of the second and third year students also. There's no guarantees of work, but many Kubert students do go on to work in the industry because of the skills they've acquired from attending. Many name pros have come away from the Kubert School with comic and animation work, as well as illustration work, etc.

As for your second question, yes, it is possible to attend the school and hold down a job too. It's truly difficult to do both though--I won't kid you about that. The guys that I knew who did do both had a very hard time of it. Only one of those guys made it into third year. It's possible to do that, but it would be pretty rough.

Loston

[Bruce Lee]

yeah good questions..

Is there any online courses for art schools dealing with comics? that are reasonable in price? what if PJ did something like this! be neat and if the price was right I would pay to attend :) especially if you was teaching loston. I work full time and have a family so its nearly impossible for me to attend Joe's school.

I know Bob McLeod does something similar to this
http://www.bobmcleod.com/lessons.html

The Joe Kubert School does offer correspondence courses. Here's a link to some info on that:

http://www.kubertsworld.com/correspondence.html

Loston

[bindlestitch]

Those correspondence courses do look like a worth while investment. Kinda pricey but it looks like they'd be worth the money.
Thanks , Loston.

[Bruce Lee]

Those correspondence courses do look like a worth while investment. Kinda pricey but it looks like they'd be worth the money.
Thanks , Loston.

I know very little about the correspondence courses, other than the fact that Andy Kubert and Tom Mandrake look over some of the assignments. They may even do overlay style crits, but I'm not certain of that.

Loston

[bindlestitch]

I know very little about the correspondence courses, other than the fact that Andy Kubert and Tom Mandrake look over some of the assignments. They may even do overlay style crits, but I'm not certain of that.

Loston
Yeah, you're right. I took a look at that link and they do do overlay crits using tracing paper. It looks like a real opportunity to learn from one's current location instead of moving to NJ. I know it's not anywhere near the same as attending the school but you still get feedback from the teachers.

[SpawnSC]

Yeah, you're right. I took a look at that link and they do do overlay crits using tracing paper. It looks like a real opportunity to learn from one's current location instead of moving to NJ. I know it's not anywhere near the same as attending the school but you still get feedback from the teachers.

yeah but the price is HIGH! almost $400 for a teachers response and $175 without...

[Bruce Lee]

yeah but the price is HIGH! almost $400 for a teachers response and $175 without...

I'm sure the money for the teachers response goes directly to pay those teachers, but It doesn't sound cheap, for sure.
Loston

[Ugga Bugga]

What could I commission from you for $4.50?

[Bruce Lee]

What could I commission from you for $4.50?

My autograph and a free, complimentary paper clip. :p

Loston

[Atlas]

I'll go for that paper clip...

[spidey976]

Hey Loston

I was just wondering ... I have been having some real trouble getting some of my musculature to look like it is really solid ... I find that it is mainly a function of the shading and the rendering ... I was wondering if you have any tips. I also had heard that some artists contour map their structures (muscles) and I was wondering if you ad any thoughts on that one.

Still loving this thread

Shawn

[Bruce Lee]

Hey Loston

I was just wondering ... I have been having some real trouble getting some of my musculature to look like it is really solid ... I find that it is mainly a function of the shading and the rendering ... I was wondering if you have any tips. I also had heard that some artists contour map their structures (muscles) and I was wondering if you ad any thoughts on that one.

Still loving this thread

Shawn

Glad you're enjoying the thread.

Lighting is indeed the answer to making any drawing more dimensional. Good shadows round out figures, creating depth and a solid look to any object, whether it be an apple or a drawing of the human figure.

Check out these images of Arnold Schwartzenegger. Notice how the light and shadows help define his muscles' dimension--the roundness, etc. The shadows contribute a lot to his bulky, solid appearance in these photos:

http://www.theradreport.com/wp-content/uploads/2006/12/schwarzenegger_arnold_103.jpg
http://www.ifbb.com/contestresults/mensworld/69schwarzenegger.jpg
http://i8.photobucket.com/albums/a7/STRONG76/c8da9d2d.jpg
http://badvibes.org/assets/news/images/arnold-schwarzenegger-big.jpg
http://www.arthurshall.com/images/custom_images/arnold_schwarzenegger_training.jpg
http://whatthehellis.files.wordpress.com/2006/07/arnoldschwarzenegger227.jpg

If you want your figures to look more dimensional and more "solid", adding shadows can do much to help you achieve that.

Loston

[spidey976]

Thanks Loston ... I will keep working on it. Are there any books that you found really helpful?? Rubin's rocks ... so thanks for the suggestion

Shawn

[Bruce Lee]

Thanks Loston ... I will keep working on it. Are there any books that you found really helpful?? Rubin's rocks ... so thanks for the suggestion

Shawn

I assume the "Rubin's" you're talking about, Shawn, is David K. Rubins, who wrote: THE HUMAN FIGURE, AN ANATOMY FOR ARTISTS-right? That is a very good anatomy book for artists, and does a good job of breaking the parts of the body down. Study that one well. :)

As far as books on lighting, I don't know of many good ones. I picked up most of my own lighting skills through figure drawing and observation. I sometimes watch a lot of older, black and white movies and doodle out "notes" in the form of fast sketches. Film Noir films, old horror movies, and higher budget 50s sci-fi movies often have decent, dramatic lighting. Hitchcock films are often filled with good lighting, the old Universal Monster flicks, Hammer Horror films, and movies like CITIZEN CANE, etc. The X-FILES tv series had good dramatic lighting, as did the BUFFY THE VAMPIRE SLAYER series, etc. You might try checking out some of those movies/shows and try your hand at taking sketch notes. I typically prefer watching black & white flicks when doing this exercise, because you can more easily focus on the shadows without sharp colors distracting you.

Loston

[sdowner]

I'd add Blade Runner to the list there, Loston. Great moody lighting in that film. Even better, you won't get distracted by the movie itself 'cause the thing's so freaking boring.

[amadarwin]

I'd add Blade Runner to the list there, Loston. Great moody lighting in that film. Even better, you won't get distracted by the movie itself 'cause the thing's so freaking boring.

someone just got off my christmas card list!!

[krikkit13]

I'd add Blade Runner to the list there, Loston. Great moody lighting in that film. Even better, you won't get distracted by the movie itself 'cause the thing's so freaking boring.


someone just got off my christmas card list!!

...and got on mine!

Loston's absolutely right about some old horror films having fantastic lighting. Take a look at some of Val Lewton's films like Cat People or Murnau's Nosferatu.

[Dawnsknight]

Dear Dr. Loston
Why can't I give you any more rep points?
DK.

[Bruce Lee]

Dear Dr. Loston
Why can't I give you any more rep points?
DK.

If you've recently given someone rep points, you have to spread rep around to a few other people before you can give that person rep again.

Loston

[bfowler]

Loston,

Just wanted to commend you on this thread and all the fantastic and insightful information.

I only wish we could talk about religion and politics as you seem to have all the answers. You should change your name from Loston to "The Oracle".

[Buff]

Loston,
I'm still pretty new here, and am only starting to have to guts to post some stuff. I have learned a lot by perusing the boards and you certainly give some great insight to many PJers. Have you ever thought about writing/producing your own "how to" book? I'm sure there's plenty of PJers alone that'd pay handsomely for one.

[Bruce Lee]

Loston,
I'm still pretty new here, and am only starting to have to guts to post some stuff. I have learned a lot by perusing the boards and you certainly give some great insight to many PJers. Have you ever thought about writing/producing your own "how to" book? I'm sure there's plenty of PJers alone that'd pay handsomely for one.

Thanks for the vote of confidence. I actually have thought about doing a "how-to" book, and I someday hope to do one. I would want to do something different though to make it stand out against the sort of "how-to" volumes that are currently available on the market--no easy task. Some of the books available concentrate on the basics of drawing, others on style, etc. I think I'd have to have a unique angle or approach to do a volume that would stand out. I'm still thinking about how to go about producing something that could offer more than the books that are currently available.

Loston

[spidey976]

Hey ... I suggested that you do a drawing book too ... :D ... I would buy it m8.

Shawn

[bindlestitch]

I'd buy one.
I think it would be cool to have a book focusing on your how-to's like your ear and fist tutorial. Those two things have helped me immensely because they're broken down in steps for those of us who are a little slow on the uptake. I haven't seen any other books that offer much of that kind of step by step thing.
OOO and a true step by step perspective section would rock.

[G-man_2000]

What is your favorite Conan comic book?:D

[Bruce Lee]

What is your favorite Conan comic book?:D

THE SAVAGE SWORD OF CONAN, but if you're talking about one single issue, that'd be CONAN THE BARBARIAN # 115.

Loston

[G-man_2000]

Do you ever plan on making your own comic book episodes or story book one day? Maybe a space odyssey with a 60’s rocket style, bubble helmets, ringed lazar blasters and cool looking space monsters.

[Bruce Lee]

Well, I do have a green light from Image to do a one-shot called LORNA, RELIC WRANGLER. It's got some retro sci-fi in there. :)

Loston

[amadarwin]

Glee!!!!!!

[e_t_i]

Looking forward to that!

[G-man_2000]

I would definitely enjoy hearing more details in the future.

[spidey976]

Well, I do have a green light from Image to do a one-shot called LORNA, RELIC WRANGLER. It's got some retro sci-fi in there. :)

Loston

Tell me when ... I'll get me a copy ... :D.

Shawn

[Bruce Lee]

Tell me when ... I'll get me a copy ... :D.

Shawn

Will do!

Next question...:)

[KrisDiaz]

im working on a vampirella pic(its in my sketchblog) and i want to add white highlights to the outline of the wolf/bat thing using the "dry brush" technique to add a texture and detail .....any tips or suggestions....i got the idea from justice41 's blackcat where he basically did the same thing........maybe i should ask him?

[Bruce Lee]

im working on a vampirella pic(its in my sketchblog) and i want to add white highlights to the outline of the wolf/bat thing using the "dry brush" technique to add a texture and detail .....any tips or suggestions....i got the idea from justice41 's blackcat where he basically did the same thing........maybe i should ask him?

I'm not 100% positive what you're asking, exactly, but I can tell you that I think Justice41 probably used drybrush on the black parts of Black Cat's costume as the darks fade into a white highlight. I'm not sure he did much of that with the white out or not (though it's possible he might have done a little around the fur of her collar). Looks more like he did a little ink drybrushing or sponge/cloth stamping to me. I can speculate, but why not ask Roy via a PM? I'm sure he would be willing to fill you in on his process.

Loston

[KrisDiaz]

I'm not 100% positive what you're asking, exactly, but I can tell you that I think Justice41 probably used drybrush on the black parts of Black Cat's costume as the darks fade into a white highlight. I'm not sure he did much of that with the white out or not (though it's possible he might have done a little around the fur of her collar). Looks more like he did a little ink drybrushing or sponge/cloth stamping to me. I can speculate, but why not ask Roy via a PM? I'm sure he would be willing to fill you in on his process.

Loston

thanks anyways.i just winged it and finished the pic(in my sketchblog) i used white ink on a dry brush to make the wolf apper fuxxy on a black bacground.it kinda worked.at least i can say i tried something new and may find a use for it in the futre so in that regard i was successful

[Bruce Lee]

thanks anyways.i just winged it and finished the pic(in my sketchblog) i used white ink on a dry brush to make the wolf apper fuxxy on a black bacground.it kinda worked.at least i can say i tried something new and may find a use for it in the futre so in that regard i was successful

Trying something new with your art is always good, even if that something new fails to get the results you want. Failure teaches you what NOT to do. That's just as important to know as what TO do. :)

Loston

[Bruce Lee]

This place has gotten pretty quiet lately...

Loston

[KrisDiaz]

This place has gotten pretty quiet lately...

Loston

penciljack.or you section........if it'll make you feel better i can ask you a question or 2 everyday........so you can have somethin 2 do........

[Ugga Bugga]

Okay, I have a question.

Do you draw inspiration from outside of the comics world? Fine Art? Movies? Books? Magazines? Your Belly Button?

[Bruce Lee]

penciljack.or you section........if it'll make you feel better i can ask you a question or 2 everyday........so you can have somethin 2 do........

Heh. Nah. I gots me stuffs to do. Just noticing that nothing new's been posted in a few days is all.

Loston

[Bruce Lee]

Okay, I have a question.

Do you draw inspiration from outside of the comics world? Fine Art? Movies? Books? Magazines? Your Belly Button?

I don't get much inspiration from my belly button these days, but I do get inspired by other artists, certain writers, and the occasional film. Oddly enough, I get more inspiration to draw from walking along a woodland path than almost any other source. I guess I'm a outdoors sort of person who finds himself trapped indoors all too often. Maybe that's why I find tranquility in drawing trees, and other organic things. Mechanical things always seem something of a chore for me. I can draw those things, but it's taxing.

Loston

[KrisDiaz]

um.i hate nature if i walk around in it i have to cut down a tree or burn it.could be cuz i hate authority figures and smokey always told me to prvent forest fires(asshole!).im the oppisite i guess.id rather draw a robot or mechanical thing rather than a tree...could either be from growing up in a large city with a lack of trees or maybe the fact if i draw one it has to be convincing.and i suck at it?

[Bruce Lee]

um.i hate nature if i walk around in it i have to cut down a tree or burn it.could be cuz i hate authority figures and smokey always told me to prvent forest fires(asshole!).im the oppisite i guess.id rather draw a robot or mechanical thing rather than a tree...could either be from growing up in a large city with a lack of trees or maybe the fact if i draw one it has to be convincing.and i suck at it?

We are all products of our environment. Still, there's no reason you shouldn't be practicing drawing things like trees and so forth, especially if you're goal is to become an illustrator or comic book artist. You'll be tasked to draw a lot of different things as a pro, so it's good to draw things you aren't good at, don't like to draw, or even hate. I dislike drawing technical and mechanical stuff, but I learned to do those things. I worked as an interior artist for the BATTLETECH Role-Playing Game for years, drawing mechs, planes, tanks, etc. While I prefer drawing people, monsters, rocks, trees, zombies, and so forth to spending time doodling on mechanized wiring, circuit panels and template related art, but if someone asks me to draw an F-16 fighter jet, I want to be able to do that too. You don't have the luxury to pick and choose what you draw too often as a freelancer--you'll have to rise to the occasion and show your diversity of skills. It's important to remember that, Kris, so my advice to you is to don't hide your artistic weaknesses by only drawing what you're comfortable drawing. Turn your weaknesses into strengths instead. Learn to draw those trees, man! Even cities have parks, and with google and all the other references available to a guy like you, there's no excuses. :skull:

[KrisDiaz]

i absolutly agree with you.about a year ago i would rarely attepmt a background or care to do so.lately ive been slowly trying it(as seen on my SaVIORS COMIC IM WORKING ON) AND A FEW PICS HERE AND THER IVE BEEN TRYING TREES AND such.....havet gotten comfortable with it but getting better...from time to time i try something i wouldnt even consider drawing just to see how it comes out and then i analyze it as to why it didnt or did work..i take it day by day.....rome wasnt built in a day and skill wasnt either.......and lately ive been trying to photo reference alot....been slackin on the drawing lately due to creative slump.ima try to jump back on the horse!

[Dawnsknight]

Do you have a perspective tutorial for those of us who are learning?

[CoreyPledger]

Shoop da whoop

What are your thoughts on lined paper? I seem to get my butt chewed for using lined paper all the time.

[Bruce Lee]

Do you have a perspective tutorial for those of us who are learning?

Darren,

I honestly couldn't do a perspective tutorial any better than those that already exist in many "How-To" drawing books, so your best bet is to pick up some books on the subject. The best book I know of on the subject of perspective is THREE DIMENSIONAL DRAWING (a.k.a. SUCCESSFUL DRAWING), by Andrew Loomis. David Chelsea's PERSPECTIVE! FOR COMIC BOOK ARTISTS isn't bad.

I originally learned perspective from HOW TO DRAW COMICS THE MARVEL WAY, by the way. What's in the book is very basic and simple, but there's valuable info there.

Loston

[Bruce Lee]

Shoop da whoop

What are your thoughts on lined paper? I seem to get my butt chewed for using lined paper all the time.

Well, Corey, working on lined paper is often frowned upon for doing finished work, because the blue lines are distracting. It's also unpopular with viewers on the boards for the same reason. For practice though, there's nothing wrong with using it in my opinion. The blue lines might even prove helpful at times when it comes to keeping facial features level, etc, but it could also become a crutch if you come to depend on those horizontal blue lines too much.

I think you should invest in some copy paper and practice on a solid white surface. Copy paper is as cheap (or maybe cheaper) than the blue line notebook paper, and it might help you be more prepared in regards to producing finished work.

Loston

[CoreyPledger]

Well, Corey, working on lined paper is often frowned upon for doing finished work, because the blue lines are distracting. It's also unpopular with viewers on the boards for the same reason. For practice though, there's nothing wrong with using it, in my opinion. The blue lines might even prove helpful at times when it comes to keeping facial features level, etc, but it could also become a crutch if you come to depend on those horizontal blue lines too much.

I think you should invest in some copy paper and practice on a solid white surface. copy paper is as cheap (or maybe cheaper) than the blue line notebook paper, and it might help you be more prepared in regards to producing finished work.

Loston

Good stuff

I've got nine notebooks of sketch paper, and I've begun preparations to invest in a ruler.

[Bruce Lee]

A ruler's not a bad idea.

[Ugga Bugga]

Good stuff

I've got nine notebooks of sketch paper, and I've begun preparations to invest in a ruler.

I'm just wondering how your preparations to buy the ruler are proceeding. ;)

[CoreyPledger]

I'm just wondering how your preparations to buy the ruler are proceeding. ;)

Not so well. My financial department is denying my venture with budget cuts, and my business department is in the crapper.

Aside from that, I went to wal mart and got a metal ruler. This'll throw those blood-thirsty lawyers in accounting for a loop. :D

[Bobby Day]

Loston, this is a great thread, and I have another question :).

I am having a very hard time keeping my artwork clean and finished looking. It often looks rushed and sketchy, even when I spend time on my work.

One of the things I admire about your work is how clean, and sleek your drawings are. Do you have any tips on cleaning up a drawing that could help me out?

Thanks!

[Bruce Lee]

Loston, this is a great thread, and I have another question :).

I am having a very hard time keeping my artwork clean and finished looking. It often looks rushed and sketchy, even when I spend time on my work.

One of the things I admire about your work is how clean, and sleek your drawings are. Do you have any tips on cleaning up a drawing that could help me out?

Thanks!

Over the past decade I've gotten used to do preliminary art first. Basically I do rough prelim drawings on scratch paper first, working out poses, lighting and all the "ins" and "outs" of composing an illustration. Then, I transfer the rough art onto the final drawing board (which is usually bristol board) using a lightbox. I'm sure to copy the art onto the board lightly pencil the art lightly, because I want to tighten up the drawing on the board so that I can retain the energy in the drawing. This method allows me to keep the final art relatively clean, and prevents unnecessary erasing on the board. The results of this method work well for me, and make for "camera ready" final art, that doesn't require much in the way of clean-up. That help?

Loston

[Bobby Day]

Over the past decade I've gotten used to do preliminary art first. Basically I do rough prelim drawings on scratch paper first, working out poses, lighting and all the "ins" and "outs" of composing an illustration. Then, I transfer the rough art onto the final drawing board (which is usually bristol board) using a lightbox. I'm sure to copy the art onto the board lightly pencil the art lightly, because I want to tighten up the drawing on the board so that I can retain the energy in the drawing. This method allows me to keep the final art relatively clean, and prevents unnecessary erasing on the board. The results of this method work well for me, and make for "camera ready" final art, that doesn't require much in the way of clean-up. That help?

Loston

It does help! I have tried using a light box before, and didn't really like it, I think it had to do with the fact that there was no line weight to the drawing after I transfered it. I think it may have just been my lack of drawing knowledge at the time.

I have read that some artist scan in thumbnails, blow them up to 11x17, print it out, and light box it to save some time.

I don't have a light box handy at the moment, but it's definintilly something I am going to try again in the future.

Oh, and I would love a Loston style crituqe on one of my drawings some time, I don't think I have ever had the pleasure of receiving one ;).

Thanks! :)

[Bruce Lee]

It does help! I have tried using a light box before, and didn't really like it, I think it had to do with the fact that there was no line weight to the drawing after I transfered it. I think it may have just been my lack of drawing knowledge at the time.

The right idea is to use the lightbox to transfer the image loosely, so that you can do much of the redrawing and adding in line weights on the board. Simply tracing the rough exactly "as is" isn't the main goal of this method.


I have read that some artist scan in thumbnails, blow them up to 11x17, print it out, and light box it to save some time.

Yeah. I know a lot of pros that work this way. Personally, I'm rarely satisfied with my thumbnails, so blowing those up and copying them straight isn't really an option for me. I might lay out a 6 panel page and only really be satisfied with one or two panels, so the others might require a more detailed prelim sketch and/or a complete new design. Rarely do I ever find myself happy with things in the "thumbnail" stage. To me, that's just the starting point. I usually do a second rough drawing based on the thumbnail, and that's what I transfer onto the board--not the thumbnail.


I don't have a light box handy at the moment, but it's definintilly something I am going to try again in the future.

It's a handy tool to have in a studio. You never know when you'll need to blow something up, and/or recopy a rough image. Lightboxes aren't cheap, but they save you time.


Oh, and I would love a Loston style critque on one of my drawings some time, I don't think I have ever had the pleasure of receiving one ;).

Thanks! :)

I'll try keep that in mind, Bobby. I don't leave as many detailed crits on the boards as I used to. Mostly, it's a matter of not having as much time to do them as I used too. A number of people have PMed me in the past, requesting that I check out a particular thread or a particular work they've posted on the boards. When I can, I try to offer some advice, suggestions, and if there's time, sometimes I'll leave a Photoshop "overlay" too. The "overlay" is a great way to get a point across with complete clarity. Some things are just easier to communicate visually, and I think people seem to appreciate the extra effort taken in trying to help. Penciljack is one of the few places on the web where artists exchange ideas, and try to help each other out. To me, that's why the PJ community is a very special place. :pj:

Loston

[SpawnSC]

Loston,

Any tips on drawing veins?

[Bruce Lee]

Loston,

Any tips on drawing veins?

I think some good advice was presented on this topic in this TIPS & TECH thread:

http://www.penciljack.com/forum/showthread.php?t=83309&highlight=drawing+veins

That help?

Loston

[bindlestitch]

Loston,
This may have been asked before so forgive me if it has.
When would you say was the "turning" point in your artistic life where you went from amateur status to pro status? I don't mean when you started getting paid, but more when in your own estimation you saw that quality in your work that said you were ready to submit and get work professionally. Where you thought , "Hey, I can do this."
Also, was that point in your work a sharp improvement or was it a long gradual compilation of things that allowed you to be classified as a top notch illustrator?
Thanks in advance , man.
Iz
P.S. Just asking because I see progress in my own stuff but it's not coming nearly as fast as I would like. I know as artists we should never be satisfied with our stuff but I just want to be "ready" right now. heh.

[Bruce Lee]

Loston,
This may have been asked before so forgive me if it has.
When would you say was the "turning" point in your artistic life where you went from amateur status to pro status? I don't mean when you started getting paid, but more when in your own estimation you saw that quality in your work that said you were ready to submit and get work professionally. Where you thought , "Hey, I can do this."
Also, was that point in your work a sharp improvement or was it a long gradual compilation of things that allowed you to be classified as a top notch illustrator?
Thanks in advance , man.
Iz
P.S. Just asking because I see progress in my own stuff but it's not coming nearly as fast as I would like. I know as artists we should never be satisfied with our stuff but I just want to be "ready" right now. heh.


Those are very good questions, Iz, but they aren't easy to answer. Before coming to the Kubert School, I rarely finished many drawings other than role playing character sketches for friends or something like that. My first year attending the School, I learned that I had what it takes to meet a deadline, which was a major step in convincing myself that it was actually possible for me to do artwork for a living, and by the end of the first year, my skills were noticeably better than they were prior to attending the JKS. But, as obvious as it sounds, I'd say I finally believed I could be a professional when I got my first gig to do illustrations for the DEADLANDS ROLE PLAYING GAME back in 1996. Shane Hensley, who created DEADLANDS, was from my hometown of Clintwood, Virginia. Shane remembered me as the guy from high school who could draw. When Shane started up DEADLANDS, he sought me out, contacting me through some mutual friends. Shane already had some name professionals signed up to illustrate DEADLANDS. the one and only Brom was doing the cover to the rule book, and Allen Nunis, who'd worked on STAR WARS comics was leading up the interior art, along side talented guys like Steve Bryant and Ron Spencer. Shane hadn't seen my work in years, but he remembered my artwork from local fairs and events in my hometown. I don't think he knew if my work would be good enough for DEADLANDS or not, but he was willing to give me a trial shot. If my work was "up to snuff", I'd get a few illustrations in DEADLANDS the RPG. I did three sample images based on some descriptions Shane faxed over to me. I sent in the samples, and Shane called me after they arrived. He was extremely happy with my sample images, and told me that he was not only going to print all three--he also wanted me to do a few more images to be included in the first book!

Shane had invested all the money he possessed, and had borrowed even more, going into major debt to get this game off the ground. Everything was at stake for him, and DEADLANDS was his baby. Shane didn't know that I had been attending the Joe Kubert School, but he was impressed at how much skill I had required since high school. I remember Shane commenting that he was hoping that my artwork might be good enough to publish, but leveling with me, he wasn't sure how I'd fair against the name pros. Shane told me that he was "blown away" by my samples. That meant a lot to me, because I know Shane wasn't an easy guy to please. He wanted DEADLANDS to be the best thing ever, so he wouldn't be accepting lackluster work from anyone. His praise was amazing. :)

So there you go. I owe a lot to Shane Hensley, who had faith in me, giving me my first real break, my first decent pro paycheck, and my first boost of confidence that I could draw for a living.

That a good enough answer? :)

Loston

[bindlestitch]

It's a great answer, and inspirational to boot.

When Shane contacted you for the samples, at that point in your artistic career, had you already determined that you were indeed ready to become a pro?
I guess what I'm wondering is: Did there come a point where you thought you stacked up to the competition out there?
Because for myself, realistically speaking, I can see an almost never ending list of things that I need to improve (vastly) in order to stack up to the competition. Is that self critique always going to be so overwhelming?

[Bruce Lee]

It's a great answer, and inspirational to boot.

When Shane contacted you for the samples, at that point in your artistic career, had you already determined that you were indeed ready to become a pro?

I was in my second year at the JOE KUBERT SCHOOL, so I was on the path to becoming a pro already. As far as being "ready" goes, I was pretty wet behind the ears still, but the School really did help me develop my skills, and I did a lot of growing on the job.


I guess what I'm wondering is: Did there come a point where you thought you stacked up to the competition out there?
Because for myself, realistically speaking, I can see an almost never ending list of things that I need to improve (vastly) in order to stack up to the competition. Is that self critique always going to be so overwhelming?

You know, you can compare yourself to other established artists all day long, and you'll likely to come away NOT feeling like you're as good as they are. Just remember that it's RARE that anyone starts out a master of their craft. Eisner, Kirby, Joe Kubert, Jim Lee, Brian Bolland, Alan Davis, Bruce Timm, etc all grew into the artists they are now. They didn't start off job #1 as skilled or refined. Look at the early works of each of these artists, and you'll quickly see I'm right. Heh.

Are you ready to become a pro yet? I can't say that-- Only YOU can say that. Being a pro isn't just about having a certain level of skill and talent. It's about rising to the occasion. It's about meeting deadlines, and working with others. Being a professional is about learning on the job, and improving your abilities and skills as you go along. Being a pro artist is as much about learning to handle responsibility as it is about mastering drawing.

You don't have to be the BEST to be a professional. But you do need to have skills. You absolutely need to be competent to keep steady work coming in. You need a strong work ethic, and a little tenacity also. But you don't need to be the next Jim Lee or the next Darwyn Cooke to get a job, or make a living. Everyone naturally wants to be "the next big thing" in the business, but realistically, the "next big thing" only happens to a few fortunate people. Don't psyche yourself out by thinking you can't be a working pro unless you can draw figures or construct pages as well as (insert big name pro here). I doubt many track runners break Jesse Owens' records the first time they run a foot race. Most artists aren't going to start a pro career at an Alex Ross level of ability--Alex didn't. Heh. It's just not realistic. Sure, you have to aim high and set high standards for yourself--it's a dog eat dog world of competition out there, so it's good to push yourself to get better and better-- but, I believe there's lots of work to be had if you know where to look. Don't be afraid to work your way up from the bottom, one step at a time.

If you don't think your skills are currently up to snuff, I suggest you find a way to improve them. There's no better way to do that than learning on the job! Try seeking out some commission work, or role playing illustration work, or do some small comic work for a small company. The pay probably won't be so good, but the experience probably will be.

I can't promise you or anyone else that they can make it as a professional artist, but I can promise that the bus getting there is leaving NOW. Be on it.

You can practice driving in the parking lot all you want, but eventually you're going to have to drive that car on the highway if you want to make your license. ;)

Loston

[bindlestitch]

I should just put this in my signature and be done with it, but: Loston , you are the man.
I've told you a million times how much your contributions to this board make a huge difference in me reaching my goals. But I'll keep telling you , because it's the truth.
Excellent and well thought out answer my friend. That's another thing I appreciate about you, you don't give pat answers. Every one is thought out and specific to the question asked. You sir are what I aspire to be as a professional artist.
Thanks,
Iz

[Bruce Lee]

I should just put this in my signature and be done with it, but: Lost on , you are the man.
I've told you a million times how much your contributions to this board make a huge difference in me reaching my goals. But I'll keep telling you , because it's the truth.
Excellent and well thought out answer my friend. That's another thing I appreciate about you, you don't give pat answers. Every one is thought out and specific to the question asked. You sir are what I aspire to be as a professional artist.
Thanks,
Iz

Awww--I'm just long-winded, Iz....:o ....but I am glad I could help, man.

Loston

[Caimano]

Hi Loston,
a "legal" question.

May I use picture (photo of photographers) ligtbox them in my comic pages? I know that it doesn't sound good artistically speaking, but i do't want to discuss about the artstic side I'd like to know if it's legally forbitten or if it can be done

Ciao pal and thanks in advance for the answer

[Bruce Lee]

Hi Loston,
a "legal" question.

May I use picture (photo of photographers) ligtbox them in my comic pages? I know that it doesn't sound good artistically speaking, but i do't want to discuss about the artstic side I'd like to know if it's legally forbitten or if it can be done

Ciao pal and thanks in advance for the answer

It's tough to answer that question, because I'm not really sure what the legalities of that are, Simone. I would suspect it would depend on whether or not someone holds a copyright on the photo image. If someone does hold the copyright, then I'd think it'd be a violation to use the copyright holder's particular image for certain purposes, and under some circumstances.

There are a lot of websites that have copyright free photos to use though, so if you're going to use photos, it seems to me that it'd be a good idea to get them from a source like that. Then you won't have any need to worry.

Loston

[spidey976]

Okay m8 ... not really asking much here ... but ... I just got your Batman book ... and it rocks m8 ... awesome job ... I would love to see some more of your roughs soon ... ;)

[Bruce Lee]

Okay m8 ... not really asking much here ... but ... I just got your Batman book ... and it rocks m8 ... awesome job ... I would love to see some more of your roughs soon ... ;)


Sure thing, spidey976.

I can't show all the image here, but here's the rough sketch pose...

http://www.lostonwallace.com/batswingrough1.jpg

...that became this figure in the final art:

http://www.lostonwallace.com/batman4b.jpg

As you can see, I started off with a rough pencil sketch, then refined the drawing using a marker to tighten up anatomy and details. Then I transfered the rough art onto bristol board using a lightbox, and lightly penciled in the areas. I made further refinements to the drawing on the bristol, and then I inked it. The background behind Batman was drawn on a separate piece of scrap paper (where I was free to draw perspective grids to my heart's content). I then transfered the buildings onto the bristol board using the same lightbox transfer method. By working things out on scratch paper first, I don't have to tear up my bristol board via a lot of unnecessary erasing. These preliminary sketches (like the one posted above) also benefit me, because they are another piece of original artwork produced. These preliminary pieces of artwork are often sought out by collectors, so I can sell the sketches, and not just the original final art.

Loston

[Vivat_Rex]

Are there rules for the Batman's cowl and ears? Sometimes the ears are thin and long and sometimes they are small and squat. Does that depend on the editor?

[Bruce Lee]

Are there rules for the Batman's cowl and ears? Sometimes the ears are thin and long and sometimes they are small and squat. Does that depend on the editor?

Good question, Vivat. In licensing art, you're asked to either follow a style guide character sheet, provided by the DC editor, or you're asked to create your own for approval. In this case, I was told that I had some style flexibility, and got to create my own character design. The editor had input on the design, and always had "final word" power over it. The editor had no problems with Batman having longer ears on his mask, but he did think that the first design that I sent him was too "realistic" for the kid's storybook, and I was asked to make the design a little more animated in feel. The editor wanted to keep a little of the detail in the anatomy (he didn't want the anatomy to look too simplified like the Bruce Timm stuff), but wanted to make it a bit more "kid friendly". In my second draft I compromised. I enlarged Batman's eyes, streamlined some of the anatomy and shadows, and squared off Batman's chin a little. This version was quickly "approved". :)

Loston

[spidey976]

Awesome roughs m8 ... I remember seeing these in your blog awhile back ... and I love them.

Now here is the question ... I was reading through your "equipment" blog and I am REALLY thinking about experimenting with inking ... mainly with a brush and maybe some pitt pens. However, I was wondering if I should start inking over my own pencils or someone elses off the net ... so I could compare what I do with someone elses like say Scott Williams or you... ;)??

[spidey976]

Awesome roughs m8 ... I remember seeing these in your blog awhile back ... and I love them.

Now here is the question ... I was reading through your "equipment" blog and I am REALLY thinking about experimenting with inking ... mainly with a brush and maybe some pitt pens. However, I was wondering if I should start inking over my own pencils or someone elses off the net ... so I could compare what I do with someone elses like say Scott Williams or you... ;)??

ummmm ... bump ... ;)

[Bruce Lee]

Now here is the question ... I was reading through your "equipment" blog and I am REALLY thinking about experimenting with inking ... mainly with a brush and maybe some pitt pens. However, I was wondering if I should start inking over my own pencils or someone elses off the net ... so I could compare what I do with someone elses like say Scott Williams or you... ??

I think you need to do both. Inking over your own pencils will help you to figure out how to pencil better for inks, actually. Learning to ink over other artists will help you with control, as you will have to interpret other artist's line work. No two artists work exactly alike so you may be challenged more this way. So practice on your own work, and also practice on the work of other pencillers. As an inker, your goal is to be faithful to the pencils without resorting to simply tracing the lines. You have to reinterpret the lines, 9 times out of 10, adding line weights where they are needed, and sometimes you may need to add in some spotted black, textures, etc. It all depends on the pencils and the goals of the artwork. Knowing "when" and "when not" is what makes a veteran inker a veteran. This sort of knowledge comes from constant practice and experience--experienced gained inking other artist's work usually. But if you pencil, I think it's a good idea to also learn to ink your own work. Why be a one-trick pony?

Loston

[Vivat_Rex]

Top three Bruce Lee movies?
I love "Enter the Dragon", "Fists of Fury" and "Way of the Dragon", in that order.

[Bruce Lee]

Top three Bruce Lee movies?
I love "Enter the Dragon", "Fists of Fury" and "Way of the Dragon", in that order.

-Enter the Dragon
-Chinese Connection
-Game of Death

Tough to get past Chuck Norris' back hair in "Way of the Dragon" :x :skull: heh.

Loston

[SpawnSC]

Loston,

do you have tips on fore shorting and when to do negative space? and how to do a shiny surface drawing? like how can I make iron mans armor seem shiny?

Thanks man!

[McNiel]

What would be your dream project? Writing and/or drawing an existing franchise? Making your own?

[Bruce Lee]

Loston,

do you have tips on fore shorting and when to do negative space? and how to do a shiny surface drawing? like how can I make iron mans armor seem shiny?

Thanks man!

Foreshortening quick tip: Draw the objects in the foreground first, then taper things as you draw towards the background. For example, if you're drawing Superman flying towards the camera with his fists out, it would be wise to draw his fists first, then draw his forearms, then his bicep/tricep area, then his shoulders, then his head, etc. This will help you gauge the size of the anatomy as things taper back towards the background.

Negative space: You should use negative space to counter balance an abundance of detail in your drawing. Negative space can be used to pop out figures, and clarify images. I chose to use a fair amount of negative space on the cover I did for THE ELDRITCH ADVENTURES OF BECKY SHARP so that the cover would be very clear and readable from across a room:
http://www.lostonwallace.com/beckyproof1.jpg
Notice that the Logo is very legible, and the figure of Becky pops outward against the negative space of the background. Even though I did include the Cthulhu statuary with her and some jungle grass to establish some setting, I was always aware that CLARITY is essential for producing a good cover. If I had included mountains, more jungle flora, or even a cloudy sky behind Becky, I might have compromised the cover's readability. I wanted viewers to recognize right away that they were looking at a girl w/gun, standing in front of a Cthulhu idol, amidst a jungle-like environment. The message came across very clearly because I opted for Negative space behind the artwork. Even the logo pops against the white backdrop. That's no accident. Learning the value of negative space is key in getting visual messages across without confusion. Knowing when and when not to use negative space comes from experience, and a lot of trial and error. You can learn to figrue out how to properly used negative space by studing some of the indestry's best sequential artists. Study guys like Wally Wood, Will Eisner, Jack Kirby, Alex Toth, Steve Ditko and Joe Kubert. These guys always put across a clear visual message.

Shiny Metal: Bob Layton did a great job making Iron Man's armor look shiny and glossy. Study some of his inking on Shellhead from back in the day. It might prove helpful. Otherwise, start observing the shine and gloss of automobiles. I think you'll find that the edge lighting and shadows make the effect.

Hope this helps.

Loston

[Bruce Lee]

What would be your dream project? Writing and/or drawing an existing franchise? Making your own?

You know, my dream project would be to complete STRANGE PASSAGES, a pulp comic that Micah Harris and I have been working on, on and off, for a few years. I hope that I can get back to that in 2009. Other than that, I think I'd be happiest working on CONAN, the FANTASTIC FOUR, or BATMAN. I enjoy drawing monsters, zombies, etc, so horror projects always seem appealing, but I rarely get to do monsters, etc.

Loston

[SpawnSC]

thanks man! :lml-:

[Bruce Lee]

thanks man! :lml-:

No prob, dude. :)

[Ugga Bugga]

Did you miss me?

[Bruce Lee]

Did you miss me?

If I'd have had a laser scope, I wouldn't have. :skull:

[Rael]

Hey Loston, what's up? Counting the days until the next Heroes. I expect more poisoned cookies to keep my Evil meter at max.

What kind of "warm-up" exercises do you do, if any before you sit down and start seriously banging it out? Yes, I phrased it that way intentionally. Take it as you will.

What about "maintenance" exercises - you know, the kind of things you might do to keep your skills sharp and push the envelope a bit?

[Nerdface]

Any word on the second run of sketchbooks yet? Can't wait to get my copy! :)

[Bruce Lee]

Any word on the second run of sketchbooks yet? Can't wait to get my copy! :)

They've been re-ordered, Jelle. :)

Loston

[Bruce Lee]

Hey Loston, what's up? Counting the days until the next Heroes. I expect more poisoned cookies to keep my Evil meter at max.

What kind of "warm-up" exercises do you do, if any before you sit down and start seriously banging it out? Yes, I phrased it that way intentionally. Take it as you will.

What about "maintenance" exercises - you know, the kind of things you might do to keep your skills sharp and push the envelope a bit?

I have to do finger stretches before drawing. Back around 1998 or '99 I broke my right thumb playing basketball, and my thumb gets stiff if I don't do some warm-up stretching. I usually do warm-up sketching as well, just to ease into things. I usually only do about 10-30 minutes of warm-up sketches before I'm ready to start the drawing day.

As far as maintenance exercises to keep skills sharp: I often work out foreshortened poses, action shots, lighting and other difficult aspects of drawing when I'm doing warm-up sketches. I also sketch whenever I'm chatting online or on the telephone for long periods of time. It's easy to try to push the envelope while sketching because it doesn't matter as much if you fail or not. It's just sketching--and a great place for trial and error type drawing. You can try anything you want, whether you're good at it or not, without feeling the pressure to get it right. It's practice. You can mess up all you want, or aim as high as you can go. The joy of sketching is that it's never wrong or right. It's exercise, with yourself as your only competition, coach and audience.

It was nice meeting you at HEROESCON, man. Looking forward to hanging out with you guys again next year!

Loston

[Rael]

Thank you for the great answer, Loston! Your point about "It's just sketching" is really true, and something I need to keep in mind a little more.

So do you keep your sketches? When you're on the phone or online and you're sketching, is it in a proper sketchbook, scraps of paper, or what?

I'm trying to get in the habit of only drawing in my big fat hardbound sketchbook, and if I draw on a scrap of paper, tape it in later. I realized over the years that I tossed so much stuff that might've been useful now for reference, ideas, etc.

[CoreyPledger]

Hey Loston, I can't seem to get my drawings motivated enough. Nothing seems worth drawing anymore. The stuff I've drawn recently is so crappy I threw an entire sketchbook away. 100 pages of horrible drawings. I can't focus anymore. Got any tips?

Hope all's well with you.

[dfbovey]

Hey Loston, I can't seem to get my drawings motivated enough. Nothing seems worth drawing anymore. The stuff I've drawn recently is so crappy I threw an entire sketchbook away. 100 pages of horrible drawings. I can't focus anymore. Got any tips?

Hope all's well with you.

Don't want to tread on Loston's ground but...

First tip, never throw anything away! Keep it and study what you're doing wrong.

I kinda learned the hard way... won a scholarship to SCAD off of something my high school art teacher pulled from the trash and sent off without me knowing about it.

[Bruce Lee]

Hey Loston, I can't seem to get my drawings motivated enough. Nothing seems worth drawing anymore. The stuff I've drawn recently is so crappy I threw an entire sketchbook away. 100 pages of horrible drawings. I can't focus anymore. Got any tips?

Hope all's well with you.


Don't want to tread on Loston's ground but...

First tip, never throw anything away! Keep it and study what you're doing wrong.

I kinda learned the hard way... won a scholarship to SCAD off of something my high school art teacher pulled from the trash and sent off without me knowing about it.

I have to agree with Dave here. You can actually learn a lot from your artistic failures. If anything, I recommend scanning the drawings that you think are going nowhere, and I recommend that you post them on PJ for crits and comments. In this way you'll be receiving fresh insight from others that might help you understand where you're going wrong, etc.

If you get in the habit of 1) posting work for crits; 2) listening to crits and comments given; 3) and then reworking and re-posting corrected/improved artwork based on the criticisms received, I think you'll find that you'll begin to do better work, and your focus will return along the way. PENCILJACK is a great artistic community with a huge artistic braintrust to tap into. Answers and guidance are in abundance here, but one has to be willing to ask for help, and willing to listen to the advice that given to benefit from such a wealthy community. It'd be a real shame not to take advantage of such a privileged environment.

Hope that helps.

Loston

[CoreyPledger]

I have to agree with Dave here. You can actually learn a lot from your artistic failures. If anything, I recommend scanning the drawings that you think are going nowhere, and I recommend that you post them on PJ for crits and comments. In this way you'll be receiving fresh insight from others that might help you understand where you're going wrong, etc.

If you get in the habit of 1) posting work for crits; 2) listening to crits and comments given; 3) and then reworking and re-posting corrected/improved artwork based on the criticisms received, I think you'll find that you'll begin to do better work, and your focus will return along the way. PENCILJACK is a great artistic community with a huge artistic braintrust to tap into. Answers and guidance are in abundance here, but one has to be willing to ask for help, and willing to listen to the advice that given to benefit from such a wealthy community. It'd be a real shame not to take advantage of such a privileged environment.

Hope that helps.

Loston

It helps a little, but I never like posting work I feel is crap because I don't want to waste space with something I personally know is below my standards.

But I'll start anyway. Thanks Loston.

Dfbovey: I wanted to go to SCAD, but I'm not sure right now.

[SpawnSC]

Loston are you a Watchmen fan? if so got any drawing to share :D

[Bruce Lee]

Loston are you a Watchmen fan? if so got any drawing to share :D

Yes I am. Here's a sketch from "RETROBURNER":

http://www.lostonwallace.com/watchmen.jpg

Loston

[Vivat_Rex]

Wow that is a sharp Ror-shark.
Any Miracleman work? Ever read it?

[Bruce Lee]

Wow that is a sharp Ror-shark.
Any Miracleman work? Ever read it?

I've read it, but I've never drawn any of the characters before.

Loston

[jgodwin]

Bruce,
How do you prefer to deal with an project whereas you have to get your pencils to an inker in another city?

[Bruce Lee]

Bruce,
How do you prefer to deal with an project whereas you have to get your pencils to an inker in another city?

I don't often have that problem, since I primarily ink my own work these days, but in the past I sent pages via FEDEX to the inker, after making quality copies and scans of the original pencils.

Some people chose to send files to digital inkers, or send blue line files for the inkers to print out, but I personally think sending blue line copies to an inker is problematic as sometimes lines drop out in the print outs.

[jgodwin]

I don't often have that problem, since I primarily ink my own work these days, but in the past I sent pages via FEDEX to the inker, after making quality copies and scans of the original pencils.

Some people chose to send files to digital inkers, or send blue line files for the inkers to print out, but I personally think sending blue line copies to an inker is problematic as sometimes lines drop out in the print outs.

When FEDEXing, how did you protect the integrity of the pencils during the shipping process?

[Bruce Lee]

When FEDEXing, how did you protect the integrity of the pencils during the shipping process?

I usually just put the artwork inside of one of those FEDEX boxes, but I keep the box flat, and just tape up the edges. Usually the thick cardboard of those boxes and mailing the art flat is enough to protect the pages inside. You could also include foam core board or cardboard inside the package to if you really are worried about things.

Loston

[jgodwin]

I usually just put the artwork inside of one of those FEDEX boxes, but I keep the box flat, and just tape up the edges. Usually the thick cardboard of those boxes and mailing the art flat is enough to protect the pages inside. You could also include foam core board or cardboard inside the package to if you really are worried about things.

Loston

Do you use fixative or anything to prevent smudging?

[Bruce Lee]

Do you use fixative or anything to prevent smudging?

Not on pencils I want to hand off to inkers. I sometimes will use hairspray when I do pencil smudge portraits done with "B" pencil leads or Ebony pencils. I used a little on this drawing, which received color in photoshop, but remains in pencil:
http://www.lostonwallace.com/beckypencils200.jpg

I rarely use fixatives though, because most of my work is typically done with idea of inking in mind.

Loston

[Bruce Lee]

Loston can you go over the many tools you use to create your work?

There's a thread here that covers most of the drawing equipment I use:
http://www.penciljack.com/forum/showthread.php?t=81941

Is there something specific you were wondering about?

Loston

[midLfinger]

Can you, convincingly, draw Wolverine's claws aiming at the "camera?" I mean, without pointing them to a direction and just making them shorter so it looks like they're just extending a bit but pointing either left or right because his hand is conveniently just a little sideways.

I ask because I'm not sure how to do it well and when I see that slightly pointed at the "camera" thing with the short claws it droves me nuts and looks way too obvious and detracts from whatever comic I'm reading.

Finally, if you can draw that and if it's not too much to ask, can you post an example?

Thank you for your consideration.

[Bruce Lee]

Can you, convincingly, draw Wolverine's claws aiming at the "camera?" I mean, without pointing them to a direction and just making them shorter so it looks like they're just extending a bit but pointing either left or right because his hand is conveniently just a little sideways.

I ask because I'm not sure how to do it well and when I see that slightly pointed at the "camera" thing with the short claws it droves me nuts and looks way too obvious and detracts from whatever comic I'm reading.


There's a reason people avoid drawing Wolverine's claws from the straight-on POV. Namely, it doesn't read very well visually. Even if you draw the foreshortening as how it would really look from that POV, it isn't going to look "convincing" on a 2-D piece of a paper. The claws are very thin, so they just don't come across as looking recognizable as anything in a straight-on POV. That's why artists choose to move the camera slightly to show some of the sides of the claws, or the top or the claws, etc.

Get a friend to put three butter knives between his fingers, and then take a photo of his fist 'o knives from the same straight-on POV you suggest here. I think you'll start to understand the recognition problem that arises when you see this POV shot in the 2-D photo. The same things happens with a 2-D drawing. It's not likely to look or read very well, I'm afraid.

Loston

[Ugga Bugga]

What is your favorite Huey Lewis and the News Lyric?

[Bruce Lee]

What is your favorite Huey Lewis and the News Lyric?

This question has already been answered in the Break Room thread. :confused:

Loston

[Ugga Bugga]

No.... In the breakroom, the question was what is your favourite Huey Lewis and the News Lyric. This time, it was "favorite"

[midLfinger]

Rats... I was hoping you had some super secret way of doing it.

I also wanted to say, "thank you." I've been trying to progress in my art since I haven't taken it real serious for, like, ever. Your section here on the boards has aided me very much. You probably don't realize it but it's like I've been a student in your classroom. The information you've provided has been like a "how to draw comics" book in and of itself. So, thanks for all your help.

One more question: I know you say to look at reference pics to learn how to draw things from hair to metal to leather, I find this difficult to do when concerning fire. Any advice for drawing fire? I feel like the fire I draw is too "cartoony." What I mean is like fire in a coloring book.

[Bruce Lee]

Rats... I was hoping you had some super secret way of doing it.

I also wanted to say, "thank you." I've been trying to progress in my art since I haven't taken it real serious for, like, ever. Your section here on the boards has aided me very much. You probably don't realize it but it's like I've been a student in your classroom. The information you've provided has been like a "how to draw comics" book in and of itself. So, thanks for all your help.

Thanks, man. I appreciate your comments. Please let me make a point though regarding the idea of me as an teacher though, because I don't have any interest in lording over others like a rocks star. That's never been a goal of mine, and it never will be. My only goal is to share my experience and knowledge with other artists on PJ. I'm happy that I have those things to share now, because I didn't always have either. I grew up in an isolated small town in the coal mining mountains of Virginia. I lived in a very small town off the beaten pathway, and located in a very rural and nearly forgotten part of the state. I was practically the ONLY artist in the county that I was aware of growing up. There was one old guy who did some sort of landscape folk art, but that was about it. There weren't any art classes offered in grade school or in high school, so I had no one to turn to for any sort of artistic advice or art instruction. I grew up in the 70s and 80s so there wasn't a internet back then to come to my aid, so the only help I could get was the occasional book I could check out from the local library. I made the best of a bad situation for two decades of my life, learning what I could here and there, and trying to dissect comic book artist's printed works.

In 1994, I decided that I had to make a go of art, so I applied for the Joe Kubert School and was accepted. While there, I had my first real art instruction, and guess what? I had to unlearn a LOT of things. I had to relearn how to approach drawing, starting over from the bottom again. I had spent years learning to draw things with only the aid of my own personal observations. There was no one available that could guide me or point me in the right direction in regards to any sort of useful information. I couldn't just ask someone about how to properly draw an arm or leg. No one there to tell me what types of paper to use, or where I could buy ink, or anything at all!

Younger PJers who have had the good fortune to grow up with the internet may not understand and fully appreciate just how lucky they are to have a wealth of artistic knowledge available to them at the touch of a button, but I try not to take it for granted. Penciljack, as I see it, is a godsend. I wish I could have had an art forum filled with talented people to help me figure things out all those years ago! I've personally learned a lot from other PJers since I first arrived on the board in 2001. I've always tried to help if I can, and I've always tried to be appreciative of the help I've received from others. I may have a few years experience on many of PJ's members, but I'm a fellow student who's happy to share and help. :)



One more question: I know you say to look at reference pics to learn how to draw things from hair to metal to leather, I find this difficult to do when concerning fire. Any advice for drawing fire? I feel like the fire I draw is too "cartoony." What I mean is like fire in a coloring book.

I guess how you go about rendering fire depends on your medium. If you're talking about drawing fire via line art, the best advice I can give you is to keep your fire tendrils wispy (simulating a flickering of the flames), the contour lines thin, and don't overdo the details. Fire is something of an oddity to draw--you have to treat it as a gas, as a light and as energy, so it's a tall order. If you overdo it, it can look kind of weird on a page, so keep it simple. I like to give the flames of my fire a slight diagonal tilt in the upward direction to show some a little extra atmospheric and drama.

I have always been partial to the simple way John Buscema drew fire in Conan, using just a few loose, curving lines to convey movement and energy often seen in the fire shapes like this:

http://www.ct.gov/dcf/lib/dcf/wmv/images/fire.jpg

Here's a few Buscema images to check out:

http://images.darkhorse.com/common/salestools/previews/conanv14/conanv14p3.jpg

http://www.ferretpress.com/weblog/uploaded_images/conan44-797679.jpg

http://www.captphilonline.com/images/PowerRecords-ConanTheBarbarianLP.jpeg

Dave Stevens used a similar method to draw fire, adding a wispiness to the smoke to add a little extra ethereal quality to things:

http://www.swanshadow.com/images/Rocketeer_Stevens.jpg

If you are working with color, it's best to drop the contour lines altogether, leaving loose tendril shapes:

http://entertainment.upperdeck.com/ArticleImages/VsSystem/August/HumanTorch.gif

Try to vary the size and shapes of the fire tendrils, and don't over-stylize the look of the flame shapes. Otherwise, you'll come out with flames that seem too uniform, looking more like decorations for the hood of a hotrod than real fire.

Hope that helps.

Loston

[Bruce Lee]

Rats... I was hoping you had some super secret way of doing it.

I also wanted to say, "thank you." I've been trying to progress in my art since I haven't taken it real serious for, like, ever. Your section here on the boards has aided me very much. You probably don't realize it but it's like I've been a student in your classroom. The information you've provided has been like a "how to draw comics" book in and of itself. So, thanks for all your help.

Thanks, man. I appreciate your comments. Please let me make a point though regarding the idea of me as an teacher though, because I don't have any interest in lording over others like a rocks star. That's never been a goal of mine, and it never will be. My only goal is to share my experience and knowledge with other artists on PJ. I'm happy that I have those things to share now, because I didn't always have either. I grew up in an isolated small town in the coal mining mountains of Virginia. I lived in a very small town off the beaten pathway, and located in a very rural and nearly forgotten part of the state. I was practically the ONLY artist in the county that I was aware of growing up. There was one old guy who did some sort of landscape folk art, but that was about it. There weren't any art classes offered in grade school or in high school, so I had no one to turn to for any sort of artistic advice or art instruction. I grew up in the 70s and 80s so there wasn't a internet back then to come to my aid, so the only help I could get was the occasional book I could check out from the local library. I made the best of a bad situation for two decades of my life, learning what I could here and there, and trying to dissect comic book artist's printed works.

In 1994, I decided that I had to make a go of art, so I applied for the Joe Kubert School and was accepted. While there, I had my first real art instruction, and guess what? I had to unlearn a LOT of things. I had to relearn how to approach drawing, starting over from the bottom again. I had spent years learning to draw things with only the aid of my own personal observations. There was no one available that could guide me or point me in the right direction in regards to any sort of useful information. I couldn't just ask someone about how to properly draw an arm or leg. No one there to tell me what types of paper to use, or where I could buy ink, or anything at all!

Younger PJers who have had the good fortune to grow up with the internet may not understand and fully appreciate just how lucky they are to have a wealth of artistic knowledge available to them at the touch of a button, but I try not to take it for granted. Penciljack, as I see it, is a godsend. I wish I could have had an art forum filled with talented people to help me figure things out all those years ago! I've personally learned a lot from other PJers since I first arrived on the board in 2001. I've always tried to help if I can, and I've always tried to be appreciative of the help I've received from others. I may have a few years experience on many of PJ's members, but I'm a fellow student who's happy to share and help. :)



One more question: I know you say to look at reference pics to learn how to draw things from hair to metal to leather, I find this difficult to do when concerning fire. Any advice for drawing fire? I feel like the fire I draw is too "cartoony." What I mean is like fire in a coloring book.

I guess how you go about rendering fire depends on your medium. If you're talking about drawing fire via line art, the best advice I can give you is to keep your fire tendrils wispy (simulating a flickering of the flames), the contour lines thin, and don't overdo the details. Fire is something of an oddity to draw--you have to treat it as a gas, as a light and as energy, so it's a tall order. If you overdo it, it can look kind of weird on a page, so keep it simple. I like to give the flames of my fire a slight diagonal tilt in the upward direction to show some a little extra atmospheric and drama.

I have always been partial to the simple way John Buscema drew fire in Conan, using just a few loose, curving lines to convey movement and energy often seen in the fire shapes like this:

http://www.ct.gov/dcf/lib/dcf/wmv/images/fire.jpg

Here's a few Buscema images to check out:

http://images.darkhorse.com/common/salestools/previews/conanv14/conanv14p3.jpg

http://www.ferretpress.com/weblog/uploaded_images/conan44-797679.jpg

http://www.captphilonline.com/images/PowerRecords-ConanTheBarbarianLP.jpeg

Dave Stevens used a similar method to draw fire, adding a wispiness to the smoke to add a little extra ethereal quality to things:

http://www.swanshadow.com/images/Rocketeer_Stevens.jpg

If you are working with color, it's best to drop the contour lines altogether, leaving loose tendril shapes:

http://entertainment.upperdeck.com/ArticleImages/VsSystem/August/HumanTorch.gif

Try to vary the size and shapes of the fire tendrils, and don't over-stylize the look of the flame shapes. Otherwise, you'll come out with flames that seem too uniform, looking more like decorations for the hood of a hotrod than real fire.

Hope that shines some light on things, Mario.

Loston

[sdowner]

Loston,
when you get up in the morning and look into the mirror, is it like looking into the face of God? Just something I've wondered about. :D

[Telekinetic Ketchup]

Okay Loston, this is something I've always wondered how proffessional artists handle, say one of those days where your just not feeling the art, it just doesnt look right no matter what you do, basically you're having one of those days where everything you draw in your and possible someone elses oppinon is shit or sub par atleast, if you are then on a deadline what do you do? do you have some motivation techniques? some practices or do you just fight through it delivering a piece that you are in no way satisfied with?

[Ugga Bugga]

Loston,
when you get up in the morning and look into the mirror, is it like looking into the face of God? Just something I've wondered about. :D

have you seen his face :p

[Bruce Lee]

Okay Loston, this is something I've always wondered how proffessional artists handle, say one of those days where your just not feeling the art, it just doesnt look right no matter what you do, basically you're having one of those days where everything you draw in your and possible someone elses oppinon is shit or sub par atleast, if you are then on a deadline what do you do? do you have some motivation techniques? some practices or do you just fight through it delivering a piece that you are in no way satisfied with?


It's a tough thing to answer. The business of drawing comics and illustrating for a living is absolutely deadline-centric. Any artist working for a publishing company will constantly be faced with the dilemma of doing it well or doing it Thursday. Most of the time it's difficult to deliver your "A" level work under deadline restraints, but I think the best artists rise to the occasion and deliver great work despite the deadline. These artists find ways to work faster and work smarter, and figure out better methods of time management. Those things are crucial to success. I don't have any secret tricks for helping anyone to deliver high quality work under deadline conditions, really--other than the obvious.

- Work hard to become a better artist. Get down the basic fundamentals of drawing.

-Try to work smarter and faster. If you can pencil a single sequential page or perhaps a page and a half a day, you can make it as a comic artist. You may want to streamline your style a bit, or figure out a better method of getting things done.

-Manage your time wisely. If you have work to do, don't waste time playing video games, surfing the web, etc. Get to work!

Hope that helps.

Loston

[Bruce Lee]

Loston,
when you get up in the morning and look into the mirror, is it like looking into the face of God? Just something I've wondered about. :D

Yay! I have my own stalker now! I guess that means I've finally "made it" as an artist. ;) :omg:

[Telekinetic Ketchup]

who's doctor stupid senior?

[ScottEwen]

who's doctor stupid senior?

http://farm4.static.flickr.com/3090/2341770135_f5d3045be7.jpg

It's from "Ren & Stimpy."

[NickRocks]

It's from "Ren & Stimpy."


why did you have to explain the joke?

[Bruce Lee]

The thread title was my attempt at some level of self deprecation. I know that this LAB TECH board represents a showcase for me and my work, but I don't want to give anyone the impression that I'm attempting to set myself up as some sort of all-knowing guru of information. Believe me, that's not the purpose of this thread. TIPS & TECH is probably a better place to post questions if you're seeking general advice or answers.

The first goal of this thread is to provide helpful answers and advice if I can be of service to other PJ members. I've been drawing for over 33 years at this point. I spent two years at the Kubert School learning the craft of comic book illustration. I've been a working professional illustrator/freelancer since 1996, and working on nearly 100 different publications since that time. Chances are pretty good that my experience as an artist might prove helpful to a few PJers, and I might be able to provide a few educated answers regarding art, the business of commercial illustration, myself, etc. ;)

The second goal of this thread is to provide some interaction with other PJers. It's great having a showcase, but it's greater to help out other artists who want to learn and improve. Maybe my experience can help. I hope so.

If you have a question about my, my artwork, the business I'm in, about the business of comics in general, or anything related--don't hesitate to ask. I can't promise you that I'll have all the answers, but I'll try my best to help.

Dr Stupid Jr

[CoreyPledger]

Okay Loston, this is something I've always wondered how proffessional artists handle, say one of those days where your just not feeling the art, it just doesnt look right no matter what you do, basically you're having one of those days where everything you draw in your and possible someone elses oppinon is shit or sub par atleast, if you are then on a deadline what do you do? do you have some motivation techniques? some practices or do you just fight through it delivering a piece that you are in no way satisfied with?

I'm no great artist, but Loston can tell you I've asked this question about a billion times.

Truth is, there's a lot of days where all I can do is pick an idea and draw different versions over and over again until the viewer is happy. But that's just Rocky's opinion.

[Telekinetic Ketchup]

Is your name Loston Wallace? like acctual name? in that case thats kind of an unusual name? wheres it originate?

[dfbovey]

Is your name Loston Wallace? like acctual name? in that case thats kind of an unusual name? wheres it originate?

Legend has it that his parents gave it to him.

[Telekinetic Ketchup]

Legend has it that his parents gave it to him.

oh is it now? I rather meant the origins of the name not the origins of the name giving.

[Bruce Lee]

Yeah. It's my real name on my birth certificate. My parents thought they were making the name up, but I've seen at least one other Loston (a jazz singer) since I got online. My father thought it sounded like "a good cowboy name". :/

It is an extremely rare name. I used to look through phonebooks as a kid trying to find another Loston, but I never had any luck. I was really bummed for a while because I have five brothers, and all of them have more common and normal names--James, Luther (also my Father's name), Paul, Glen and Matthew. I just felt like an odd duck, I guess. Now I appreciate the name more. I get away with signing only my first name on artwork now. Heh.

Loston

[Telekinetic Ketchup]

nice my name may not be rare but atleast its rare in norway never met anyone with the same name in person, and my name is Eddie.

[theGOBLIN]

My cousin is naming there son Daxton and it was funny the looks they get from the aunts and uncles over that name. I think its awesome personally.

[Bruce Lee]

I used to be sort of embarrassed my name in grade school, and I considered it to be something of a social handicap. On the first day of school almost every teacher would fumble to figure out my name during the morning roll call, guessing incorrectly at the pronounciation, which usually lead to snickers and giggles from classmates. My name always made me feel like I didn't quite fit in too well. The last thing a grade schooler wants is to seem different from his other classmates in any way. You want to be accepted as being the same, if you know what I mean. I didn't really learn to like my first name until I was in high school. Everyone wants to have their own identity in high school, so my name really helped to distinguish me a little.

There's always been the "Lost in Space" comments made whenever some new hears my name for the first time, or the people who were unwilling to actually believe that my name really is Loston. And then there's also the people who seemed to be just utterly confused by my name. My name rhymes with Boston, but people have pronounced it with a long "O" despite the obvious spelling, and many come to the conclusion that my name must be some mispelled form of "Lawson" or something. Yeah. That's it. The "T" is silent. Heh.

I've gotten lots of postal junk mail marked "Laston", "Lawston" and even "Lotan" once. Heh. "Lo-tan" sounds like it cold be the name of a Space Ghost villain. :D

http://images.quizfarm.com/1140125873spaceghost.jpg

[ink4884]

Hey Loston, Long time read first time poster.

lol

i been have trouble breaking down forearm muscles and connecting them to my wrist and hands. Not to mind those silly veins where everyone keeps drawing everywhere. Also neck muscles.where the strands that seemingly go from the chin to the clavicle....why are there so many muscles in those places. How do you or other people break those area down to a simplified form. Thanks in advance!

[Ugga Bugga]

At least your parents didn't go with their other choice... clitoris.

[Bruce Lee]

At least your parents didn't go with their other choice... clitoris.

At least I have parents. :skull: >D

[j3tt]

I used to be sort of embarrassed my name in grade school, and I considered it to be something of a social handicap. On the first day of school almost every teacher would fumble to figure out my name during the morning roll call, guessing incorrectly at the pronounciation, which usually lead to snickers and giggles from classmates. My name always made me feel like I didn't quite fit in too well. The last thing a grade schooler wants is to seem different from his other classmates in any way. You want to be accepted as being the same, if you know what I mean. I didn't really learn to like my first name until I was in high school. Everyone wants to have their own identity in high school, so my name really helped to distinguish me a little.

There's always been the "Lost in Space" comments made whenever some new hears my name for the first time, or the people who were unwilling to actually believe that my name really is Loston. And then there's also the people who seemed to be just utterly confused by my name. My name rhymes with Boston, but people have pronounced it with a long "O" despite the obvious spelling, and many come to the conclusion that my name must be some mispelled form of "Lawson" or something. Yeah. That's it. The "T" is silent. Heh.

I've gotten lots of postal junk mail marked "Laston", "Lawston" and even "Lotan" once. Heh. "Lo-tan" sounds like it cold be the name of a Space Ghost villain. :D

http://images.quizfarm.com/1140125873spaceghost.jpg

Loston is a cool name man. My actual first name is Jett. Kids used to try to tease me when I was in grade school, but they couldn't really come up with anything that made any sense. Jett-Plane har har har, that one gets used over and over (and it never gets any funnier), Jett-Lee, which I don't mind, Jett stream....you get the point.

[ScottEwen]

Loston is a cool name man. My actual first name is Jett. Kids used to try to tease me when I was in grade school, but they couldn't really come up with anything that made any sense. Jett-Plane har har har, that one gets used over and over (and it never gets any funnier), Jett-Lee, which I don't mind, Jett stream....you get the point.

No Jet Black?

http://www.absoluteanime.com/cowboy_bebop/jet.jpg

[Bruce Lee]

Loston is a cool name man. My actual first name is Jett. Kids used to try to tease me when I was in grade school, but they couldn't really come up with anything that made any sense. Jett-Plane har har har, that one gets used over and over (and it never gets any funnier), Jett-Lee, which I don't mind, Jett stream....you get the point.

...or Jet Screamer? Heh.

http://progressiveboink.com/b/images/hanna/jetscreamer.jpg

Jett's a cool name. Very memorable.

Loston

[j3tt]

ok. i guess im asking for it

[midLfinger]

I have five brothers, and all of them have more common and normal names--James, Luther (also my Father's name), Paul, Glen and Matthew.

You explained Loston and Luther, James, Paul and Matthew seem obvious (I'm assuming, of course, that your parents are/were Christian) but where does Glen get his name from?

[Ugga Bugga]

At least I have parents. :skull: >D

You know I am sensitive about the fact that I morphed from primordal ooze. Thanks for opening old wounds.

[Bruce Lee]

You explained Loston and Luther, James, Paul and Matthew seem obvious (I'm assuming, of course, that your parents are/were Christian) but where does Glen get his name from?

I wouldn't assume too much in regards to religion. My family was never particular religious, and I am not. It just so happens that most of my brothers have strong Christian names, but most derive from family ancestry. Glen's name came from a family ancestor. Luther was also my father's name. Paul was also my Grandfather's name. There are several ancestors named James on my Mother's side of the family. Matthew was actually a name that I spouted out for my brother before he was born, and my parents went with it.

Exactly 39 years ago to the day in snowy weather -10 below zero, I was born and was named Loston. I've been a cold, bitter fellow ever since. Heh. :D

[benrosa]

Hey Bruce,

sent you a PM

when you have time

please reply,

thanks

[e_t_i]

Exactly 39 years ago to the day in snowy weather -10 below zero, I was born and was named Loston. I've been a cold, bitter fellow ever since. Heh.

Happy Birthday, Loston! :lml-: :cool: :-lml:

[benrosa]

sent reply to you Bruce via PM

[Bathill8]

Hey Loston, is the guy on the Forum named Batfan (?), who said that he followed you over here to PJ ....actually THE Batfan who is in Ripley's believe it or not for the biggest collection of Batman memoriablia?