| Hey
now! LeS back in action after a retardedly
long hiatus (pardon the politicaly
incorrect metaphor). been hustlin
, pushin these pages to loyal fiends
at DW, heh. seems they love my product.
Busy Busy Busy Busy!. in anycase i'm
back as promised, with another brief
look into my process. It baffles me
when some of these pro cats treat
the process of creating comics like
its a buncha magic tricks, like its
a mystery. some of them scared to
show you the reals, they think you
may take their gig down the line,
ha! well i dont move like that. It
aint a community if cats dont share.
sharing is good. so on with the bread
breakin... |
| I
get a lotta questions (on AIM) on
how i go about the way i draw. like,
the FINISH, as some put it. Its called
"clean up" from my neck
o the woods. There are a lotta rules
and guidelines i keep in mind when
i'm producing. a set of "rules
and regulations" i like to keep
in mind when going from sketch to
finish to get that appeal. i used
to have these listed in order, taped
in front of me on my wall over my
drafting table....now its kinda imbedded...sometimes
i forget, my stuff be lookin wonky
sometimes when i do usually, but i
mostly, MOSTLY apply them to every
piece i work on. |
| "
Just do whats Logical" -Walt
Stanchfield |
| I
like to always keep that in mind above
all else when i'm doing what i do,
particularly the clean deadline style
i'm using. |
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VOLUME!
There must be volumes in your
construction. Create appealing,
convinving shapes. Volume
is directly related to construction
of your forms y'all. no getting
around it, so stop trying,
heh. i stress this becasue
the drawing is not FLAT. Dont
be fooled by the 2-Dimensional
surface you're working on.
all of the shapes are actually
volumes. 3D Forms. |
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| |
| "March
of the Wooden Posers"
-This is whats called a "wooden"
character to me. each arm,
hand, leg, foot, etc looks
the same as its counter part.
the result is a very stiff
looking pose. |
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|
 |
This
drawing looks more natural
simply becasue each part of
the body varies in the same
way from the corresponding
pose above, spine, torso varies
and creates a more dynamic,
relaxed look. |
|
| At
this point i incorporate those
principles above to this here
scribble of my man Naota Kun
from the genious show, Furi
Kuri. i try to knock out the
general shapes and volume
in his limbs. *its all in
the spine and shoulders baby!*
in corporating the natural
flair explained about. |
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Drawing
through shapes and objects.
this is an important step
for me when i'm constructing
appealing shapes and forms.
i mean this by "drawing
through " them in space.
By me doing this, it allows
me to define my shapes easier,
adding more depth, weight
and volume. this is importnat
as i want everything to work
in proportion for cleanup
especially UNDER his clothing,
espcially for the clean up
stage. |
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| "Think
SHAPE, not LINE!"- this
doesnt mean that line quality
is unimportant to me! it simply
means that when i'm layin
down my finished line i'm
usually thinking to myself
as a sculptor. Michaelangelo
was once asked while sculpting
a horse out of marble how
he approached the task. "I
simply REMOVE what is NOT
a horse." he replied.
This is something i try to
keep in mind during my clean
up stage- removing from the
rough, what is NOT the drawing
and adding what IS (But dont
get it twisted y'all, it's
not as easy as it sounds,
ha!!). |
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"AVOID
TANGENTS!" I try to avoid tangents
during clean up. You know, the part
of the drawing that doesnt read
well? When you look at a drawing
and everything seems right excetp
for that "thing" or "crap"
in it that you cant tell whats goin
on? Yeah those. they fool the eye
into seeing unintended shapes to
blend into one another. keep everything
clear and in mind. I make sure every
thing done, every line placed, is
THERE FOR A REASON.....and not there
becasue i'm trying to be cool. Its
like a well written story, if its
not there to enhance it, it doesnt
belong.
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