One-Panel Cup of Joe

When making the one-panel work of art, I decided to try a new technique that I have been wanting to use: coffee. You can use coffee like watercolor with a paintbrush and a cup of joe. You can layer the coffee to get nice splotchy looks, just like you would watercolor. Now, there really isn’t any artistic benefit to using coffee instead of watercolor. However, I figured that I only want to use watercolor/coffee for the texture in the shadows and I can color the characters in later, I figured that coffee is a much cheaper alternative for expensive watercolors. And it works just as good!

000

What I did was I took a picture of the one-panel picture, and I used a filter on my phone to make it black and white. However, that made the white more grey, and caused problems later on with photoshop. I think I’ll just use the picture of the coffee and lower the saturation so that I keep the white.

000photoshop

Next, I put the black and white picture into photoshop, where I played with filters and masks to get the colors right. I created a white gutter around the picture, because I didn’t want the page to bleed.

000 copy

And this is my finished piece! If you have any questions, just ask!

 

The argument against synergy

Over the past decade synergy between comic books and onscreen adaptations has been a fad encompassing the two major publishing companies. Synergy refers to changing source material to be consistent with the adaptations, not the reverse. Most of these
characters have existed for half a century or longer, and their adventures are legendary.

But wait! Aren’t these new versions being marketed to a mass audience, beyond the minority of Americans who go to their local comic book shop every Wednesday? Absolutely! But this doesn’t require ignoring long term fans who are the the core supporters of the genre. Sure there are new readers, but most aren’t attracted by seeing a good movie. If they did, Marvel would have gained tens of millions more readers after releasing the very successful Avengers movie. Actually, more people are attracted to comic books from animation, which follows the source material more accurately than live-action.

Nevertheless, the editors at Marvel and DC argue that they must change the characters to match film and television. Not only is this assumption false, it is
demeaning. To believe that somebody picking up a comic book for the
first time can’t figure out why there are differences between the
character they read about and one they on screen is assuming they are either lazy or too stupid to understand the difference between two different forms of entertainment.This is the 21st century and there’s a little thing called the Internet where you can research a character’s backstory. There is no need to change things through useless reboots or retcons when everyone has access to the history of these characters.

One way comic companies are trying to tie the movies and the comic
books together is through costume changes. Movies change the
costume of comic book heroes to seem less cheesy and more practical. Fine. But when the new costumes spill into the comics we have a problem. The first notable time this happened was after the release of the first X-Men movie. The X-Men are known for wearing colorful costumes, but in Fox’s adaption they all wore black leather. They were shortly introduced in the comics during the run of writer Grant Morrison. Thankfully the X-Men eventually reverted back to their old style, but the trend was only begining. With the release of the third Spider-Man movie, Marvel put Spider-Man in the black suit to match the one Tobey Maguire wore. This came after the change made in 2004 where Spider-Man’s mechanical webshooters were replaced by organic Webshooters, like the movie version. These changes were also reversed. The peak of costume changes came as the Marvel Cinematic Universe grew. Hawkeye’s costume changed from a circus costume with a loin cloth and colorful mask, to a shirt and pants with a pair of sunglasses. Star-Lord lost his helmet and military outfit and donned a red trench coat and a new mask that didn’t cover his now reddish hair. Captain America traded his winged mask with ear-holes for a helmet that covered his ears and had painted on wings. James Rhodes traded his War Machine armor for the Iron Patriot armor. A lot of comic book characters have been losing their classic costumes in favor of newer more “practical” ones which is making characters at minimum, slightly different and at most, unrecognizable.

Star-Lord's costume from the 2008 Guardians of the Galaxy revamp and his new look to coincide with the movie version

Star-Lord’s costume from the 2008 Guardians of the Galaxy revamp and his new look to coincide with the movie version (Images are covers of Matvel Comics. the first is the cover of 2009’s Guardians of the Galaxy #9 and the second is the cover of 2014’s The Legendary Star-Lord #1)

Another segment of this is change in race and familial relations. Recently, Marvel decided to retroactively revise the history of Qucksilver and the Scarlet Witch to no longer be mutants and children of Magneto, because the version of these characters in the upcoming Avengers 2 can’t use mutants and Magneto because Fox owns them. This completely alters the identities of these two characters and in addition, excises their Jewish-Romani heritage. Another situation is that of Nick Fury. While Ultimate Nick Fury has always looked like Samuel L. Jackson, the version in the main Marvel Universe has always been a middle-aged white man with black hair, graying at the temples. Marvel discarded the character created in 1963 by “revealing” that he fathered a biracial son who just so happens to look like Samuel L. Jackson. They also “revealed” his name is really Nick Fury Jr., removed his left eye, and promoted the new Nick Fury. Meanwhile the old Nick Fury became a senior citizen chained to the Moon. I’m not kidding. Marvel’s editors argued that since most of the world knows Nick Fury as a man who looks like Samuel L.
Jackson, they had to reflect that in the comics. On the DC side, the new Flash show cast black actors for the West family. Then DC, without skipping a beat, realized that they didn’t introduce Wally West into the new continuity and decided to make him biracial to coincide with the show. They also made him twelve-years-old and a juvenile delinquent with an absent father which is makes him a walking racist stereotype, but that’s another story.

The images posted demonstrate the process in which Nick Fury was changed. The first image is classic Nick Fury from 1968's Nick Fury: Agent of S.H.I.E.L.D. #4. The second image is a poster of Samuel L. Jackson in the 2014 film, Captain America: The Winter Soldier, the third image is the newly introduced Nick Fury Jr. from the pages 2012's Battle Scars #6, and the final image is of an aged Nick Fury chained to the moon in 2014's Original Sin #8.

The images posted demonstrate the process in which Nick Fury was changed. The first image is classic Nick Fury from 1968’s Nick Fury: Agent of S.H.I.E.L.D. #4. The second image is a poster of Samuel L. Jackson in the 2014 film, Captain America: The Winter Soldier, the third image is the newly introduced Nick Fury Jr. from the pages 2012’s Battle Scars #6, and the final image is of an aged Nick Fury chained to the moon in 2014’s Original Sin #8.

Personality makes a character unique of course. While I admit that some influences of outside media positively changed one character in the comics, (namely Tony Stark becoming a sarcastic jokester) most of the personality changes made to reflect the movies are negative.

Classic characters are being changed to reflect movies. This is troublesome because comic books are a visual medium. Unlike other forms of media, comic book characters are created by a writer and an artist. Completely changing the character’s appearance (costume, race, or even hair color) completely disregards the artist’s part in the creative process. These changes in films and television would be fine, if it didn’t require a direct reflection in the comic book world. Adaptations should follow the source material, not the other way around. I firmly believe that if Marvel and DC stopped changing their characters to reflect the onscreen adaptations, people would enjoy those onscreen adaptations much more. Some people argue that the movies are an alternate reality, so treat it as such. It’s not like they’re changing the comics. Yet they are. In some cases they’re erasing or changing history. Unlike other stories, comics are ongoing narratives and whatever writer
happens to be in charge has the ability to manipulate that character’s reality. Shakespeare may get adaptations of his plays, but Shakespeare is always Shakespeare. There will never be a person who decides that from now on, every version of a certain Shakespeare play has to take place in the 21st century because more people are familiar with the modern day adaptation than the original. Comics should be treated the same way.
If someone wants to change things as an adaptation, and introduce new characters to reflect diversity, go for it. Just don’t change the source material to match the change.

Goodnight Punpun

Unknown

I think it is hard to find such main character. This like-bird character is the main character of this comic. The story set is present. It is not fantasy. I have recommended this comic to some friends. Their reacts were same.“Such joking character is the main? And they finished reading this, they said,“it’s too real! It’s gross!” The story is about Punpun’s life; from a primary school, a middle and high school, and he becomes a part-time jobber. He does not have any speciality. A person like him is seen everywhere, and he spends his life in normal town. He gradually changes from a child into an adult. It’s mentally and physically. The feature of this comic is Punpun, his parents and relative are depicted like chick. And Punpun is only character who never uses bubble. His thoughts and dialogues appear in caption. Compare with them, other characters and any landscapes are realistically depicted. Because of that, we see Punpun and his family are very isolated character. And the author often uses collage and surrealism that some characters strange act; it’s non-related to the story. I think these experimental tries and unbalance expressions make some people feel bad.

oyasumi-punpun-2132391   oyasumi-punpun-860181

The story is thought boy’s growth story in the present society. However, Punpun never grow up till last. I guess he grows up, but it does not mean good. His self-consciousness and self-hated grow. He is unknowingly struggled by those ties. Young Punpun is so innocent. However, his situation is very severe, as he has to have a twisted personality. His parents are divorced from father’s domestic violence. His mother says, “I shouldn’t have had you.” And Punpun is taken care by his uncle. He is kind, but he has strange personality. Nobody warmly welcome Punpun. Through such situation and severe events, Punpun becomes not-ordinary person. He becomes different person from others. He has insanity. And it is interesting to note that, Punpun changes his figure depending on his emotion.

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The story seems very dark tone. However, it also has funny and emotional scenes!

oyasumi-punpun-859728

The reason why I recommend this comic to people is I like those unique expressions and characters settings but I love the author openly depicts secrets or confidential experiences (peculiar to young) like everyone has. When I read this comic at first, I thought the author’s purpose was that he wanted readers to see their selves in Punpun. However, while continuing to read that, I noticed that we cannot experience Punpun’s life at all. His experiences belong to only him. We readers just look in his life. It is also hard to find such comic that we can see extraordinary events in ordinary situation with reality and surreal expressions.

The author: Inio Asano

Data: March 15 2007~November 2 2013

Publishing company: Shogakukan

Hellboy Seed of Destruction

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Hellboy is a comic about a “Demon” that sprang from a portal during a Nazi experiment to bring old gods to the earth.  The plot revolves around Hellboy finding out who killed his “father”. I choose this comic because I like the use of shadows and simplistic details that I want to use for my comic.  The action scenes especially the ones where he is jumping and being thrown show that the panels should be open to the movement that is being made.  For instance Hellboy throws a frog creature down and jumps after him. The panel that is used stretchs from the top of the page to the bottom limiting the view to his movement and where he will eventually land. The use of shadows in the comic made me realize that there is a 3d world that must go on in the artists head the sun is at one angle and must remain at that angle to look like the light is natural.  When Hellboy and his companions stand at the door the sun highlights their backs and covers the right side of their face when the camera is pointing at them and when the camera points to someone at the door the light is on the left side of her face giving the illusion that the sun is coming from that direction.  The fighting scenes in Hellboy don’t always show the maximum amount of action or impact, most of them show a struggle.  For instance in one fight scene with the monster the panels show the after affect of the punch and a wrestling match of position.  When Hellboy is winning he stands higher than the monster and the same goes for when the monster stands over Hellboy. The final thing that I took away from Hellboy and the one that I am most impressed with is that Hellboy’s eyes are only drawn in one or two panels in the rest they are covered in shadow.  What this does for the character is make him sinister, even when he is doing good,  it hints that there is something in him that is dark.

Written by Mike Mignola and John Byrne Miniseries colors: Mark Chiarello Cover Colors: Dave Stewart Short story colors: Matthew Hollingsworth Publisher:Dark Horse Books

Source: Hellboy Seed of Destruction: Third Edition

 

Character Development

I wanted to share some of the character development work I’ve been doing for my comic. I’ve been trying to draw my characters from different perspectives so that when I go to draw my comic in photoshop, I can work from these existing sketches and keep some continuity in character design throughout the comic.

My comic is a children’s story about a little boy and his teddy bear which gets lost, and the resulting journey the bear takes.

bears

littleboy

I wanted the little boy to be around 6-8 in age which is why I ended up with him standing at only about 2 1/4 heads tall, and with a larger head. For both characters I tried to work from a base of circular and oval shapes, for easy replication and better continuity.

I’m planning on taking my characters from sketches into the computer and then cleaning them up and coloring them digitally. I did a rough of the little boy in Photoshop just to start play with the kind of color and look I wanted to go for.

boytest_Fotor

A Work in Progress

I thought for my week’s post I’d share a bit of my process when I work. I always write the story first, before I begin drawing. The artwork below is for a short story I wrote and am adapting called “Raisins”.

Here is the original opening scene in word form:

“Mary-Anne Picford wasn’t particularly a big fan of raisins.

She was thinking on this fact as she stared at a bowl of trail mix in front of her and picked at the bits that intrigued her. She examined the wrinkles of one of her victims briefly before flicking it into the pile she had forming separate from the worthier tidbits. Perhaps it was because of the wrinkles. You couldn’t just kill the grape, you had to let it become hideously old and sapped of life before you ate it. It was cruel.
And then there was the problem of cookies.
One could ruin a perfectly good bite when, expecting chocolate chips, you discovered instead its chewy antonym the raisin. Not that an oatmeal cookies wasn’t terrible with raisins, you just had to not expect chocolate and Mary-Anne always expected chocolate.
She was neck-deep in these thoughts when she was jolted out by a tap on the shoulder, reminding her she was not alone but rather at a party.
“Mary, dear, not to distract you from your sorting, but wouldn’t you much rather be socializing?”
Mary-Anne turned to greet the questioner, a woman often mistaken as Mary’s sister but who in actuality was a long term acquaintance. She probably counted Mary-Anne as a friend but anyone who was Mary-Anne’s friend (and there were very few of these) would not have dragged her to a party.
Mary-Anne raised an eyebrow in response.
“Oh come on out of your stupor. These people aren’t half as bad as that look of yours suggests. Come on, there’s someone I’d like you to meet.’”

A lot of the narrative becomes superfluous in comic form. I rewrote the script to be one narrative box in the first panel, and short three line conversation at the last panel.

Below is my work in progress art for the opening scene. I started with pencil, added ink, erased the pencil, and have started the process of coloring it using Procreate. My biggest struggle so far has been keeping track of all the limbs at the party. I’m not the best at figure drawing so I adapted my style to be more sketchy and fluid to fit the feel of a busy party.

It’s definitely still a rough draft and clearly the coloring isn’t finished. raisins

character creation

hello

I’ve been working on my character in procreate for the last few weeks. Trying to create a character that I enjoy drawing and interacting with. i have bean having trouble recreating the same image in different situations. but, here are some of the things i have started working on and how they have adapted.

it started with a homemade t-shirt from high school:

The humans are dead

The humans are dead

then created an emotion template

then created an emotion template

then started some rough sketches and gags

then started some rough sketches and gags

i then have adapted him to be a more human like figure

i then have adapted him to be a more human like figure

i have a few new character ideas that i have been looking forward to try in the upcoming weeks and will let you all know how it goes.

thanks

Comic Review and Creator Profile: BATMAN The Killing Joke, Alan Moore, and Brian Bolland

this is the entirety of my review. haha

from sequart.org

from sequart.org

jk there’s more

 

 

 

 

 

 

 

The Killing Joke is one of Batman’s seminal stories. Written in 1988 by Alan Moore and drawn by Brian Bolland, this story, which remains relevant and could be perceived as having been written today, completely skews the way in which we view the Dark Knight and how he got to become who he is when he is pit against his primary adversary, quite possibly the seminal adversary in all of comics, the Joker. The book is packed with innuendo and puns, which starts with the title “The Killing Joke”

from manwholaughed.wordpress.com

from manwholaughed.wordpress.com

If you look at the cover in the above image, you can see the very detailed art as well as the abundant use of lines and crosshatching to make the shadows and outlines and the use of inking to make the Joker look so realistic. You can see the detail from his glossy lips to his gloves. Alan Moore, the master storytelling craftsman, deftly weaves a brilliant tale of a down-on-his-luck man who is pulled into petty crime after his wife and children leave him because he is so pathetic and can’t hold a job or help his family in any way. The twists and turns are swiftly dealt in this story so you never know what’s coming on the next page-turn and when you do finally, reluctantly turn that page, you are often shocked by the horrific brutality and violence of what’s on the other side. I don’t want to go into spoilers because I don’t know how many of y’all have read this amazing book but in essence, it’s a riveting glance at the origins of the Joker after the man he once was (“I WAS ONCE A MAN!!!” -Cobra Commander from G.I. Joe) before and after he lost his mind, what happened to Barbara Gordon that eventually led to her becoming Oracle, and the extreme mental/psychological and physical torture endured by Jim Gordon and by Batman to some extent. The ending of the story is very controversial as people have been debating the reasoning and point of it for nearly three decades. Was Batman driven to the brink by the Joker who forced his hand and made the Dark Knight break his vow and kill his foe? Did Batman lose his mind in the torture tunnel and was it all a dream? Was Batman shot in the face? What does the final joke spat out of the Joker’s mouth mean? I know what I believe to be true, and I think and hope that Alan Moore did this on purpose to leave the reader hanging from the noose with their own interpretations and questioning their own beliefs. You must read this EXCELLENT book and find out for yourself. The image at the top of this post is one of Bolland’s most famous pieces, also from The Killing Joke along with the cover from the book. It shows the newly-formed Joker revealing himself from the shadows after he has lost his former humanity and sanity, and the HAHAHA’s repeating themselves, wrapping themselves, being expelled from and ingraining themselves into the Joker show his new mind as well as the character’s eternal expression that we are now so familiar with and the insanity that comes from within and without the existence of the human condition.

Alan Moore, the writer of numerous classic graphic novels and comic books like Watchmen, the League of Extraordinary Gentlemen, Top Ten, From Hell, Miracleman, V For Vendetta, and dozens more, is well known for his hatred for mainstream comics, his reclusive nature at his home in Northern England in which he avoids interviews and press while practicing

from oxonianreview.org

from oxonianreview.org.

witchcraft, yes, actual witchcraft with pentagrams and candles and shit, and so the comic book world was caught by surprise when Moore released this book and another one about Superman’s downfall under the DC banner a year after he wrote Watchmen for DC, as well as a couple books for Marvel, which don’t merit acknowledgement. Moore is known best for writing for smaller publishers on a part-time basis, like for Wildstorm, where he was given his own label called America’s Best Comics that was supposed to feature his stories exclusively, until about a month after Wildstorm’s creation, Jim Lee, another comic book veteran and icon, sold out the Wildstorm label to DC, shattering Moore’s dreams for his own independent label. He continued to publish for ABC (America’s Best Comics) for a while, putting out some great stories like The League of Extraordinary Gentlemen and Top Ten. Then he went back to his hut and spent several years conjuring Lost Girls, the almost extremely pornographic fairy tale about all our favorite damsels in distress meeting up in the early 20th century, describing to one another their sexcapades and performing explicit acts of sexual gratification upon one another. In this image depicting Moore in a slightly ethereal background, notice his perpetual beard and hair which has been like this since he was kicked out of middle school for selling LSD, which is bullshit because more people need LSD, and the magical Lovecraftian and/or Wiccan rings on his fingers, which he also wears in perpetuity honoring his otherwordly lords and dark-arts practices.

Brian Bolland, on the other hand, isn’t on the other hand, at least when it comes to publicity and that kinda shit.. See what I did there? He’s actually quite similar to Moore. He is most well known for doing awesome, epic covers for numerous books but had done little to no interior work before The Killing Joke, which he drew awesomely and epicly. The degree of detail into which Bolland goes while drawing Batman, the Joker before and after the green hair and white face and huge smile, as well as Barbara and Jim Gordon is insane, and is what makes the reader expect that this book was written and drawn sometime in this decade by an Ethan van Sciver or someone like that. After this book, he went back to doing covers and wrap-arounds mostly. It’s a shame, a damn shame, that we probably won’t see any more interior work from him again in the future. The image at the top of this post is one of Bolland’s most famous pieces, also from The Killing Joke along with the cover from the book. It shows the newly-formed Joker revealing himself from the shadows after he has lost his former humanity and sanity, and the HAHA’s repeating themselves, wrapping themselves, ingraining themselves into the Joker show his new mind as well as his eternal expression and the insanity that comes from within and without the existence of the human condition.

Progress of a Sketch

I am one of the slowest artists you’ll meet and I blame my perfectionist nature. Nothing is ever perfect. With that said, I’ve been working on a sketch of Deadpool based on this image I found:

Screen Shot 2015-03-05 at 6.11.41 PM

And I have been working on it for a while and unfortunately haven’t completed much. I started this sketch with the intention of practicing my inking, so I didn’t take the normal route on it. The normal route being to sketch the entire image out in pencil and the ink on top. Since I was eager to practice inking, I decided to take a different approach and do large chunks at a time, starting with the head.

Dpool head

I really don’t recommend going about this way because its easy to find an error you can’t fix because it’s been inked in. Anyways, this was the first part I completed. And at first, I didn’t have much shadowing in. I had a hard time trying to incorporate the shadows with the ink and decided to do the darker shadow in ink and the lighter ones in pencil. When I added in the pencil shadows to the ink, I was much more happy with it. Next, I decided to do a rough (emphasis on rough) outline of the entire body and added an arm.

Screen Shot 2015-03-05 at 6.11.17 PM

The contrast of the pencil and the inked shadows came together a lot better on the arm. The fingers were inked in sooner than they should have, but I am happy with the overall image. The only other parts I’ve added are some penciling on the bicep and chest and some added detail to the outline.

Screen Shot 2015-03-05 at 6.37.03 PM

I made the outline make a lot more sense in this image by doing a lot of measuring around the chest and thigh. The only problem I have right now is finding time out of my day to finish this sketch. So far, I’m pretty happy with it. I’m getting myself back into the habit of comic book style drawing and shadowing, which I needed practice on since I’ve taken a break on my art lately. My next step will be to complete the chest, move to the other arm, then the gun, and finish with the legs and background detail. It might take me a while, but I think the end result will be worth it.

Requirements of being a Superhero!

Our class discussion this past Tuesday intrigued me. It was about what physical traits and moral values and ideas superheroes. For most people, a superhero is a strong, physically well built man in a tight iconic costume who fights off crime and the bad guys and only does what is right to protect the people. For the most part we think of superheroes as male but there are female superheroes too. They too like their male counterparts are almost always physically attractive with great sex appeal. Batman and Superman are irresistible to women. The female heroes have tight fit bodies with low-cut revealing clothing. Take Wonder Woman for example, she is sexy. For the most part I have not seen an ugly superhero so I guess being physically attractive is mandatory for being a superhero even though looks have nothing to do with fighting crime and saving people’s lives. The sex appeal too has nothing to do with protecting the human race.

Superheroes are designed this way to make them the utmost idea of perfection for they are not average like the rest of us common folk. With their good looks they also contain super powers and/or amazing abilities. Superman with his great strength and super-human powers makes him a great threat for the bad guys. Batman being highly intelligent like that of a detective with all his awesome gadgets and being incredibly  wealthy to afford the best technology, lab, car and weapons, he doesn’t need super powers. Spiderman gets his strength and powers when he is bitten by a radioactive common house spider and Iron-man, like Batman, does not have super powers but has the means to afford him awesome equipment and a suit that can defeat anything and transforms him into this unstoppable machine.

Other common traits in superheroes is that they usually tend to have love interests. Batman and Iron-man always have some girl waiting and drooling for them. Batman also can get caught up with the wrong girl like Catwoman or Poison Ivy, women that can be dangerous and have sided with the villains. Superman has a thing for Lois Lane and Wonder Woman at times. Spiderman loves Mary Jane. Superheores need love too because why if they didn’t, why would they fight crime if they had no love in their hearts?

Some heroes and anti-heroes can come from troubled or hard pasts and their way of coping is to fight crime. Batman’s family was murdered by the insanely demented Joker and the Hulk, whether he is considered a hero or an anti-hero, had his mother murdered by his own father who horribly abused him throughout his childhood. I think their pasts are something that makes the hero a bit more human. They have gone through sadness and grieve. They know what loss is like and I believe that is what makes them better heroes because they turn that pain into compassion for the other civilians who are in danger. Superman’s Kryptonite is his weakness and like I said, having a weakness or a hard past make the heroes more likeable and people can relate more to them.

Lastly, I believe every superhero needs an equally impressive villain that can match up to their superhero rival or the stories would be seriously boring. Batman’s villains are iconic and memorable; Penguin, Joker, Catwoman, Poison Ivy, Mister Freeze, Two-Face and The Riddler are all extremely easy to identify and remember. Superman with Lex Luther, they are always fighting it out. And Spiderman has an enormous group of villains. Too many to count. Alistair Smythe, Big Man, Big Wheel and Beetle to name a few.

For so many reasons, the list is endless of what makes superheroes superheroes. What traits do they have, what their stories are, who they are with, who are their enemies and so on. For one thing I am sure about is that they will continue to entertain us and keep us wanting more of them.

Yasmine