I finished this strip recently written by Andrew Winter, and fantastic Lettering and colouring jobs by Nikky Foxrobot and Aljosa Tomic respectively. Really enjoyed drawing the undead.
I’ve had some criticism about how large I draw heads on comic characters, it legitimate but there is a reason and I get miffed if there’s a suggestion that its about ability/talent.
The reason is: I like to make a distinction between ordinary and heroic ones, below are a couple of examples of what I mean. All the heads are roughly the same size, the bodies vary though and that’s the point. It’s not that I draw overly large heads it’s that I draw smaller bodies to make the large heroes seem larger; to contrast, after all if everyone is heroic then nobody is.
Unfortunately there are comic book staples in which everyone is a toned, muscular, adonis. Ordinary people, even supporting characters have to look like extras from TV shows, so when I draw outside of the accepted norm, comes the accusation of proportion problems.
Of course there’s always the possibility that others are correct and I should lean more to the norm, it’s perfectly valid except that I’m right.
I’ve been drawing comic strips solidly for a little over a year now. Before, I always got bogged down, over analysed, agonised and tortured myself about the faults and weaknesses of the artwork. Partly out of frustration, partly a virulent masochistic self loathing, determined to make every footstep a needlessly prolonged and painful one (cheers catholicism!)
About a year ago something clicked, I accepted as many scripts as I could fit around family commitments, put my nose to the drawing board and pushed through each one, pausing briefly to identify areas of weakness or improvement and swiftly moving onto the next, For some reason I have been able to eliminate the spiral of doubt and just move on, sometimes having five or six scripts at a time. Comic books are a production line of the art world more than any other discipline, one simply sees what is required and works through until the end, in a way it has been very liberating.
Improvement comes through the sheer volume and repetitiveness of drawing, I’m not prone to giving advice but its hard to argue with what I see with my own eyes and the confidence I have now in tackling what previously appeared to be complicated and detailed scripts. he daily grind of drawing has ‘taught’ my muscles a short-hand which makes drawing so much easier and enjoyable.
Posted here are four pages I just finished for my portfolio, I plan to take them to upcoming ‘Cons’ for review. I just wanted to pause and reflect for a moment on what a difference a year can make.
Because I’ve been working so hard lately it’s only now I’ve paused to update my blog that I can see the progression in by drawings. For ages I mused on how to improve but by simply doing page after page I’ve been able to ignore the habit I had of scrutinising every panel and taking forever to get nowhere. This was the best piece of advice I’ve ever had and it came from my bestie mate and all-round good egg PJ Holden. I’ve stubbornly ignored the whole world’s advice my whole life but for some reason his just got through. I think the results speak for themselves, nothing can substitute for hard work and learning your craft.
There are a few others to thank but this one’s for PJ