This is a tester that I spent a few hours making five or six different versions of and then altering. It really doesn't show how much time I spent on it but basically what I was trying to achieve was a moving 'crumply' effect using scrunched cels.
Unfortunately you don;t really get the benefit of it when it's scanned in rather than photographed in like a cel should be so I probably won;t be able to make use of the effect in this animation :(.
Last weekend was the ThoughtBubble Festival in Leeds. The convention itself wasn't as large on scale as BICS but it was alot more 'small press' focused. Well, apart from the HUGE gathering around Mark Millar and the rest of the superhero artists.
I chatted with Marc Ellerby, John Allison, Liz Lunney and a few others but I wasn't feeling so hot. My talking skills were lacking somewhat and I didn't manage to get more than 5 minutes out of anyone before I felt I was boring them to death. I was pretty pushed for time, trying to get to
The after party was suprisingly sparse considering how fast the tickets are meant to have gone but it was fun. Matt kept informing me of how he called Mark Millar a paedophile and the toilets were covered in leather! Casino partys are the best.
-On reflection, I need to take some advice from myeyeisonfire's post here in which he talks about treating people like humans (BECAUSE THEY ARE) and not exclusively as selling points.
I considered it seriously but was put off by the artist's indiffernce and almost obnoxious atitude towards buyers - Although I would like to sell my own work, that's not the resson for striking up a conversation, and I often just chatted to people to find out about who they were.
Also, LiveJournal looks like the place to be when it comes to small press distribution..
I was browsing Marc Ellerby's site after meeting him at ThoughtBubble last week and found this image which pretty much sums me up at the moment what with the INTENSIVE ANIMATION PROCESS taking its toll on my mind! The tones are just right here too..
Over a month ago (oct 4-5) I attended the Birmingham International Comics show (BICS) and have only just found my notes again that I made from that weekend.
So, overall, I really enjoyed myself and it was my first convention! I was a bit daunted by the sheer number of people but warmed up once I detected how warm everyone was; artists and fans alike.
High lights include:
- meeting Jolly Jack and him giving me a signed drawing as well as a kick up the arse on self promotion. He made it clear that you need a way of easily advertising yourself if you want sucess in this industry. I'm not really interested in professional comics but am so for storyboarding and animation design so the rules still very much apply. Its my next project JJ!
- Chatting with the guys from Cute but Sad on how life is making hand drawings of badgers for a living and learning from them about how flickr is one of the very powerful tools at your disposal for communicating.
- Talking to a representative from DinkyBox about publishing my book about dogs. Scary because their site is so professional looking! That reminds me, I need to get back in touch with them over size specs concerning the book and the printer.
- Watching live portfolio reviews with Garry Leach and Michael Wright; they assessed maybe a dozen potential comic artist's works and kept coming up with common problems: Study life drawing more, use line weight to vary dimensionality and think about the box you are placing a scene in and how it affects pacing.
- The 'weird and wonderful comics' lecture by Paul Gravett who took us through a plethora of short run fascinating comics. The lecture served to plug his new book which I've put on my christmas list hur hur :D I think what was most interesting was learning why certain comics failed; through a total lack of research or an unhealthy urge to jump on the bandwagon, like alot of the hippie comics in the 70's.
-Garry Leach's painting demo and 'Tank girl at 20' with Rufus Dayglo (who is mentored by Leach) were both fantastic. To be fair, Leach's was common sense colouring, blocking and toning with paints but it was great to see I had some sort of grasp on professional technique. Rufus' lecture was fascinating for both his humour and his portfolio of beautifully inked comic work. I'm learning by seeing lectures like this that a good portfolio has consistency of quality but is varied in style and/or contexts, showing you can fill various areas to a professional degree.
However, my favourite event was 'Hello Chiarello' with Mark Chiarello, Editor, artist and writer of DC comics. I found his drawing style and colouring absolutely incredible and he himself is a charismatic being. From his lecture I learned to just be persistent with the career I choose, to be friendly with everyone I meet and that my own original ideas can distinct myself from others, much like Mark's 'Negro League' work in which he painted portraits of black baseball players from 'the golden years' who would have otherwise been forgotten by a racist industry.
All in all, an enjoyable and insightful experience.
Whilst searching for images of Twin Peaks, I came across a very well laid out and sharp witted blog called Club Silencio. This seems like a good place to both learn how even a basic blog can look presentable (white borders on a black background) and about obscure films of interest. There is also a regular update of retro horror posters, old school examples on how to (or not) present an image.
Julian of 'Gamers with Jobs' writes here an article on narrative devices in video games. He has a point; creators should be looking to expand rather than dwell on systems developed for games from 20 years ago. Narrative and character development are absolutely key issues in most immersive style video games and depriving the player of involvment in their inception is an alientating move; one that is more of an act of dumbening down than an invitation to explore.
Bursary offered and studio space provided The V&A has a programme of six month residencies in the Sackler Centre for arts education at the V&A and presents a new opportunity for early career practitioners to have a studio at the V&A for six months commencing 1st July 2009. Proposals are invited from UK based graphic novelists and comic artists working with, or wishing to work in the medium, who wish to develop their practice through working with the V&A collections and by engaging in the public participatory programmes that the Museum runs. To apply go to www.vam.ac.uk/jobs Closing date for applications: 4th January 2009
This job would be very fun and useful for myself. Could I pull my work toward it for the date?
First some sound-adapation jewellery from Sakura Koshimizu. These clever pieces are cut with soundwaves taken from giggles, sneezes and snores so they have the potential for an eerie personality..
And then we have a tasty collection of sugary lips from ViaComIT. These images are vibrant and leave me feeling a little confused about the definition of a 'sugary treat'... Great colours and textures.
Before I sit my arse back down for another few hours of drawing, I've found some competitions that I'm unsuited for and thought describing why might help me think.
First is the LLOYDS TSB Art competition; create a piece based on a keyword (insert various management-based keywords)
The work they're looking for isn't rooted in character design and is quite dullcet. I suppose at a push I could bend to remove all humour from what I draw..
Here are previous winners
I'm not saying this work isn't good in it's own way I just don't produce images that would suit this criteria.
Next is the Penguin Design Award. I wish I had the skills to do this as type always looks so good, so effortlessly when in the hands of a master.
For example, here are the winners of the previous two years:
On the other hand, Fumetto's graphic Novel competition is something I can participate in if I make an effort. It would make more sense to submit to character design and animation competitions to be honest but this is just what I found whilst eating some pie so.. I'll get on that later.