Art comes to us when it does, I agree, sieze the moment.
Joe Chiappetta said:
You are hilarious. I had that chip removed years ago. Your professors might be shocked to find me doing some of my comics while standing up on a moving train in a 3.5" x 5" sketch pad.
Well i guess the way i like to do it is a little unusual for a comic. I like to draw everything indavidualy. For example if i had a panel where spiderman was swinging through a city scape during a sunset. I would draw spidey large enough to get the desired detail. Then i would draw a large portion of the city. Cars and pedestrians would most likey be drawn separately. Then everything would be dropped into photoshop andd put together and colored. It takes a long time but i believe it pays off. Theres more to it but thats the gist of it.
Flying to Maui, sitting on the lanai of a penthouse condo overlooking the Pacific and sipping guava nector while I sketch idle little doodles in a notepad.
Okay, back to reality. ;-)
Usually I write my scripts on lined paper, then pencil the story onto sheets of Blue Line pro paper using No. 2 Ticonderoga pencils. I then ink using Rotring art pens and various Japanese brush pens. After that I make reductions of the art on a photocopier, then scan it into the computer and clean it up in Photoshop, then add text in Illustrator. If it's black and white I use Comicworks ver. 1 and 2 to add tones; if in color I used to use Corel Draw but am now learning to use Photoshop CS.
BTW I write and draw all my stuff while sitting on my living room couch, using a big board to hold my art pages. I never learned to use an art table.
I mostly use a technique that I learned from Neal Adams and Rich Buckler. I take a regular sheet of printer paper and fold it into quarters then rule a 1/4 inch section down the centre of the page in order to create the proportions of a regular 10X15 in. page. I then tightly pencil my layout into each quarter section as one individual page, so there are four pages on each sheet of paper. I then head to my photocopy shop and have the roughs blown up into 10X15s. These I place onto a light table and do my finished pencils. This creates a clean page and allows larger figures and objects to keep proportion because you have the smaller sketch to base them over. The small sketch size is convienient for wide perspective points as well. If I am inking my own work, I then use a Windsor & Newton Kolinsky sable pointed round #3 brush and Higgins Black Magic ink to lay in the outlines and the main black areas then switch to a Hunt 105 Quill pen to do the small hatchings and details.
Just thought I would add a step by step look at the creation of a title page for a comic using the method I wrote about above. First is my small sketch, about 8.5"X5.5". Then my finished pencils done on a light table over the blow up sketch. Finally, the inks, ready to colour.
Being in art school, I've had a chip implanted in my brain that informs me I must work on 11" x 17" Bristol board with brushes, nibs, and India Ink, or else I'm not making "real" comics. But occasionally I buck The Man and create on a smaller scale, either working in my sketchbook or on a smaller Bristol with tech and brush pens. Having said that, my details on the smaller boards still look thick and awkward when reproduced...
You are hilarious. I had that chip removed years ago. Your professors might be shocked to find me doing some of my comics while standing up on a moving train in a 3.5" x 5" sketch pad.
Devin Parker > Joe ChiappettaAugust 31, 2007 at 1:35pm
That is an admirable skill. In junior high, I developed the ability to write and draw while riding on the bus, but I lost it in high school when I started getting rides from friends. I have one teacher who would probably be impressed by it, though. At the very least, I'm sure he'd be envious - but then, who wouldn't like to be able to get their work done while commuting?
Replies
Joe Chiappetta said:
Flying to Maui, sitting on the lanai of a penthouse condo overlooking the Pacific and sipping guava nector while I sketch idle little doodles in a notepad.
Okay, back to reality. ;-)
Usually I write my scripts on lined paper, then pencil the story onto sheets of Blue Line pro paper using No. 2 Ticonderoga pencils. I then ink using Rotring art pens and various Japanese brush pens. After that I make reductions of the art on a photocopier, then scan it into the computer and clean it up in Photoshop, then add text in Illustrator. If it's black and white I use Comicworks ver. 1 and 2 to add tones; if in color I used to use Corel Draw but am now learning to use Photoshop CS.
BTW I write and draw all my stuff while sitting on my living room couch, using a big board to hold my art pages. I never learned to use an art table.
I mostly use a technique that I learned from Neal Adams and Rich Buckler. I take a regular sheet of printer paper and fold it into quarters then rule a 1/4 inch section down the centre of the page in order to create the proportions of a regular 10X15 in. page. I then tightly pencil my layout into each quarter section as one individual page, so there are four pages on each sheet of paper. I then head to my photocopy shop and have the roughs blown up into 10X15s. These I place onto a light table and do my finished pencils. This creates a clean page and allows larger figures and objects to keep proportion because you have the smaller sketch to base them over. The small sketch size is convienient for wide perspective points as well. If I am inking my own work, I then use a Windsor & Newton Kolinsky sable pointed round #3 brush and Higgins Black Magic ink to lay in the outlines and the main black areas then switch to a Hunt 105 Quill pen to do the small hatchings and details.
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