PPP3 Life Drawing

I decided to use this life drawing session as a means to get marks down, I realised that when I draw with pencil, I focus too much on perfecting the proportions and alot of rubbing out and starting again. I wanted to be able to focus on the main curves and lines of the poses as to learn from them. I felt that I was quite good at proportions, it was more the perspective and curves that I would struggle with. To stop myself continuing to draw with pencil, I used charcoal and ink with a dip pen and brush. It was daunting at first, knowing that I wouldn't be able to rub out any lines however as I continued to draw quickly, I was able to learn from my mistakes or correct them with the medium I was using.

I really enjoyed using different media and want to use watercolours next session, using Egon Schiele's use of the medium and geometric proportions.

 

 

 

 

 

 

 

 

Thought Bubble: Sketching Spotlight (Sunday)

Sketching Spotlight (Sunday)

Hosted by Peter Doherty
Artists - Kate Beaton, Ben Templesmith, Farel Dalrymple, Tula Lotay 

I didn't enjoy this panel as much as Saturday's, I think this was due to the topics that they talked about, a big chunk of the discussion was about the art discipline and children, how art is discouraged for children. I did find this interesting but I wanted to know more about their compositions in their work, how they alter the script they've been give to make something innovative. I loved the work of every artist on the panel, each style was unique and brought a different appeal to the comic's atmosphere. Much like the Saturday's panel discussed, there is room for new diverse styles of writing and art.

Here are my notes on the Panel:

Tula Lotay

Farel - Draws alot, gets bored with the same thing, depends what he draws but brings sketchbooks everywhere he goes just in-case. Draws people when he travels and in cafes however gets self conscious of people looking at him as he draws, so doesn't go into cafes to draw anymore.
Kate - Takes sketchbooks everywhere, doesn't use as much, but brings it always. Much like you feel the need to keep your mobile with you where you go. Draws everything from memory, try to hone these memory skills. Gets annoyed at herself when she draws at life drawing sessions, feels like she can't draw. Prefers to doodle, make templates etc.
Ben - Gets inspired by Ashley Wood all the time. Draws small, so can work on planes etc, will sketch out concepts of new ideas and projects. He believes he won't go outside and draw as he doesn't have the time with all the deadlines looming. Draws the interior of rooms alot, does draw from life. Drawing from life looks better.
Farel - When doing a city scene, finds the horizon like, vanishing points and looks at the scene rather than trying to plan it out with a ruler and set square, will look better by hand than by ruler.
Ben - Doesn't need that much reference, draws drafts and then goes straight into it.

Kate Beaton

Farel - Enjoys making pretty pictures. Having these images that slows down the reader emphasising the storytelling. It does sometimes take the reader from the storytelling, the more simpler the imagery, the more people will understand. "I don't want my work to have that, I like the artist that I am, I wanna do something that I haven't seen done in comic books.' Does collages and feels they are drawing as well, all about the composition and storytelling.
Tula - Watercolour pens from Pentel, might have to order them from Japan. Did the cover issue #13 for Wicked + Divine. Deadlines are so intense that she doesn't have time to draw for herself. Finds her work suffers because of it. Covers are alot more finished. Still suffers from lack of confidence. Favourite artwork is where the lines are everywhere, where the lines look effortless. Had to do 15 - 20 different covers for the Rebel comic, they were really strict and kept sending it back to her until it was right for them.

Ben Templesmith

Farel - Never looked at work and thought it was good...
Ben - It's about the practice, how well you draw, forget the medium.
Tula - Copied so many people all the time when she first began to draw, return of the Jedi, Star wars comics, Dune, Blade Runner, really influenced by Adam Huges and James Jean. Studying peoples work is a great way to learn.
Ben - Influenced by Ashley Wood alot. Victor Ambrus, likes the colours and lines.
Farel - Copied 'How to Draw Comics the Marvel Way'
Kate - Garfield comics, Gorillaz and Jamie Hewlett.

 Farel Dalrymple

Thought Bubble - Writers Roundtable

Writers Round Table

Presenter Michael Molcher
Writers - Marguerite Bennett, Ray Fawkes, Emi Lenox, Charles Soul and Kurtis Wiebe.

I really enjoyed this panel, I was extremely inspired after listening to the writers talk about their comics and how industry is taking a good turn for comics as a medium. I would love to make a comic, drawing the art and writing the story, Storytelling is what I want to focus on especially. When the writers were talking about how comics was a different form of medium that allows them to work differently compared to any other writing medium, it reminded me of the work of J.H Williams III. He is a huge influence on my work, I love how he manipulates the frames from something that used to be structured and geometric, to something that makes the panels a piece of art in itself.

Example of J.H Williams III work in Batwoman

Here are my notes on the panel:

Charles - Sounds selfish but writes for himself, something true for himself, That motivation is part of his work, gets paid to write this way.
Marguerite - Writing with feelings.
Ray - Considering personal demons, I write for myself but what he publishes, he hopes to connect with somebody somewhere. Makes him happy to be alive.
Emi - Both a writer and an artist, personal work and commercial.
Kurtis - Comes from a personal space, putting something out there that no one has seen before. Generally women aren't shown well in fantasy, wanted to do something outside of the paradigm.
Marguerite - Bombshells began as a figure set, 2014 variants and the books sold. Wrote for Mad Max Fury Road. Found artists through twitter, social media is extremely influential but there needs to be a time and a place for this. Most likely in the future there will be debates with allowing fans to decide what happens to characters in comics.
Charles - Has an active twitter presence. Likes twitter as it allows him to connect with the readers, both good and bad. With the wrong 140 characters, it could end his career, it is a scary thought. The power of social media is unbelievable. He uses twitter more as an outreach tool rather than conversation. Twitter allows him to put his thoughts out there but not too much, he hopes his work speaks for himself.

Kurtis - Start to see trends that readers like, tempting to write to the fans expectations. Can be scary seeing the readers opinion on decisions of the book, characters etc. Not afraid of the fandom. Fans can be either nasty depending on what you do to their favourite characters or really supportive. I have been intimidated with fans, want to do something with a serious tone compared to the comedy appeal that it has had, it is now becoming real. I want growth and development with my story.
Charles - I write a lot of DC comics, its an interesting job, try to do something different compared to what has been done before.
Emi - I have a different audience most know her by her autobio, writes about herself. Her readers are nice people. Nervous about people judging her as they are reading about her personal life but she is writing for herself. If anything from social media, it can be dark, can be scary. "Do what you gotta do, can't let them people rule your life"
Charles - killed Wolverine in the books, he felt like he needed to tell, so many ways it could have been done, he needed to tell a story that felt right. If he hadn't got that right, some people say that he hasn't got it right, it could have ruined it.
Ray - Its happened now, even characters universally despised, got recognised through the loss of a character. Many fans enjoyed the book, but it became a puzzle for them, some refused that Wolverine was dead, that he would come back.

Kurtis - "Who would you describe being your mentor, your inspirations?" My earlier stuff definitely had that feel to it, I always believed comics were only superheros, but they're not. Runaways was a huge inspiration.
Emi - Inspired by Greg Thompson and comics in general.
Ray - Alan Moore's superhero books, 'Miracle man or Marvel man' those were the books that made him want to write, influences were all fiction, those comics made him change from just a writer to a comic writer. Had a mentor at DC that taught him everything.
Marguerite - Wanted to be a writer, was discouraged because she was a woman, and women were not allowed. Scott Snyder was her mentor, helped her to get into comics, to realise her dream. He's an extraordinary mentor.
Charles - His friend Brad was his mentor, they went to the same law school, when he started to write novels Brad gave him his audience. Online, invaluable advice that set off his career. Jix world, writers around the world pop in and give advice. Twitter is not the same.
Emi - Jeff has been a friend for awhile, he wanted to help her write something. her auto bio got her foot in the door. Really like dark storylines, something that she's always wanted to do, writing comics. Plutonic, Learning to write better this way compared to her autobio work.

Marguerite - There's no cheats way into comics, continue to write and write and write. The access of the internet allows you to put your comics online for free, lots of fanart to DC gigs. Hopefully a new decade in art and story in comics is coming. Need to continue creating a new community.
Ray - There's a stronger avenue towards people being taken seriously. People in high places of authority hire people who remind themselves of themselves. They need to know they have an audience, a huge following, then pick them up. Want to know there will be more money to be made.
Kurtis - 'Rat Queen' I wrote out four characters, didn't really plan on having the comic to be run by females, didn't think it would be successful but managed to work out. Three years ago there was a turn, from people in their 40's to young people, people on tumblr, began to rave about comics, no amount of marketing that he could have done, could have topped the buzz that his fans made for him.
Emi - 'Has a patreon' Was a comfort zone but a lot of stress. You need to give back, it's been a very busy time.

Charles - 'With being a writer in DC comics, we are seeing a diverse industry.' He sees a lot of room for ideas to get out, as today's world we've found it easier to get smaller audiences at once for different audiences at once for different audiences. Pretty optimistic.
Marguerite - Can't be against new blood. No idea what the medium or content will be like. She wants to write in this industry so she will change with it.
Ray - Comic industries, the big wigs, finally caught onto what is selling with these diverse comics coming out. Letting a larger range of books, with a small audience but loyal.
Emi - Speaking as an artist/writer, really excited as Pluntona would not have worked 10, 15 years ago, it was always the same main story, a cookie cutter of superheros. It's different now, there is something for everybody. Going and branching away from the superhero's.
Kurtis - Digital Landscapes will open up alot, the webcomic scene is growing, from the beginning it was hard to get into but its changed now. Someone who posts their work on instagram has a huge following now, social media has helped.

Ray - There is a wicked range of mediums that any other written medium can do. I'm excited because I know comics is a tool set that nothing else can do. It is a unique medium, a language, there is so much you can do with the composition.
Emi - Thinks in pictures, just how her brain works.
Kurtis - Loves the collaborative spirit, it's an indescribable feeling, working with someone else is awesome, bring a new light to it.
Charles - The time line is completely different. He likes breaking the story a lot, owns different sketchbooks to bring a new light to it. He likes this process as anything can happen.
Kurtis - Script is the favourite part, when he writes gags it doesn't make him laugh, the artist made it funny, creative synergy.

Marguerite - Dialogue between characters, varies by project with what her favourite part is.
Ray - Every project starts with... 'How can I do this?' Favourite part is when it is finished, seeing it completed.
Emi - When it's done...
Marguerite - Its important to say that this is not a gig that you ca get rich from, its something that you do because you love it.
Ray - Thank god 'Love' comics are back. I don't think is was ever something that had died. Personally I would love to see horror comics out there. Comics have this medium that can do this!
Charles - I agree, comics have this medium to do this
Ray - Uzumaki is a prime example, yes it is manga, when it was translated to film it lost the appeal. This horror was created because it was a comic. Comics can be scary.
Kurtis - Wrote Grim Reaper, made a few years ago, wasn't popular but is now.
Emi - Not sure if there is a genre that she wants back... American magical girls comics!! Would like to see that in the states.

Thought Bubble - Sketching Panel (Saturday)

Sketching Spotlight (Saturday)

Hosted by Peter Doherty
Artists: Wes Craig, Doug Braithwaite, Isabel Greenberg, and Amy Reeder
I really enjoyed this sketching spotlight, I loved all the different illustrative styles that each artist obtained and had developed over their experiences through comics and other influences. I found it extremely inspiring and it made me think about picking up where I left off in college with my own comics, which I stopped before I came to university. I just love storytelling, it's something that I am passionate about. I want to use PPP3 for tests in this medium, even if it is just small sketches and notes on refining a story, I would like to continue and try and make something that I can connect to animation with.

Here are my notes on the sketching spotlight...

Amy - Worked for DC but mainly works for Image Comics. Drawing for Marvel as well, mainly covers and colouring. Currently drawing for Rocket Girl.
Isabel -  Written novels, The One Hundred Nights of Hero, does kids book, doing a kids history book at the moment, influence from horrible histories but more of a picture book than text.
Doug - Worked for many comic companies, Valiant and DC, first project in Valiant was for Unity.
Isabel - Gets alot of illustration work that is commercial based but for a narrative eg, for museums etc.
Doug - At the beginning did a lot of life drawing, was like a sponge, would draw all the time. Life drawing is very important at the beginning, it helps you to map out the figure, understand how to apply to different style and different character designs.
Wes - Hard to fill up a sketchbook, would draw a lot of people when on transport. Hard to find motivation to draw other than work. When he does draw in sketchbook it is much more loose.
Amy - Everything that you do must be intentional. Towards comic books, when I start sketching, I don't have an idea but I start thinking outside of the box as I draw. When you draw from life it's more of an educational purpose.

Deadly Class - Wes Craig

Wes - In the script, the writer puts in the basic dialogue and allows him to draw, sometimes the writer will change the dialogue to better suit the emotion that he's drawn.
Doug - Read the script a couple of times, plays in his head like a film, visualises the story, writes his ideas for the panels in the margin, visual keys, then layouts the pages. Makes a small thumbnail of this, figures if it works well at such a small size it will be perfect once blown up.
Amy - Goes to a public place, a cafe, to think about ideas, can only draw something right once. Has an idea on what she wants it to look like. Draws as loose as possible, doesn't have a box, draws the figure first, scans it into photoshop and frames afterwards. Prints them out then uses a lightbox. Doesn't feel like they can continue a drawing without a computer. Learned to draw digitally, can edit continuously, uses it as a learning tool. Colours digitally in which she has a cintiq. Finds using a cintiq to colour has helped her work flow.
Wes - Working digitally... can't get into it and doesn't feel the appeal. Likes the ink and the texture of the paper, finds it weird drawing on glass to the computer. It is easier making adjustments in photoshop for colour. Glyn Dillion did comics and storyboarding.
Doug -  With his colouring, he always paints in grey tones, its the closest to painting that he gets to due to time restraints and deadlines. Adjusts the greys in photoshop and then uses the computer for colour generation. People who want to break into comics, using the computer as a tool will give you an advantage. Learn to draw traditionally as it will help.

Rocket Girl - Amy Reeder

Amy - If you wanna draw digitally be aware that your lines will look really wavy, none of the lines seem to connect, they seem wispy when they connect. Give them weight. 

Wes - If given the change he would draw and draw all the time but hand would die
Isabel - Knew her career path would always be art, so went for illustration. She knew she couldn't make a living through Marvel and other publishers but making it through with her own novels and work. Got a publishing deal and gets work from that. She got into comics because she liked storytelling, the narrative, she doesn't do comics because of the hero storytelling, its a medium, its a vehicle for telling stories.
Amy - She decided to become a comic artist after college, was going to be a teacher but got into manga and noticed that Tokyopop were doing a context where Americans submit their own manga and get it published. Wanted to try this and began to learn to draw. All she wanted to do was draw. Made it into one of these books, and started to have a desire to tell stories. "Start out doing grunt work for the big wigs... don't see myself doing anything else but comics."
Wes - My fave comics are when they are done by one person. Too many people in a comic must be frustrating.
Amy - You have to make a name, let go of your work, work for the big two. Might be unhappy with your work, you'll have to do other peoples visions before your own. BUILD A REPUTATION!!!! With the structure try and make it really messy! Its a learning stage.
Doug - you need movement in your work, the flow and staging.
Peter - Think about how composition and context relate to each other. The more you resolve it, the more change you have of ruining it.
Amy - Blocks out everything first, has a triangle for the nose, then colours the lips before even thinking of the lines/details.

Hagoromo - Isabel Greenberg

Doug - Helps using a blunt pencil as stops you from going into detail.

Peter - If you are doing small layouts with a blunt pencil, you know what you want, then you can zero in to it.
Doug - What are your influences? Find out who their influences are, see the depth of the draftsmanship, it is important to look back. I look at everything, love Pre -Raphaelite, didn't understand the technique but an inspiration nevertheless, loves impressionism. You can find something in everything. Jack Kirby, started off as an animator, was a good illustrator, weird proportions. Drew three books a month? Maybe more...Try not to replicate what your influences make, you need to make your own.
Wes - Does some writing but the art takes so much longer. My fave comics are where the artists and the writer are the same person. Back in the day, would draw Marvel and DC characters in scenes to get into the industry. Does both writing and drawing at times.
Doug - STORYTELLING IS THE MOST IMPORTANT THING. World building was great fun. Throughout his career he's been called an artist but cares more about storytelling now that he is older. It is less about the appeal of the art and more about how the storytelling is communicated to the spectator.
Amy - I want to write and draw my own stuff. Doing all the chores when working for DC. Was a top colourist there but wasn't happy.My art is more than just pencils, I just really like the synergy of it all. For Tokyopop she was doing her own stuff, better when it comes from one brain.
Wes - Play to your strengths, what you can do, when you can draw what you like to draw you do get weaker.
Amy - You have to find the right pattern. Gets a good amount of input on Rocket Girl. Writer and herself are good friends so it helps. Some writers add so much that you can't add anything to it, when really you need some room with the art work to let it speak for itself.

Wolverine Cover #33 - Doug Braithwaite

Thought Bubble - Filmish: Edward Ross in Conversation

Filmish: Edward Ross in Conversation

I was really looking forward for this talk, I knew that this would help me with my dissertation through the film theory that Ross reconsiders, applies theory and applies to new compositions within comic panels. I loved this concept and felt that it would bring a new light to my research project. Unfortunately the panel wasn't what I was expecting, Ross didn't really go into detail about the theories he used and how he would apply his own theories to his work, he talked about how he came up with the concept and his life. It was interesting listening to how he created Filmish but it only stuck to this topic, he didn't talk about theory at all, apart from a short example on architecture in the film The Shining. I wanted to ask him a question about storyboarding within the film industry, what his thoughts on theory would be towards this process, however when he was talking about why he chose comics, he made it very clear that he detested storyboarding which made me feel uncomfortable asking a question. This is why I am using this panel talk as research for PPP module rather than COP3. 

Having said the above, I did like his concept on retelling film theory in the form of comic books, I just wish they were easily accessible to the public. Here are my notes on the Panel:

+ Ross always wanted to be a film maker, influence by Terminator and Alien, as well as other films at a young age.

"Films are something more then just something than you watch"

+ Passion switched from making films to understanding them and learning from them, finding unusual ties and ways to think about them.

+ Structure of these essay comics - Always starts with the topic first, made as essay comic on Die Hard after a friend sent him a film essay on it. Started to read into this, what is it about, started to think 'What is this?', 'What technology is used?', 'How is this portrayed?'.

"It's a detective journey."

+ Ross doesn't make a script, or visualise an image, tries to get everything down first and goes from there. Reads against Representation as it is outdated, we are 20 years behind, online discourse states we should be further ahead. His audience is himself, writes for himself. Loves film genres of horror and sci fi.

+ Architecture in film - Theories on The Shining, the set of the hotel did not align with actual exterior of the hotel. This makes the spectator disorientated. They wonder where they are, where the corridor leads which works with the horror genre. 

PPP3 Life Drawing

This year I have decided to attend Life Drawing sessions, I intended to last year but never got round to it, I knew I really needed to do life drawing again to refine my skills, develop them. It took me awhile to get into the loose sketching, I just haven't drawn this way since college, and any drawing I have done since at uni has always been the finished thing. Using loose lines, I purposely tried to draw big block shapes that made the models figure, I wanted to use these sessions to develop my own understanding of the human figure with the use of basic shapes; that I would be able to take into other drawings as reference. As the session was nearing the end, I found that I got back into the act of loose drawing and almost drawing raw emotion, I really enjoyed adding more dark lines and rough line shading, my favourite sketch is the middle of the second row of images. I felt I captured the dynamics quite well, I would have liked to have drawn his back more arched just to emphasise the pose.

 

PPP3 Briefing

For this PPP3 Module I need to focus the content and research of work towards life after uni and building up my skills/portfolio. I want to begin visiting animation studios, build up my networking skills and show off my work. As well as visiting professionals I want to have a stall at Huddersfield Convention to be able to sell work and network with other people. Through this I will be selling work and getting my name out there, and hopefully build some good relationships with other professionals. From the Huddersfield Convention I want to then branch out to other places where I could have a stall. In addition to this, I want to sell work online on places such as Redbubble and Etsy, I need to research more into this to ensure that this would be a financial gain and aid me in the future. The children's media conference at Sheffield sounds like an amazing event to go to, it is held once a year in July.

I will need to submit work to competitions, I would love to do more work for Qwertee and make a Loop de Loop animation. I want to look into the New Blood competitions as well. I need to continue with at least one of these. I will also need to take into consideration the timescale and submission costs; make sure I have a statement about the piece I submit (this is mandatory).

Evidence for Submission
1. Blog Posts in PDF format labelled OUAN602
2. All development work
3. 2000 word critical report
4. Showreel/other appropriate marketing material