Posts tagged process
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I love Lamar Abrams’ comics, both the Adhouse Books -published Remake and Remake Special, and his own Ferzan series of self-published mini comics. But lately I’ve been in love with Lamar’s Instagram feed. There’s plenty of the regular stuff you expect from that kind of thing, food, cats, etc., but Lamar puts up a lot of pictures of things he’s working on, from thumbnails to inked comics to digital work onscreen. Lamar’s style is SO stylized, but still so conversational and relaxed, that there’s something really fascinating about these little up-close glimpses of his work. Not to mention it’s really shown me what a strong draftsman he is, which it’s easy to forget when you’re laughing at his jokes.
If you’re on Instagram check him out, he’s “neo_rama”. Instagram is alone maybe in being one of the most popular social networks that it’s virtually impossible to link to from outside a mobile app (?!?), but there are numerous mirror sites, like this one, to check Lamar (or whoever) out on, from any device.
Some illustration/lettering process tips from Britt Wilson.
Here’s Quentin Blake demonstrating, step by step, how he makes the illustrations for his books.
It’s from this great page on his website, How I Draw, in which he describes the process a little more:
In the attempt to combine planning with an air of spontaneity I’ve employed various techniques of which the one I have found most successful, and have used for the last thirty years, makes use of a light box.
…
What happens next is not tracing; in fact it’s important that I can’t see the rough drawing underneath too clearly, because when I draw I try to draw as if for the first time.
Dutch illustrator Pieter M. Dorrenboom shares his process of creating an illustration from sketch to final.
Kate Beaton answers your questions about makin’ comics
Hey there! It’s question and answer time!
A few weeks ago I put out an open call for questions about the comics industry. A penance maybe, for having so many unanswered emails on these kinds of topics. I’m sorry! My email is terrible.
Anyway: I said I would answer the most frequently asked questions, to the best of my ability. This isn’t a book on how to make comics, I can only speak from my own experience (in some places this will be painfully obvious), so keep that in mind. Questions came from all over the spectrum of artists, so if you are, say, a teenager and read an answer that seems crazy inapplicable, I possibly had another type of person in mind when I typed the answer.
This is part one, part two will have the big two questions that I got asked most of all- “how do I get people to read my comic” and “how do I generate an income.” Anyway I’m still talking, as usual, too much of that, let’s get going.
(hope you like my meandering answers, I love meandering like babies love their mommas)
Reblogged from Hark! A Vagrant:.
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I enjoyed reading about Erwin Kho’s illustration process for this piece he did for the University of Applied Sciences in Amsterdam.
Aaron Renier shares his process of creating a page for the Adventure Time comic book — from thumbnail sketch to final line art and watercolours combined in Photoshop.
Watch Marc Scheff paint a portrait of R.E.M. frontman Michael Stipe.
(Source: youtube.com)
Kevin Huizenga shares his technique for thumbnailing his comics using a grid template he prints out onto cheap copy paper.
Well, my day is made. I could watch Jim Woodring draw and listen to him talk all day long.
(Source: youtube.com)
There’s not much I love more than watching other artists draw and talk about process. I was fully engrossed by this video of Edward Sorel talking about his craft and working through an illustration. Sadly, I can’t embed it here, and even worse, the video can only played in a tiny window, but it’s worth it.
Hat tip: John Cuneo.
EDIT: Here’s a direct link to the Quicktime file, so you can download/watch full screen.
I love seeing skilled craftspeople at their work. This great picture book is screen printed white ink on craft paper, hand-folded and hand-bound, made in the tradition of Warli art from West India. And it looks gorgeous! You can buy a copy here.
(via Tintin: What techniques did Hergé employ in creating The Adventures of Tintin? - Quora)
An interesting step-by-step look at how Hergé created the art for Tintin, from sketches to final colour.
(via Q & A with Tom Gauld | The Casual Optimist)
Dan Wagstaff interviews Tom Gauld, whose book Goliath comes out next year from Drawn & Quarterly.
Tom talks about his process:
I sit and think and doodle in my sketchbook until I have a good idea. Then I’ll make rough pencil sketches on copier paper till I have things worked out visually. Then I hone these sketches on paper and in photoshop till I have a rough version of the image which I can send to anyone who needs to approve it. Then I will print out the image and use a lightbox to trace an ink version which I crosshatch then scan back into the computer where I can clean it up, tweak bits and add any colour. I love using the computer but I try to stay away from it till I’ve done most of the thinking for an idea, looked at it from all sides, because I feel that once the computer is involved things are on an inevitable path to being finished. Whereas in my sketchbook the possibilities are endless.
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