@Lee-White Really great video, super helpful! I do think you missed a crucial step though. Step 0: Define your reasons for wanting to achieve this goal, write down what it will bring you, how it will change your life, why you want it so much. Do a fricking mood board to hang above your desk haha. I used to think this step was just a load of croc, useless. Let's just get started, I don't need this touchy feely crap. The thing is, we CANNOT rely on the power of motivation alone. At first, motivation is there and it's powerful, it's like a wave that carries us off and gets our butt to the gym each day or at the drawing table each night. Building a habit is very important too, yes. But at some point either way, motivation WILL leave us. There will be days were we just do not want to do it, at all. Where even the level 1 seems like too much. When that time comes, that's when we need to have clearly defined why we're doing this. It helps when those reasons are outlined in the beginning (when you are feeling motivated and hopeful) and we can just read them back, remember why it's so important to us to do this. The reason has to be good enough that we will continue towards our goal anyway even after motivation has left us. And in time, motivation always comes back
I studied traditional animation in Montreal, then worked in the mobile games industry for 3 years. Now I'm trying to become a children illustrator, and you all know the struggle!
Posts made by NessIllustration
RE: 5 STEPS TO HITTING YOUR GOALS
RE: Looking for some feedback on my autobiographic comic strip
@Pam I really like the style of your comics! It's fun, simple and clean, I like the common blue background as well. For the strips themselves, some of them are really fun with a great punchline. I really like "Christmas spirit" and "Fear", great comedic timing and punchline. Others just kind of seems like observation or facts, without much of a punchline, like "I don't find babies cute" or "I feel bad when I don't achieve a task in my planner". I find those strips to be less successful than the others in terms of impact,
When doing a comic like this, you have to think how you want people to feel when they read it. Decide what emotion you want to create and then make every element of your story in order to create that emotion. Autobiographical comic strips often have the goal of making people laugh or relate. The "hahaha that's so funny, this is SO me!!" element makes them highly sharable on social media and you should definitely lean on that. They can even go viral.
Check out the comic "Sarah's Scribbles", which is similar to yours but has really honed the power of the punchline. Every strip is an everyday situation, but instead of just telling the story, Sarah has really thought of the way to make it as efficient and funny as possible. Her comic regularly go viral. Another example is "My Giant Nerd Boyfriend" on Webtoons. Her comic is a more long-form than Sarah's, and although she usually aims for a joke (and very well) sometimes she also tells a sad story of a story of learning and growth, meant to give the readers the feels instead of making them laugh. But she really thinks about what emotion she wants to create and goes all after it in every comic strips, that's why it works so well.
In general, this is a great quality comic with so much potential. If you're not reaching the level of readership that you want, I don't think it's really because of the quality of your content and that you should put all your effort in creating or making changes to the content. I think you need to ask yourself what you are doing to reach your readership. The saying "Make it and people will come" is the biggest load of croc in the universe. If no one knows about your comic, no one will read it. You are running in the hamster wheel right now, exhausting yourself creating more content or trying to improve your content, and you're not feeling the rewards for all your hard work because no one knows your comic exists. You need to create an instagram account for your comic to promote it, and a Facebook account too. You need to ask your friends and family to reshare your comics posts on Facebook to attract new people. You need to post your funniest, most relatable strips to Facebook groups that share everyday funny memes (with a link to your site of course!) You need to post your comic other places too (like Webtoons, Facebook, Instagram) to reach people who aren't on Tapas. A LOT of people who would love your comic aren't on Tapas! Why isn't the link to your comic in your signature on the forum so all of us can know you have a comic and know how to find it? You can have the best comic in the world and if you don't promote it well, people aren't going to know about it.
You feel like you comic is just no good at all because of the low readership... But I just think you need to start doing the work to reach people. I think it's good, but it won't get discovered by itself. Don't give up, but do start to be smarter about marketing, not just making the comic!
RE: Basic Perspective Drawing class
@BichonBistro In real life nothing is exactly always straight and square so it can get confusing Streets turn, go up or down, buildings have weird shapes, or are crooked, objects are laid about at 20 degree angles, etc. When observing a photo for perspective, try to find commonalities in the perspective. 2-3 lines might be all you need to identify your vanishing points and horizon line. But some lines will inevitably not fit. The good news is when you draw your own perspective, you'll be the one to choose what happens in there!
You're at the beginning of it, seeing the basic rules. When you start drawing an actual background of your own you'll start wondering "ok but if this building isn't a rectangle, how do I draw it? How do I draw a door opened at 30 degrees? A chair sitting askew from the table? A staircase? How do I place windows equally spaced on a round tower?" That's where a course really goes into more details and gives you the tools you need beyond the basic rules. I'm sure the course will go into things slowly one at a time to not overwhelm students, so it will be a little while longer before you look at a photo and can understand/draw the perspective of everything in it. Even after years of perspective classes, when I first tried to draw one of those Chinese temple roofs I was completely stumped. I looked at hundreds of photos and was only getting more and more confused about how it was built hahaha... The Scotia Bank building in this photo would be an example of a hard to draw one!
RE: Gut feeling, which colour overalls do you prefer?
@Braden-Hallett I really like 6, it pops the most for me! That gives him great main character vibes But if you're not sure, you could dim it a tad, somewhere between 5 and 6. The goof thing with a bright blue is that you can affect the color a lot by changing the lighting. So as your book becomes darker, you can change the lighting to dim and darken the colours of everything, including his overalls.
RE: How do you decide what direction to pursue?
@IgorWoznicki Every situation is different though, and just because it worked for me doesn't necessarily means it's best for you. I was studying in Canada for about $300 a semester and the program was really really good with dedicated teachers. If you're paying $10,000 a year and the program is crap, it may be that's actually not the best investment in your case. Only you can tell
As for not needing college, that's both true and false. Certain professions in the art field, such as animation and graphic design, actually do care very much about a diploma and wouldn't hire someone who doesn't have one. In other art professions, it's all about the portfolio. Since I switched to freelance illustration not ONE person has asked me about my education and credentials, not even the agent who wanted to sign me. It's all about that portfolio. BUT! I've noticed a lot of artists who are self-taught or even if they take online courses but haven't been to college, feel like they're not good enough or they're impostors. The truth is we ALL feel like we could improve and we're not good enough artists, but self-taught artists often feel like there's some secret to art that they've missed by not going to college and that's preventing them from ever becoming as successful as educated artists. That's never true, yet I've noticed it can harm their confidence and thus their ability to apply places, send out their portfolio, pursue opportunities as aggressively as they should or negotiate. Obviously, people who do all those things will be more successful than someone who acts like a quiet mouse, even if the skill level is the same. I feel like having studied animation gives me the confidence I need to bursts through doors and take no prisoners, and that's hugely contributed to being able to live from my art. If only just for that, a diploma is a good idea. But not if you have to go in debt $60k for it...
RE: picture book proof copy/test prints
@xin-li Uhmmmm I'm not sure about that one :o Test prints can definitely be useful for digital art. The difference of colors from one monitor to the other can be enormous, so what you see on your computer and what she sees on hers isn't necessarily the same. Plus, colors often turn out darker printed than they were on the computer. Then again, all the books I've done until now were from small/medium publishers and no color test was ever mentioned or shown to me. The colors turned out fine for all. Is it absolutely necessary to do a color test, mayyyybe not. It's true it's usually more difficult to print colors right from traditional artwork, because both the scanning and printing must be right. Then again, with traditional art the publisher would have the original to reference to, whereas for digital they can't be sure if this is way too dark and they can't tell because monitor isn't calibrated the same yours is. Only the artist can tell. It doesn't make 100% sense for them to decide to do test prints of trad art, but forego it entirely for digital art. Maybe the cost was too high and they have a printer that they really trust always comes out with accurate colors.
Usually I would be all for polite inquiry and discussion, but since you've already brought it up to her and she said that's how they do it, I'd say maybe it's best just to drop it. If no one out of 1000s complains about color then that means their process works pretty well, and they're unlikely to change it for you. Worse, you could be labelled as difficult for insisting on it especially since it costs money. Established artists with dozens of books under their belt might tell you different, that they could never do without a color test and it's their reputation on the line if the colors aren't perfect. But as beginners working on a first book with a publisher, it can be detrimental to the relationship to demand things that they tell us are not their normal procedure, even if we know they're important and quite reasonable. Since you've already raised the subject and she's answered your question, if I were in your position I would drop it...
RE: Should I send my portfolio to publishers right now?
@nadyart SEND!!! Your art is beautiful and you have a very unique mixed media style. If I was an agent I'd battle against other agents to sign you hihi
RE: How do you decide what direction to pursue?
@IgorWoznicki I studied animation in college. Then worked 3 years in a studio. Now I'm a children's books illustrator. shrug Those two are not as mutually exclusive as you might think! The knowledge I gained of acting, movement, dynamic posing, and drawing characters consistently helps me tremendously in my illustration job. I'd say keep studying animation. You can get an illustration job with an animation diploma, but it's hard/impossible to get an animation job with an illustration diploma. You can learn light and shadow by yourself or with online courses like SVS, but learning animation outside school is MUCH harder. With an animation diploma in hand you can do whatever you want. I know fellow graduates of my school who have gone on to do children illustration like me, work in character rigging or environment design, storyboarding, comics, VFX, producer, fine art gallerist, and much more. One guy in my year now does engravings for a funeral home (like on tombstones). It's really a discipline that opens doors, it doesn't close them.