Currently, more things are happening at a faster pace than I can document them.
I’m in the second week of working on chapter 3 of my Street Prey (SPREY) comic – so how did it go?
I am grateful every moment that it worked. It is as if I never had left, my brain and body have accepted the daily comic panel back without much resistance. Some of the pages do put a good fight up, but I have worked my way through all of them so far, no matter what storytelling or art problems to solve they have thrown at me. A lot of woes I had in the previous chapter did not cross over to this one. I know at least a bit what I’m doing when it comes to backgrounds and environments now, a multi panel layout doesn’t overwhelm me anymore and my linework is worlds better (but still there’s room upwards).
The retro frame was a victim of circumstances. It had to go to make experimenting with several panels on a daily square possible. Also, to Styx from now the frames around the panels might have been a bit garish and distracting from the comic itself. JUST A BIT. But I’m sure the wildness isn’t gone, it’s now in the story itself and will resurface in time.
And now for the main lessons of the chapter so far.
My work on a page starts with loose sketches.
- I do not have to invent pages from nothing. My story dictates what must happen next.
- A great question to determine whether a panel is any good: Does it advance the story? If not, does it at least tell me something about the characters or their relationship? When in doubt, go for the thing that drives the story forward.
And specific questions for my way of doing things with a daily deadline: Have I given my reader something worth coming back for today? A new development, an interesting detail, a sort of mini cliffhanger where it is uncertain what direction the situation will take from here, and I’m not done exploring all possibilities yet.
- Feeling confident when making page layouts comes from practical experience, it builds by sketching and drawing pages. Learn making comics by making comics.
- Always sketch and write your ideas down, don’t just think them.
- Reason 1: Otherwise you will not know whether the idea actually holds up. Sometimes a page layout that looked brilliant in my head just doesn’t look any good on my actual canvas. Sometimes things just do not translate well out of your head. You either let go or find ways to adapt the idea and make it work.
- Reason 2: Fail and succeed faster. If it doesn’t hold up as a sketch already, guess what, putting hours in to render it out will not make it better. So solve the biggest problems a panel, piece of artwork or anything you can pack into thumbnail has in small, simple and easy to iterate on sketch drawings. Go through everything that doesn’t work and you’re arriving at something that does work faster.
- Reason 3: Helps you to actually create. Now hear me out. In our head things often appear flawless, beautiful, unachievable, but oftentimes quite vague at the same time.
Think of one of the great ideas for an art piece that has been haunting you for a while and still rests in your head. Would you know what you want to draw in every detail, how it should look and feel like and how to draw it from start to finish? And if so, why haven’t you drawn it yet? Usually, you will not have all the answers already when you sit down to work on a piece.
It is okay when you cannot envision something 100% before you draw or write or say it.
You do not have to. Most often getting active and at least thumbnailing will help you understand more about what an idea you have and how it looks in detail. And what doesn’t work about it and what to change. Creating an art piece IS figuring it out. You are luring a nebulous vision out of your head and making it concrete. Remember my “perfect” page layout that I can only test if I actually sketch it down and see how it would look in reality. Drawing it, giving it a form, will entail loss, as when you draw something a certain way, you decide against many other options you would have had of drawing it. But what is your idea worth when it lingers in your head as that great, flawless something that is awesome to dream about, all it’s potential untouched and available… but it has no visible form at all that you could enjoy yourself or show anybody? How do you know it’s good when it isn’t there and you never actually made it?
So: make your sketches.
I hope this helps!
See you next blog entry!