29 notes | Reblog
3 months ago
Just phoning it in, really.

Just phoning it in, really.

364 notes | Reblog
3 months ago
Anonymous said: My friend and I are writing a comic but we've come to a standstill on the topic of speech bubbles. I think it's fine if we do the bubbles and text on the art boards but he's scared I'll mess up and wants to do it all digitally. Personally I think it would look better if everything was done by hand rather than computer generated. What is your opinion?

Neither of us have really have a solid answer for this one, mostly because we have no idea what your skill set is. Both have the potential to look terrible. Having a happy collaboration is probably more important than winning whatever argument you’re having. Additionally though, saying something is ‘computer generated’ seems to dismiss whatever skill (and there’s a lot) is brought to digital lettering… there’s still a hand involved (we do take your point and are not being intentionally obtuse but it would perhaps be helpful to discard this particular dichotomy.) Granted, there is a kind of ineffable quality to the hand lettering of say, Dustin Harbin, but how many of us are Dustin Harbin?  If there’s any doubt about your ability to pull this off, perhaps lettering on an overlay or a digital blue line is the way to go. Having said that, maybe give some solid consideration to the fact that is also useful to exploit the ability to fine tune and edit which digital lettering provides.  I would also suggest you might want to look at generating a font for your project which is what we did for Moving Pictures (and others) using a service like fontifier.com. The results are not perfect and you still end up having to make a myriad of tiny corrections to kerning but we were generally happy with the end product. 

good luck!

Kathryn

21 notes | Reblog
3 months ago

Creators weigh in on 2013 and 2014, Part 3 - Robot 6 @ Comic Book Resources

In which one of us names "Above the Dreamless Dead" coming from First Second. 

Happy New Year, everyone.

Happy New Year, everyone.

13 notes | Reblog
3 months ago
Anonymous said: Stuart,You worked on the X-Men 50th Anniversary poster with Walt Simonson, David Lopez, Art Adams, Nick Bradshaw, Neal Adams, Phil Noto, Chris Bachalo, Whilce Portacio, Salvador Larroca, Joe Madureira, and Clay Mann. How did you accomplish this? It all looks so seamless. Brian

Editor Jeanine Schaefer organized the effort. I believe Chris Bachalo provided an interlocking sketch for the positions of the Sentinels in each quadrant and then the other artists built on their individual portion, adding the other characters. As each quadrant was completed, it was used as more specific reference where elements overlapping the borders were juxtaposed. Honestly, I just did what I was told to do.

Stuart

Anonymous said: Hi Stuart. I'm an artist in training, I am a great fan of yours and I am from Argentina. I wanted to know how long you spend a comic page. From the sketch to the finished product. Have attendees? Greetings and sorry for my English!

Hello and thank you.

I draw close to one page every day; sometimes it’s a little more and sometimes it’s a little less. I like to begin early and finish early, so my ideal working day runs from 7AM to 4PM. I rarely do much preparatory sketching. I do not have assistants. Your English is excellent— much better than my Spanish.

Stuart

13 notes | Reblog
3 months ago
Anonymous said: For us (we?) fledgling artists, are there any particular exercises you could recommend, for say, composition, anatomy, lighting, etc.?

Just draw. Draw things in front of you, draw things that don’t exist. Draw whenever you can, and when you can’t, observe. You’re in a restaurant; how do people sit? How do they hold things? What shape are they? What do they wear? Is the light natural or artificial? How does it change what you see? You’re at the movies or you’re reading a comic; ask yourself the same questions, but understand that others are making decisions that govern what you see, by providing framing, or lighting, or costuming or casting. Is it better or worse than what you do? Why?

A comic artist will compose six or eight or ten drawings every day. You find out what works by doing, by looking and by asking why.

Stuart

117 notes | Reblog
3 months ago
26 notes | Reblog
3 months ago
Snowy Owl and friend.

Snowy Owl and friend.

23 notes | Reblog
3 months ago
1,257 notes | Reblog
3 months ago
#137: Sam Eidson reads comics, Zero Charisma, 2013.

#137: Sam Eidson reads comics, Zero Charisma, 2013.

23 notes | Reblog
4 months ago
26 notes | Reblog
4 months ago
Anonymous said: Hello Stuart! Do you have any thoughts/feelings about your status as an influence on other artists, professional or inspiring? I recently listened to a Neal Adams interview where your name was on his short list of favorite artists. I want to add that you're my favorite also and when I need to make a point to students that I work with about dynamic storytelling, anatomy, composition and atmosphere I show them your work, so thank you, from us all.

Hello to you.

I can’t have thoughts or feelings concerning something about which I do not consider, ever. I mean, it’s very nice to receive praise, but what other people —- apart from the client— think has no serious bearing on choices I make or the way I draw. That’s crazy-making.

However, I appreciate hearing that you consider the work worthwhile enough to help emphasize technical issues. Thanks for letting me know.

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