A VIDEO

rocketumbl:

All the Weapons

I remember doing a photo like this with all my art supplies.

A VIDEO

brianwood:

Why aren’t women in superhero comics all built like this?  (Kara Webb)

Look at those thighs. That’s power right there. She looks like Big Barda.

I remember the first time Alex Ross’ depictions of Power Woman (Kingdom Come) and Wonder Woman. They looked like body builders but were still feminine. He gave Wonder Woman these big, powerful thighs, and it looked RIGHT.

Reblogged from Brian Wood
A TEXT POST

Advice from Alex Toth

Points to keep in mind.
As I try to do! (and often fail, I might add!)
By Alex Toth

  1. Eliminate the Superfluous, the unnecessary. Be lazy!
  2. Edit your art continuously, at every stage. Save work!
  3. Focus on the remaining (important) picture elements.
  4. Emphasize what is important in a scene. Save drawing!
  5. Isolate such key elements (as one does in a view finder).
  6. Closeups only when needed: face(s)-for mood and expression, and objects-small, difficult to distinguish in other ways.
  7. To set a scene, a place, to establish a locale, etc., go to a wide shot, angles okay (down/up, etc.)-but again, simplify.
  8. Then, cut to tighter shots-pace them, for interest, etc…. (wide/one shot/two shot/group/close-up/tight close-up).
  9. Establish light source, if need be, for dramatic mood and for blacks, drop shadows, etc., on figures & objects and walls, as correctly placed as you can make ‘em!
  10. Eliminate such light/shadow work in other shots.
  11. Simplify, simplify, simplify, throughout!
  12. Remember, some scenes will and must be pedestrian, unimportant, and dull-because they are “bridges” between key storytelling scenes. As in any storytelling form, movies, TV, books, plays, music, opera painting, etc., you can’t knock ‘em dead with every shot. Remember, this is what gives pace to a story, visual commas and periods in a pictorial “paragraph” or “sentence”! These are the resting places in an otherwise moving storm! Use them! Without fear!
  13. Some such “rests” or “pauses” can be heightened in pictorial interest by way of a pretty scene of quiet mood-if your locale allows! Don’t stretch logic to do it!
  14. By learning to eliminate unnecessary objects, figures, and backgrounds, etc., you can focus on what is left to draw in the shot-and draw it well enough to “carry” the shot.
  15. In other words: strip it all down to essentials and draw the hell out of what is left!
  16. All of this advice is based on Roy Crane’s critiques of my work-and he is absolutely correct, on all points!
  17. In the Wash Tubbs and Captain Easy strips and in Buz Sawyer, with Sundays focused on pal Roscoe Sweeny, his work of fifty-odd years demonstrates its validity! In his work, as in no other of his contemporaries’ offerings, you will find an extraordinary sense of balance, in his design of space within a panel frame, a strip, or a page! His simplicity allows us to see the use of shapes within his pictures, how they create tension, action or repose… clearly!
  18. He avoided confusing details!
  19. To quote something just read: “To add to the truth only subtracts from it!!! (Isn’t that beautifully put?)
  20. Authenticate devices, objects, machines, locales, furniture, buildings, etc. … to lend credibility!
  21. As Sickles put it: “Understand how a thing is built and you’ll have no trouble drawing it through!”
  22. Spend more time thinking-about what and what not to draw, and how-and you’ll do less drawing!
  23. Pre-plan, pre-think…Thus, save work and time!
  24. But-whatever you do, do it well!
  25. Tell the story as best you can! Bend to the storm!
  26. Be honest to it. Give it all you’ve got! Enhance it!
  27. Study films, photographs, paintings, etc. for composition! For cutting, cropping out of non-essentials, pacing, punch, economy, forceful and direct impact. But also for beauty and subtlety-tension, suspense, action, humor, light and dark, balance, line vs. mass, ad infinitum! Use it all!
  28. Analyze everything you see-be critical! Positively so!
  29. See-observe-remember! Build up your memory file!
  30. Good Luck-
A VIDEO

faitherinhicks:

michaeldantedimartino:

The official, 100% real Korra Book 3 trailer is here! New Book 3 music by Jeremy Zuckerman. Edited by Jeff Adams. Motion graphics by Matt Gadbois. Enjoy!

ok there we go the Canadians are happy now :D

Remember when Pro-bending was the coolest thing about this show? I’m loving everything in this trailer.

Reblogged from This Nonsense
A TEXT POST

Image Comics shifting the comic business model

image

image

There are two things I’ve ranted about comics in the last few years: how the high price of trades prohibit new fans from getting into long running comics, and how pricing digital comics the same price as print comics misses the point.

Imagine my surprise when two Image comics I’ve just read have buck the trend.

The trades Nowhere Men and Black Science are both going for $9.99. Their single issues range from $2.99 to $3.50. A six issue arc would range from $17.95 to $21. It’s a substantial savings. Compare the to The Avengers, which is $3.99 and issue, and has a cover price of $24.99! If you wanted to get into a series, which one looks more approachable?

One things that’s great about Image’s approach is that it acknowledges the “waiting for the trade” trend. People are going to buy the trade. We all know this. So why have a high price for it? You’ll sell more at a $9.99 price point, and the margin is better than a single issue. I bought several Teen Titans trades during the Jones/McKone era because their were at that price point. Unfortunately, that was because they were printed on newsprint and not glossy paper.

Also, I believe that buying a series issue by issue should cost more than buying a trade, because you are paying for the privilege of reading the story as it’s serialized. I know that some people would disagree, but from a business point of view, this makes sense.

Lastly, and most importantly, I think, Image isn’t selling digital copies of Black Science and Nowhere Men at the same price as print. Both sell at $1.99 an issue. Which makes sense. There’s no need to pay for printing and distribution. Marvel and DC both sell their digital comics at the same cover price as their print comics. There’s no reason I should be paying $3.99 for a digital comic. Both of the Big 2 want people to embrace digital comics, but they are still stuck in a print comics mindset.

Image Comics isn’t the only company shifting their business model. But they are the most influential. And there’s more to be done (like a 99 cent digital comics price point; digital comics formatted for screens ala Thrillbent). Hopefully, other companies, including Marvel and DC, follow suit.

That’s all for now, back to walking the earth.

A TEXT POST

I’ll be everywhere

Sketchworks and Antonio Tyler Illustrations are both done. I never did enough with them, and the amount of mental energy I spent coming up with projects, but never executing them, meant I let the rest of my life fall apart.

I’m shutting every aspect of my life down and starting over, out of sight. Keeping up with artists, fandoms, news, etc takes too much out of me. I can’t do all of that and get better.

To all my followers, I’m sorry I never made it work out. I was sure I could figure out how to be a forward-thinking comic creator, but I’m a creator of nothing at this point.

I don’t know how long I’m going to gone. Weeks, months, maybe years. Keep following this blog, and you’ll know when I come back.

Take care.

A VIDEO

krisstraub:

castielsgayagenda:

unejeuneidiote:

unclefather:

thinkintrixxter:

toomanyfandomssolittletime:

tHIS IS THE YEAR WOMEN FINALLY SAID “FUCK YOU” TO SEXISM

YOU GO , GIRL.

'not that you're the genius'

questioning her intelligence when he has that hair cut in 2014

BAAAAAAAM, for fuck’s sake!!

LET ME TELL YOU SOMETHING ABOUT MAYIM BIALIK. 

FOR YEARS AS A KID AND TEEN, SHE BALANCED SCHOOL AND ACTING, NEVER ONCE LETTING HER GRADES DROP OR HER CAREER SUFFER. 

SHE GRADUATED HIGH SCHOOL AT THE TOP OF HER CLASS, AND WAS ACCEPTED TO HARVARD AND YALE BUT CHOSE TO GO TO UCLA BECAUSE SHE WANTED TO STAY CLOSE TO HER FAMILY. 

SHE EARNED A BACHELORS IN NEUROSCIENCE, HEBREW STUDIES, AND JEWISH STUDIES ALL AT THE SAME TIME.

SHE THEN WENT ON TO GET HER DOCTORATE AND A Ph.D. IN NEUROSCIENCE, WHILE BALANCING AN ACTING CAREER AND MOTHERHOOD.

SHE HAS BEEN THE BUTT OF SO MANY FASHION JOKES AND ANTI-SEMETIC JOKES IN HOLLYWOOD. WHEN PEOPLE SAW HER AS AMY, THEY RIDICULED HER ONLINE. 

BUT SHE STUCK WITH IT. BECAUSE SHE IS A BEAUTIFUL AND AMAZING PERSON AND IS HAVING NONE OF THIS “WOMEN CAN’T BE SUCCESSFUL AND SMART BULLSHIT. 

SHE IS ALSO A NOW-SINGLE MOM OF TWO BOYS. AND STILL KEEPS HER CAREERS (YES THAT’S FUCKING PLURAL) ACTIVE.

BUT YET, PEOPLE STILL HAVE THE AUDACITY TO ASK HER STUPID FUCKING SEXIST QUESTIONS THAT THEY WOULD NEVER GIVE, SAY, JIM PARSONS OR JOHNNY GALECKI. 

MAYIM BIALIK IS A FUCKING ICON. 

"think that you can solve calculus at the top of the hat?"

if that guy suddenly died, nothing would change. the needle of the world wouldn’t waver one iota

Um, it’s DOCTOR Mayim Bialik, thank you very much.

A VIDEO

Dan Petersen put together a video about inking grey areas that I found very helpful. I love Dan’s work on Mouse Guard, so I was really happy to see him put this tutorial up. It’s an older video (it states that Black Axe #6 isn’t out yet).

In addition to his Tumblr, Dan has a Blogspot page full of information.

A TEXT POST

I need to start typing up my thoughts about webcomics, digital comics print comics and the future of self publishing. I have all these fantastic thoughts, theories and observations running through my head at 2 am.

A TEXT POST

antoniotyler said: I'm trying to design all sorts of sci-fi and cyberpunk tech, and really dig your 80's/anime influenced aesthetic. What's your design philosophy and what are some good resources to check out?

dustinweaver:

So you’re doing a cyber-punk web comic right? You sent me another message that I haven’t yet responded to and you mentioned being influenced by Otomo and Shiro for your tech stuff, and you’re getting into Moebius. Those guys are all great inspirations for designing sci-fi. Juan Gimenez is another big influence for me. I’d say check his stuff out. 

As for my design philosophy, this is a really complex subject. I don’t consider myself an expert but I have developed a lot of thoughts on this. I can’t get into it in depth here, but I’ll tell you some things that I think about when designing sci-fi stuff.

I think when you are designing anything you are telling story. If it’s a flying car, for example, there is a story implied in your design that suggests the development of that technology. You can suggest an energy source which says something about the world it exists in. Does it show any weather damage or wear and tear, that will say something about it’s environment, how it’s used and even it’s owner.
Another design thing I think about is the “character” of a design. Star Wars has some great examples of character in design. The fact that the Millennium Falcon is asymmetrical suggests something to you, on a subconscious level, about the nature of it and it’s pilot’s. Same with the way Boba Fett’s Slave 1 flies in a counter intuitive upright position. This immediately gives you a feeling about Boba Fett. There is a lot of great design work in Star Wars. All of those Art Of Star Wars books are super inspiring. 
Think about motifs. This can be as simple as deciding that the vehicles of a specific group of people are all inspired by insects. Or this alien species’s ships are all inspired by fish. Or it can be something like: in this world designs have no circles on them. 
I also think about composition. Varying the proportions of shapes. Having areas of dense detail and areas where the eye can rest. Also, does the design have a recognizable silhouette?
The last thing I’ll mention is that inspiration for design can literally come from anywhere. Nature is classically a great inspiration. You can also look at fashion photos and draw inspiration for a car design from a dress, or vice versa. You can look around your home and find interesting shapes to create all kinds of things.
I’ll stop there and wish you luck. Also, I guess try asking some concept designers about this kind of thing. This is like ALL they think about

This is perfect.

Reblogged from Dustin Weaver