Tuesday, December 31, 2019

2020 New Year's Art Resolutions

2020 is going to bring a lot of changes in my life.  7" Kara Volume 2 is just about ready to launch on Kickstarter.  Joseph and I plan on finally tying the knot in July, moving to Louisiana, and starting a family.  I'd like to start an art tutoring business in my home parish- St Charles.  So my resolutions and goals reflect this desire for a fresh start.

It's time for major change.  And I'm ready for it.

 Best Nine Posts from Instagram, 2019

2020 New Year's Resolutions:

  • Kickstart Volume 2 of 7" Kara
  • Marriage prep
  • Finish up teaching engagements in Nashville in April
  • Resume 7" Kara webcomic updates
  • Take on way less free work- this blog, Youtube, The Paintbox- establish strong boundaries
  • Redo professional online portfolio
  • Redo resume
  • Cull the art supply hoard even further, donating unwanted supplies to Goodwill and libraries
  • Move to Louisiana
  • Seek professional help for my ADHD and anxiety
  • Create more not-comic, standalone illustrations to share online

Thursday, December 12, 2019

Reader Question: What fundamentals do I need to know before I start drawing comics?

Recently, this excellent question came up in my Discord Server, The Paintbox:

What fundamentals do I need to know before I start drawing comics?

None.  Anyone can start drawing comics, and I encourage everyone to give it a try at least once!  If you can draw a smiley face and a stick figure, you can start drawing comics.  Just look at XKCD.  In fact, the sooner you start drawing comics, the sooner you can figure out where you need to improve, because this question is going to vary wildly based on the education and goals of the artist.  What an artist needs to get started is going to vary from artist to artist and from project to project.

However, let's say you want to draw a manga inspired longform comic that's going to be very character heavy, feature a lot of diversity, and is reliant on worldbuilding for story information.  For a project like this, I would recommend:

  • A strong understanding of various storytelling structures and ways to organize your story
  • An understanding of volumetric drawing
  • An understanding of human anatomy and a system to replicate it consistently
  • An understanding of facial anatomy
  • An understanding of atmospheric perspective as well as linear perspective
  • Thoughts on what style you wish to use and what direction you want the art to take
  • An end publication goal in mind- is it for print?  for web?  

And depending on whether you want to draw your comic using traditional materials, digital materials, or a combination of the two:

  • An understanding of the physical materials you're using and access to those materials
  • An understanding of the programs and hardware you're going to use, and access to those materials

And of course, do you want your finished comic to be black and white, or in color?

  • Understand light, shadow, and how to render textures
  • A working grasp of basic color theory

That's quite an undertaking, isn't it?  But don't be discouraged- you can often learn as you go, and there are a lot of free and affordable resources out there that will help you along your way!

I recommend you begin with a simple mini comic- aim for at least 8 pages.   I talk about this more in my post In Defense of the Minicomic.  Try to tell a complete, short story that would be understandable to people not familiar with your longform comic ideas.  Working on this comic is going to give you a great idea of where you should begin focusing your improvement first- what areas are MOST important to you.  I recommend you create this comic using the materials you want to use for your longform comic- this will give you an idea of how feasible those materials are for the project in mind.

Beginning a short comic project also gives you the opportunity to seek directed critique.  It's difficult to give curated advice without a product to judge and assess- creating a comic will give your peers a baseline to provide suggestions and further resources.

So once you know your weaknesses, how do you go about addressing them?

This blog is an excellent resource, full of great tutorials and suggestions!  I suggest you start with my Intro to Comic Craft hubpage.  If you're a video tutorial sort of person, I have an Intro to Comic Craft series on Youtube, as well as a Making Comics and Zines series.  And once you're ready for more, you can join us in The Paintbox!

There's also a wealth of great resources at your local library and on the internet!

Tuesday, December 10, 2019

Writing Comics-Presentation

More Resources on Planning, Plotting, and Writing your own comics! 
My Life with ADHD: Breaking Down and Planning a Comic Project
Brainstorming and Character Development
Let's Make a Comic: Concept to Scripting to Thumbnails to Roughs
Intro to Comic Craft: Planning Cicada Summer
Generating Thumbnails for Illustration
Developing a Script
Turning Your Script into Thumbnails and Layouts

This class on writing and planning comics was created and presented at the St Rose Branch of the St Charles Parish Library (my home library system!).  It was the first in a series of six classes designed to help students of all ages begin their comic journey.  Artnerds on Patreon received this slideshow the day BEFORE I even presented the class!

Found this helpful?  Consider tipping me on Ko-Fi!  Your support enables me to continue work like this!

Looking for more affordable art education?  My Artnerds over on Patreon have access to my entire Making Comics Class, taught through Nashville Community Ed!  This includes video tutorials, slide show presentations, printables, and more!  If you're in the Nashville area, this would be a perfect time to sign up for my Making Comics or Intermediate Comic classes, or check which of my Copic or Comic classes are available at the Nashville Plaza Artist Materials.  I occasionally offer classes or series of classes in other locations- sign up for my class mailing list to find out when I'll be in your area!

Thursday, December 05, 2019

How Do You Find Your Own Art Style

Recently, a wonderful young artist I'm mentoring via email posed an excellent question:

How did you find your own manga art style? Do you have any advice for me on how to find my own manga art style?

This isn't an uncommon question- it pops up a lot!  From kids to teens to adults, people want to know how to develop their own artstyle.

Don't stress about it too much- just practice drawing
The more you draw from reference, draw fanart, and draw your original characters, the more you're going to find elements that you want to use in your style.  Reading a wide variety of comics, watching animation, and consuming illustration will give you inspiration.

Think about art that inspires you, and works that you love
For finding your own artstyle, I think it's important for you to combine what inspires you with what you love.  For example, my style is a combination of the artists and studios that initially inspired me to draw (so Rumiko Takahashi, Adachi Mitsuru, Kiyohiko Azuma, Studio Ghibli, Disney Renaissance  artists like Glen Keane) and elements I think are cute (big hair, big eyes, big mouths, large ears, freckles, easily excited personalities, lots of animals, and flowers).  Your personal style will develop and change over time, but a great exercise for figuring out a base style that you like drawing in is to do style tests!

Consider what you're passionate about, and find ways to work it into your artstyle
This is going to vary from person to person, but what's important to me:

  • Reflecting real-life diversity
  • Creating characters that feel like people the reader knows
  • Reflecting American culture and physical appearances
  • Cartoony, expressive faces with fairly realistically proportioned bodies
  • Representing healthy body images
  • Art that feels like a relaxing escape to the reader
  • Depicting a variety of hair textures
  • Depicting a variety of facial features without diving into stereotypes
  • Taking traits from manga and anime and making it my own- transforming my inspiration into something personally important

While there may not be room in 7" Kara for all of these traits, I try to touch on them through various projects and challenges throughout the year, such as Inktober.

Emulate artists you admire through exploration and practice: 

Practice with Style Tests

Style tests involve drawing an original character (or yourself!) in the style of artists you admire- even if you think you're never going to draw in that type of style!  Carefully analyze WHY artists draw things a certain way- why they draw noses the way they draw noses, why they draw lips the way they draw lips, ect, and interpret your character in that art style.  This will help you figure out a shorthand for human facial features.  Once you've done about a dozen style tests, start combining elements you like from different styles!  Don't worry about copying- this is how all artists learn and find inspiration.  And once you have a base character style you like- draw a minicomic to put your character through their paces!  Doing expression studies is also a great way to figure out your style, and how your character's face moves.

Learn a System for Drawing
Example of simple head construction from Manga Madness
I personally really recommend constructive drawing!  This is the system that really made the difference for me, artwise.  It's a helpful method of breaking down and understanding the world, and it's particularly helpful for learning human anatomy and drawing figures!  It's also GREAT for breaking down the face's landmarks and memorizing them!

I love this system so much that I teach it in my 6 week comic classes, and offer it as in standalone classes!  You can sign up to my class mailing list to learn more about my classes, or you can join my Patreon and get access to the presentations: 
From Stick to Figure Presentation
Manga Madness Presentation

Practice Drawing Other's Characters in Your Style

Sakura (CCS), Mei and Satsuki (My Neighbor Totoro) 
 Tsukimi (Princess Jellyfish) and DeeDee (Dexter's Lab)

Kiki and Jiji (Kiki's Delivery Service) Laura Ingalls (Little House on the Prairie)

Ponyo (Ponyo), Kara (7" Kara)

Interpreting other characters, particularly those in drastically different styles from your own is a great way to problem solve issues that may come up while you're designing characters, is a great way to pay homage and explore your inspirations, and is a wonderful way to get some additional practice in.  Above are some of my Favorite Fictional Femmes, an Inktober exercise where I interpreted 31+ favorite fictional females in a b-style I was developing.

Its natural for your style to change over time

Your style will change and develop as you consume more media, follow more artists you admire, improve your technical skills, and develop muscle memory from drawing.  I recommend you don't stress yourself out by attempting to be consistent- see where your style and imagination takes you! 
It's ok not to have a specific style or to not draw consistently in the same style
Speaking of inconsistent styles- most artists have several different styles they utilize depending on the mood of the piece, or even the mood of the individual page.

Play around and find what you like!   The more you experiment, the faster you'll improve.  It's important to draw just for yourself, for the sake of study and improvement.

These are all the same character- Kara- drawn in a variety of different styles.  Even just changing the coloring style can change the feel of the piece!

Practice (and refinement!) make perfect!

Favorite resources:
Glen Vilppu Drawing Manual
Drawn to Life Volume 1&2
Naoki Urasawa's Manben
Concept art books:
Art of Studio Ghibli
Art of various Disney movies

Monday, December 02, 2019

Tips for Teaching Comics

"Do you have any tips for teaching classes/workshops?"

Mixed Media Marker Class- a hands on alcohol marker class taught through the Nashville Plaza Artist Materials (art supply store)

I get asked about this a lot- it's quite an open ended question that could get complicated quick, so I'm going to try to keep today's post pretty basic.  If you still have questions, please don't hesistate to email me, I'm happy to revisit this topic in the future!

I've talked about my experiences with teaching with NCE , why teachers should offer a comic craft module in their classes,  as well as my recommended reading lists (see sidebar of blog) and recommended materials for teaching classes , and methods you can use to promote your classes.

How I develop my classes:
  • Decide what you want to teach, or what you're best suited to teach
  • Make an outline of what you want to cover in the time you have
  • Decide if you want to do a presentation, handouts, or pure demonstration
  • Spend the next week actively practicing and preparing your materials
  • Teach the class, and request feedback from students-actively pay attention to what they say, and where you lose them
  • Analyze how the class went after- what can be improved, what should be cut

Writing Comics- A class taught through St Charles Parish Library

The best advice my mother, a teacher of 25 years, has ever given me was:
Be flexible. 
And when teaching comics, flexibility and patience are huge assets.

From Stick to Figure- A drawing class taught through the St Charles Parish Library

Study how other teachers are teaching similar content.
My Artnerds on Patreon have access to all my class materials!  So if you'd like an in depth look at how I teach my classes, want to check out my presentations and take a look at my handouts, you can join the Artnerd community now!  I even have a special teachers tier that allows you to use my materials, with my consent. Your support on Patreon allows me to continue to devote time to updating this blog, helping artists like you!  If you're not a fan of commitment, show your love by leaving me a tip on Ko-fi!

Try to focus on one topic per class session

For example, when I'm teaching a six week comic class, we cover:
  • Planning and Writing Your Comic
  • Layouts and Thumbnails
  • Roughs- Character Design and Human Anatomy
  • Roughs- Environments
  • Inking
  • Assembling Your Zines/ Exchange

But I also offer standalone classes sometimes, and then it's necessary to make sure the class is entirely self contained.  A few of the self contained classes I've offered:

  • Comics Bootcamp
  • DIY Zines and Comics
  • Manga Madness
  • From Stick to Figure
  • Introduction to  Alcohol Markers
  • Mixed Media Markers
Live demonstrations allow you to answer questions and keep the audience engaged

Know whether your employer is providing the materials or if you're responsible for providing materials
This makes a huge difference, because art supplies, especially enough for a class, gets expensive!  If they're providing the materials, try to find out what they're willing to offer so you can gain experience working with those tools ahead of time.  If they're willing to buy and you need to prepare a materials list, its important to know what stores they're willing to buy from when you make your list.

Are you being paid hourly (that's class hours, usually) or per head?  Budget your time and materials accordingly, or be willing to absorb the cost.

I will say that getting paid an hourly rate has been more fair for me, as a teacher, than getting paid per head, as PPH puts the onus of promotion on me.  In the past, working with employers who pay per head, I've found that they usually do very little in terms of promotion, and I'm expected to do all the work, which is not factored into the per head cost.

Who's handling the printing?
Printing may seem like a small cost, but when you're printing handouts, drawing templates, and handling zine and minicomic printing, it gets expensive fast.

Give yourself ample prep time.
If it's a new class, I recommend spending the week before the class prepping.  If it's a class you've taught before, I recommend dedicating a couple hours to revising

Know your teaching style
I teach with a LOT of energy and kindness, which leaves me absolutely wiped out after class.  This means on days before I teach or days after I teach, it's best if I conserve my energy or recovery, because burnout is a real issue.

Who's responsible for filling the class?
I touched on this earlier, but it bears repeating.  Who's handling promoting the class and pushing enrollment?  While self promoting a class may not feel like a big deal, it can quickly become exhausting and may overwhelm your followers on social media.

If they are:  How do they plan on promoting the class?

If you are:  What methods are you going to use to promote the class in the local area?

Is this for a grade or is it for fun?
If it's fun, the class is going to be really reliant on you and your attitude for motivation, so it's important to be encouraging and positive.  Building trust with your students is an important component of getting them to actually do the work.

Take notes after each class on what went well and what went wrong.
Be open to students' suggestions and critique- they can provide invaluable insight that will allow you to improve future classes.

Good time management is a must
If this is a weakpoint for you now, it's going to get worse as you're handling student work, designing classes, collecting and maintaining materials, and driving to and from class.

Don't be afraid to say "I don't know, but I know how to find out!"
This is what Google is for!

Bringing snacks 
This is usually out of your own pocket, and will vary based on location, but bringing snacks helps students stay focused and helps develop trust and goodwill

Plan breaks
People need time to process information- breaks give students a chance to stretch their legs, get some water, have a snack, and ask questions.  It also gives YOU a chance to take a break- so if you need to go to the bathroom or get some water, don't allow your students to deter you from utilizing your break as well!

Student posing during figure drawing while I answer student questions

Bring hands on activities
Don't just lecture the whole time- give them a chance (and the materials) to explore their own ideas and projects.  At the very least, allow them to doodle while you talk (it helps many students stay focused!)

Encourage class participation/interaction as frequently as possible
Engaged students are more likely to retain information, so if you can, make the classes fun!
Get them to pose as models for figure drawing and gesture practice
Ask them questions frequently to check understanding

You can't always rely on technology like wi-fi and projectors
Even if they do have this technology, Murphy's Law says it'll be broken or go down mid presentation, so you have to be prepared to think on your feet.

Don't expect your students to keep up with emails
You can utilize it, and act like you expect it when talking to them, but they probably won't actually read all your emails or respond to emails, so don't take it personally.

Manga Madness, a drawing class taught through St Charles Parish Library

Great Resources:
Drawing Words and Writing Pictures
Drawing Comics Lab
Lynda Barry's Syllabus

Thursday, November 28, 2019

Hands on Creativity

Back in October, I participated in Hands on Creativity in a new capacity- as an art supply demonstrator.  I've done Hands on Creativity for years as a customer, and have enjoyed the free workshops, demos, and samples sponsored by Plaza and the various visiting art supply company reps, and I was excited to experience it from a different perspective.

For years, I've wanted to work as a (paid) art supply company demonstrator or representative.  After graduating SCAD, I pivoted the purpose of this blog for a while to reflect that desire, and started reviewing art supplies on Youtube to help facilitate that goal.  Bruce, the manager at Plaza, facilitated a partnership between myself, Strathmore and Faber-Castell, which allowed me to sample some of what is on offer and create pieces of art that utilize those materials.

I have a couple Livestreams where I went over the materials sent by both Strathmore and Faber-Castell, for the curious!

I created several new pieces using just Strathmore and Faber-Castell products to help me prepare for Hands on Creativity, and recorded the process as tutorials!  Those will be available to the general public on Youtube in the future, but my wonderful Artnerds on Patreon have had them for about a month now.

Although I haven't been paid for this partnership, I appreciated the opportunity and really enjoyed connecting with the local art community and demonstrating, hands-on, Faber-Castell and Strathmore art supplies.  In the future, I hope to see financial compensation for my hard work and custom artwork, but I'm grateful for the opportunity to gain some experience and hopefully make some connections.

Faber-Castell Pitt pens, Albrecht Durer watercolor pencils and watercolor markers on Canson Watercolor Artboard.

Faber-Castell Pitt pens, Albrecht Durer watercolor pencils and watercolor markers on Canson Watercolor Artboard.

Pitt pens on Strathmore 300 series Smooth Bristol

Pitt pens on Strathmore 300 series Smooth Bristol

Faber-Castell Pitt pens, Albrecht Durer watercolor markers, Polychromos color pencils on Canson Mixed Media artboard

Faber-Castell Pitt pens, Albrecht Durer watercolor markers, Polychromos color pencils on Canson Mixed Media artboard

Faber-Castell Albrecht Durer watercolor markers, Polychromos color pencils, and Pitt Pens on Strathmore Toned Blue Mixed Media Paper

Faber-Castell Albrecht Durer watercolor markers, Polychromos color pencils, and Pitt Pens on Strathmore Toned Blue Mixed Media Paper

Faber-Castell Pitt Pens, Albrecht Durer watercolor markers, Polychromos color pencils on Strathmore Toned Tan mixed media paper

Faber-Castell Pitt Pens, Albrecht Durer watercolor markers, Polychromos color pencils on Strathmore Toned Tan mixed media paper

Faber-Pitt Pens, Albrecht Durer watercolor markers on Strathmores new cottonrag watercolor paper

Faber-Pitt Pens, Albrecht Durer watercolor markers on Strathmores new cottonrag watercolor paper

Monday, November 11, 2019

Inktober 2019

Week before last, we wrapped up our last week of Inktober.  I've done Inktober for several years now, and this year, I added another Volume to Lilliputian Living, focusing on plants and insects.  As with prior years, I plan on collating this year's Inktober into a zine, but I also have plans to combine all three Inktobers into a small perfect-bound book.

I really enjoyed illustrating various plants this year- inspired by Crime Pays but Botany Doesn't on Youtube, I made sure to pay particular attention to leaf shapes and how they are attached to the rest of the plant and distinctive features of the flowers. 

My real challenge this Inktober was to manage to complete Inktober while teaching Making Comics/Intermediate Comics, tabling for two days, outside, at Handmade and Bound, and acting as an art ambassador for Faber-Castell and Strathmore for two days during Hands on Creativity.  As an added bonus, I also managed to record and share timelapse videos for 27 illustrations and streamed my 31st Inktober as part of my Halloween stream.

My materials for Inktober were pretty simple- all materials I've used and loved.

Strathmore 500 Series Mixed Media Visual Journal
Pink Color Eno Lead
Sakura Pigma FB Brushpen
Pentel Pigment Brushpen- Extra Fine
Pentel Pigment Brushpen- Medium


Day 1- Pansies Original Scan Vs Cleaned Scan
Day 3- Olives

Day 5- Ferns

Day 13- Waterlily

Day 16- Squash Blossom


Day 25- Chrysanthemum- Original Scan Vs Clean Scan

Artnerds received all 32 illustrations, cleaned up and contrast brightened, as a printable coloring book, for free!  Join me on Patreon for this awesome perk, or purchase it off Gumroad for $10.  Artnerds also received a sketchbook of the scans, and will have access to a free PDF zine once that's released.

2019 Inktober Sketchbook Tour

Wednesday, November 06, 2019

Mixed Media Marker Class

Ad for Mixed Media Marker Class

I have a marker class coming up this Sunday at the Nashville, TN Plaza Artist Materials, where I'll show you how to go mixed media with your markers!

Mixed Media Marker
November 10th, 1-4PM
$25, supplies provided
Ages 13 and up, under 13 welcome with a parent/guardian registration

Illustration of bee and coneflowers in Copic marker

Alcohol markers and watercolor? YES PLEASE! Markers with cut paper? Of COURSE! Chiyogami paper, washi tape, and stickers? PILE IT ON. Learn how to take your marker art to the next level by going mixed media!

Copic marker illustration with mixed media elements

This class is perfect for stampers and scrappers looking to take stamped marker art to the next level, seeking creative solutions to filling a page, or looking for a little inspiration.  It's also perfect for marker artists with a limited collection of markers, interested in going mixed media for more rendered illustrations, or artists who want to break out of a creative rut.

You're welcome to draw and bring your favorite materials, but I'll also have linearts and various supplies on hand! This is a great way to use up that stash of cute scraps you've been saving for a rainy day.

Illustration of a small girl with a big fish rendered with Copic marker

If you have a finished piece of marker art that you'd like to utilize, bring that too! We'll make it into a finished illustration together

Bust of a cute girl rendered in marker with mixed media elements.

And if you would like for me to take a look at your art or portfolio, please email me to let me know, and show up 30 minutes early. This is available on a first come, first serve basis, and is provided as a service Register through Plaza Artist Materials: Via Phone:
(615)- 254-3368
Online: https://www.plazaart.com/stores/nashville

Monday, November 04, 2019

Handmade and Bound

Handmade and Bound, Friday

Handmade and Bound, Saturday

Handmade and Bound, Sunday

What is it?

Handmade and Bound is a small handmade and self published book event put on by Watkins College of Art, a Nashville area art school.   Handmade book makers, zinesters, comic artists, and self-published writers are welcome to apply for a table.  Handmade and Bound is part of the Southern Festival of Books, a large book event occurring in Downtown Nashville.

  • Had to sign a no derivative (no fanart) clause)
  • Three days- Friday, Saturday, Sunday
  • Outside, beneath the Handmade and Bound Tent
  • Very weather reliant
  • No outdoor heaters
Who was there:
Wake Up Comics (zine/minicomic vendor)
Other comic artists
Book binders and Handmade Books

Who am I?

I make comics and zines- self-published and published via anthology.  I also offer original art, commissions, and laser cut charms.  Everything on the table was designed or drawn by me.

Table Tour:

Table Top:

Table Cost
$25 Application fee, paid to Watkins
$60 Table Cost
Travel- negligable, it's in downtown Nashville
Parking- negligable- Joseph dropped us off and picked us up on Friday, parking was free on Saturday and Sunday
Food- Brought snacks for Friday, at at foodtruck Saturday and Sunday- $30

Total Costs: $115

Friday sales were awful- $16 total, 2 sales
Saturday sales were decent- $343 total, 24 sales
Sunday sales were low- $101 total, 12 sales

Total Sales: $460

Note:  Sales were down from last year.

Able to promote the heck out of my upcoming Alcohol Marker class with Plaza (unfortunately, this promotion was not reflected in the class attendance- I had only three students show up)
Gave away a lot of free micro mini-comics to little kids- it's always really rewarding to pass the magic of making comics and self-publishing on to the next generation
Sold a few copies of 7" Kara
Sold a few originals
A little additional income when I desperately need it- emphasis on little, as sales were slower than prior year

Weather was cold Friday, Saturday- which is physically hard
Sales were lower than last year
Show is outside, very weather dependent
Wind knocked over my display on Friday due to gusts
Tent is not heated- Friday was really taxing physically
My post show energy was pretty bad, and the timing is awful as I had two classes to teach the following week

2018 Handmade and Bound Show Recap: