comic ritter

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[comicsworkbook]

Wow!  We are truly humbled by both the quantity and quality of the submissions to the Comics Workbook Composition Competition 2013.  

Choosing the winners in this contest was much more difficult than we imagined it would be.

Congratulations to all who created and submitted work for this contest. We really enjoyed reading each and every work.

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FIRST PLACE - $500 cash prize

Hacienda by Dave Ortega

Our decision to award “Hacienda” First Place recognizes Dave Ortega’s creation of an ambitious, multi-layered narrative that cuts through history, class, status and power in a deftly constructed story which takes the reader back and forth in time to reveal the conceit and illusion undergirding dominant paradigms in a way that only comics can.  This complex concoction of culture and character made for a winning combination.

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SECOND PLACE - $250 gift certificate at Copacetic Comics

Shield by Zoe Coughlin

In Second Place, Zoe Choughlin’s “Shield” puts an inventive twist on the mutant superhero theme, and in so doing gives new meaning to the phrase, “prickly personality.”  Here is an adolescent power fantasy right where it’s needed most:  the hallways of high school.  Bullying takes many forms, some invisible to all but the victim.  By recognizing this in a convincing and dramatic fashion, Ms. Coughlin has effectively demonstrated the power of comics to contribute to the eventual remedying of this unfortunate human trait.

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THIRD PLACE - $100 gift certificate at Copacetic Comics

Old Port by Evangelos Androutsopoulos

The Comics Workbook Competition’s Third Place, “Old Port”, clearly embodies excellence in both conception and execution.  In telling the story of youth’s first forays into independence and how the discovery of a nurturing space and mentorship can lead to creativity’s first flowering, the story provides an apt recapitulation of the very ideals powering this competition; its excellence in execution is plain for all to see.

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HONORABLE MENTIONS - $50 gift (each) at Big Planet Comics

A Cramped, Well Pressurized Place by Scott Kroll

Prof. Lewis by K. L. Ricks

Goldie Over There by Jeremy Sorese

Arachnodacks by Rowan Tedge

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SPECIAL MENTION - $25 gift certificate at PictureBox

The Perfect Human by L. Nichols

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The evidence is piling up:  comics is THE ascendant art form. The sheer amount of energy and talent that poured into this competition during its relatively brief window provides ample testimony to this. It is our belief that artistic creation is a two way street.  An artist, or any other creator, grows in the process of creating; the greater the efforts, the greater the growth. By this measure, comics creators in general – and those who submitted work to this competition in particular – are growing by leaps and bounds, and so, by definition, is the comics form; as in the final analysis, the value of a form is coincident with the work that it contains.  It is our hope that all of the makers who participated in this contest have been TRANSFORMED in some way – artistically, personally, spiritually, and/or physically (improved eye-hand coordination?  yes!) – by the time and energy dedicated to the creation of their submissions.

Everyone who took part in this exercise has completed a hero’s journey. http://www.youtube.com/watch?v=kJwPIiUPfK4

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Frank here. The restrictions placed upon the contest entries were derived from The Santoro Correspondence Course for Comic Book Makers. It is my firmly held belief that restrictions such as the grid are ultimately freeing. I also believe that timing is the essential ingredient to making great comics. How do you study and practice timing in comics? You use the grid. 

The judging panel consisted of three men and three women from diverse backgrounds. Some were comics makers, some were comics readers and one was a “non-comics reader” - meaning this particular judge was not a comics initiate.

I will be writing more of my thoughts about this contest this week at The Comics Journal. I will also archiving all of the entries on a new tumblr in the near future. Stay tuned.

Please see this post for information regarding this fall’s correspondence course. Thanks. - Frank Santoro

P.S. Please reblog. Thank you. 

Thank you to Copacetic Comics, Big Planet Comics and PictureBox for contributing their efforts and financial support to make this contest possible.

(extra special thanks to Bill Boichel and RM Rhodes)

And of course THANK YOU to everyone who participated. Please check out all of the entries below.

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COMPLETE LIST OF ENTRIES to the COMPETITION

(Triangle Circle Square) by Alexander Tanazefti

A Cramped, Well Pressurized Place by Scott Kroll

A Kat, A Brick, A Mouse, A Dog or Comics: A Vast Waste Land by Paul

A Poorly Edited Ending by Alison Crofts

A Tender-Hearted Beheading by Nick Francis Potter

Arachnodacks by Rowan Tedge

Attempt 101 by MK Stangeland Jr

Baba’s Accordion by Jared Cullum

Bibo by Lauren Molina

Big Wheel  (AKA The Curse of Santoro) by Tyler Luetkehans 

Black Goo by Moonpulse

Blue Dusk by Mica Agregado

Boxes by Whit Taylor

Clangor by Derek Timm-Brock

Close One by Nick Alexander

Death of Spot by Bill Wehmann

Dog Dead Afternoon by Eva Houzard & Tarquin Pons

Escape to the Top by Andy Frederick

Exile from Cyclops Island by Pat Guppy

Freefall by Alexey Sokolin

Glory Trolls by Nicky Minus

Goldie Over There by Jeremy Sorese

Good Night Billy Moon by Ian Chachere and Jesse Dewyer

Hacienda by Dave Ortega

Hiccup by Mike Centeno

House of Bees by Jillian Fleck

JAS by Phillip Dokes

Joey by Melissa Mendes

July 99 by Suny Gao

Late Night by Jack Reese

Lesbian Sunrise by Rick Manlapig

Little Dreamers by Dan Tabata

Loner Anger by Mike Olson

Meet by Harrison G Prince

Molarhead by Mau

Moon Festival by Todd Webb

Moonling by Lydia Grace Henderson

Mouth by Tristan Wright

Object Memory Featuring Mother Koala and Mi the Yellow Dolphin by

Saicoink

Off the Grid by AT Pratt

Old Port by Evangelos Androutsopoulos

On The Way by Michael Fikaris

One Woods by Brad A

Post Fallout by Blake R. Sims

Problem Child by PR Gamlen

ProcrastiNation by Camilo Vieco

Prof Lewis by KL Ricks

Real Real Deep by Nick Jankowski

Red and the Wolf by Michelle LaPlante

Redneck Beach by Gabrielle Mulholland

Repetition is a Form of Change by RM Rhodes

Ringed Planets by Bob Schofield

Sea by Rosie Haghighi

Searching by Andrew Pannell

Shield by Zoe Coughlin

Stay Frosty by Ben Duncan

Strange Outpost by Pablo Selin

Swampy 93 by Bjorn

Symbolon by Lucas Teixeira

Temple by Jared Morgan

The Abridged History of a Moon by Patt Kelley

The Bad Unicorn by Yuliya Sobotyuk

The Green Fly Theater by James Dale

The Grid is the Thing by Derik A Badman

The Perfect Human by L. Nichols

The Quest by Kalen Knowles

The Secret Life of Steven Seagal by Mat Barton and Adam Cooper

The Steganographer’s Dream by Miranda

The Story So Far by Royce Icon

Then They Stand Stationary Again by Derik A Badman

They Live by Night by Cole Johnson

Thin Virtual Cloud Structure by Shawn Eisenach

Tides by Andrew White

Transaction by Joseph Lambert

Valley Post by Mark Wang

Vespers by Alexander Rothman

PLEASE REBLOG

[c-ritters]

Asdf sorry all I have are some screenshots of the pages i've been working on.

[c-ritters]

Umibozu Storyboard

so jetzt hab ich mehr zeit, unter dem read more befindet sich die Erklärung zu jeder Seite! 

Namenloser Fischer und seine Familie (Tochter und Frau)

Keine Dialoge - etwaiger Erzähler oder primär SFX.

Seite 1

- Fischer verabschiedet sich von seiner Familie. Es ist nebelig.

- Close-Up: Hand der Tochter, Kamera pans out. Leicht reuevoller Blick zurück. 

Seite 2

- Fischer fischt.

It was amazing

- Except not really; 3 panels: kein erfolgreicher Fang. 

- Fischer sieht zurück, Land ist noch kaum in Sicht.

Seite 3

? ?? Fischer macht sich auf dem Weg zurück.

- Suddenly Umibozu.

Seite 4

- 2 panels:  sexy detailaufnahmen von Umibozu.

- Fischer erschrickt. 

- Zoom out : Seitenansicht, romantisches Date auf hoher See.

- 3 Panels: Umibozu deutet nach links; Untermalung SFX "norden*", weeaboo usage of kanji 北. Oft wiederholt, intensiver/größer/aufdinglicher mit jedem panel. 

*Himmelsrichtung Norden hat in Japan/China die Symbolik von Wasser, Schwarz und Winter. also turtles

Seite 5

- Fischer stimmt ein und zieht gen Norden. SFX im Hintergrund vorhanden. (Bildet Wellen/BG?)

- Zeit vergeht; Nebel wird dichter, Fischer müder. Umibozu ruft weiter 北.

-  2-3 Panels: Hände zittern, Augenringe. Viel Zeit vergangen (Stunden? Tage?). 

Seite 6

- Kurz vor dem Kollaps verstummt Umibozu. Mehrere schwarze Schatten im Wasser.

- 2 Panels : komplett fertiger Fischer schaut auf. 

- Umibozu ist aufgestanden. 

- Panelabfolge ohne ränder sprich trennung: Umibozu geht in's Wasser. (Eindruck auf mehrere Umibozus) 

Seite 7

- Fischer schaut ihm nach. 

- Plötzlich sind mehr Umibozu im Wasser zu finden. Gigantischer Schatten unter dem Fischer. 

- Close up : OH SHIT.

- Close up: boot von oben, schwarze Hände greifen nach Bug(?). Oder heck. heck if i know

- Schwarzes panel

Seite 8

- 2-3 Panels, Nebel ist gelichtet. Szenenwechsel: Strand. 

- Tochter sitzt am Strand, sammelt shiny stuff. 

- Findet ein besonderes Objekt (das mit Vater in Verbindung steht?) oder einfach ein bedeutendes Einzelteil des Bootes. 

Seite 9 

- 1 panel: Top View/ zoom out : Tochter sitzt vor der Ebbe, die Bootteile etc werden angeschwemmt.  

~FIN~

[c-ritters]

ICH BIN ERSTE (2. inoffiziell) oder so shitty storyboard if u cant tell whats going on its not my fault

bye

[c-ritters]

I drew something for motivation :)

[c-ritters]

Oh man sorry ich hab nicht realisiert dass meine Skizzen noch fehlen :,) Ich hatte die vor ein paar Wochen auf google drive geladen ;;;;

[church-in-ruins]

illustration sketch for another creepy story! this time it’s omibozu or some douche trying to sink your boat

version #1 w/ eyes, version #2 without and some more dudes in the ocean

[c-ritters]

dump 3/3

[church-in-ruins]

a sketch for a horror illustration! i chose the kusaragi station urban legend since it’s my favorite :’) wip ish

[c-ritters]

dump 2/3

[church-in-ruins]

just the lineart

[c-ritters]

GANZ SELBSTGEFÄLLIG reblog ich mal die skizzen für den 2.2.! dump 1/3

[frevel-art]

I couldn’t be arsed to draw today for some reason so I polygonlasso’d something together real quick and now i’m laughcrying because this isn’t really much of anything.

But well.

[c-ritters]

this is sort of based on a viennese urban legend so yea

[c-ritters]

what do you guys think of this one? : ) Oh well I figure the speech bubble isn't recognizeable enough, anyway I'll be using this post to upload logo Ideas!

[fucktonofanatomyreferences]

A glorious fuck-ton of perspective angle references (per request).

[From various sources.]

[c-ritters]

Some ideas, I really like the second one left tho!

[captainmwai]

[bendiswordsforpictures]

A study in panel borders: Inspired by this awesome post about making comics quickly, I took a look at some comics I own to get some sense of different kinds of panel design choices.

I came away feeling like I’d learned a little less than I’d hoped, but here are some takeaways:

* You can get away with smaller panels than you think * Extremely weird comic panels CAN work, but when it fails it looks painful and forced. * Simple is not bad. * There are actually a LOT of possible combinations.

Specific notes:

Scott McCloud uses a 4x3 sliceup of the page, and it’s four VERTICAL slices and three HORIZONTAL ones, which is weird because it makes the panels, on average, LESS square. This works with the particular comic really WELL though, because he draws himself in closeup, talking, a LOT.

DAR and Narbonic both are webcomics mashed into book format, but both worked surprisingly well as page layout in the end.

Blacksad is REALLY variable and the page layouts are hand-crafted on a per-page basis. No speed gains here, but perhaps a message that full custom has its place.

The Resonator is fairly formal but never *too* rigid with panel choices. Lots of narrow or tall panels, which works as a way to alternate between big establishing shots and dense dialog. Very tall panels for single speaker, long ones for two-person dialog or to combine a lot of text and visuals. In general, Resonator is print-native and has TINY text…

Ultimate X-Men is a fun read but the panel design is a disaster. Almost none of the choices of graphic design work at all. Occasionally an establishing shot hits home, but in general the layout is trying WAY too hard.

Watchmen. Formalism raised to the ultimate. It’s precise, it’s a 3x3 grid, it’s piss-on-a-plate-with-no-spills precise and that’s fine, for two reasons: one, everything is about time, and two, it gets the panels the hell out of the way of the story.

Augustus is an example of what Ultimate X-Men was trying to do, except it succeeds. Lots of variation, but on average very orderly. Kind of strikes me as the sort of thing you “have to be GOOD” to pull off well.

[drdavidmrmack]

Panel design is one of the most fun parts of making comics for me.  Creating the structure and rhythm and timing of the page… based on the flow of the story and characters, is where the real magic happens for me.  

It is that wonderful in between place where the script first takes shape into the visual.  And the arrangement seems to spring from the flow of the script (often with dozens of layouts for possible solutions for each page) and the infinite possibilities always surprise me.  Sometimes it is a matter of simplicity, and sometimes it is a matter of contrast.  And it always seems like problem solving.  It’s a puzzle where ideas first get their visual blueprint onto paper in terms of making that new dimension of “time” in making image have sequence and suggesting the pace of that sequence… encrypting it into the design so it will only live, only be unlocked, inside the readers mind.  I don’t consider the page the actual art.  I consider the real art, the real “happening” of this art form, as taking place inside the readers mind when what is encoded on the page is turned into movement and reality in the stage of the readers mind.  And each person decodes that a little bit differently, and the same person experiences the same comic differently when read at different stages in their life, based on the life experience that they bring to the reading.  The comic page is a navigational tool, a road map, an atlas, but it is very different from the actual geography that the atlas is meant to point to.  That magic that happens in between the panels, is what happens in the readers mind, and it is such a joy to craft a page and panel layout that you hope makes the most of that catalytic effect. You are using imagination in the layout to trigger the readers imagination which will be activated by the panel layout. and in turn make the panels move and sing. 

[bashfulbadass]

the lecturer hands us these art blogs every now and then, and they’re really useful. Tangents are pretty easy to fall for, too! which sucks ‘cuz then it’d look weird and you’d have to re-do some stuffs or worse, re-do the composition of the whole image.

the rest & explanations in Chris Schweizer’s blog :  http://curiousoldlibrary.blogspot.com.au/2011/10/schweizer-guide-to-spotting-tangents.html

John K’s blog is really good too (the guy who did Ren and Stimpy) : http://johnkstuff.blogspot.com.au/2006/06/animation-school-7-when-generic-is.html

[mcoats]

Tangents are something I know I have a problem with as I have a hard time noticing them. This is pretty useful though and points out some tangents I never even thought about. These are things we usually overlook, so keep an eye out! Tangents everywhere!

[dommifox-deactivated20181204]

Much like my leaf/tree tutorial this is another crazy simple guide but it might help a few of you! I love to get a lot of thumbnail type ideas down first before I settle on something final so I like to use this quick method as a way of exploration, basic research into what I’m trying to achieve and a means of creating variety in my work (I hope!) On the flip-side I know a lot of people struggle with creating environments in general, this could be a good way to ease yourself into drawing them without getting too bogged down in details and technicalities, just blasting your ideas down onto a canvas!

[c-ritters]

vielleicht nützlich für manch einen?

[fungii]

PLANNING COMICS:

DRAWING COMICS: