Behind the scenes: Xenk entering the Orifice!
Keni
Alisa U Zemlji Chuda
taylor price
will byers stan first human second
Cosimo Galluzzi

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DEAR READER
we're not kids anymore.
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Peter Solarz
Claire Keane

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Not today Justin
$LAYYYTER

ç„æ„ / Permanent Vacation

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@citronboxx
Behind the scenes: Xenk entering the Orifice!
everytime I think about sergio toppiâs art I go crazy
Such an amazing storyteller rest in peace king o7
Jordi Bernet: Doctor Watson and Sherlock Holmes
Torpedo vs The Shadow by Jordi Bernet
Torpedo 1936 by Jordi Bernet
Some drawings of The Shadow by Alex Toth.
âHere is an interesting duo of images to compare, but Iâm at a loss to describe how or why they came to be this way.
The top image is an inked and nearly finished comic cover by Gil Kane. It functions well as a cover ready for productionâcoloring, adding the issue #, price and DC logo. But it never went âbeyondâ that stage (a pun that is stillborn) ⊠but the bottom image is the same cover, rendered completely by Neal Adams, and made its way to the comic spinners where I bought it 42 years ago.
Okay, so why wasnât Kaneâs cover used, though you can see the title changed, and actually Neal Adamâs cover is better because the angle of the comet earth is more acute, aiming right for our intrepid moon men, and the angle of the scene puts them in more imminent danger. Was Kaneâs rejected? But why not have him redraw it? A whole bunch of other meaningless questions come to mind, but all I know isâany answers might stagger the imagination and would come from ⊠BEYOND the UNKNOWN!â
~ The Pictorial Arts
12-PAGE COMICS CRASH COURSE PART 2Â (w/ RECAPS)
spread - left page and right page [L]][R]
splash - a panel that takes the whole page space or just a lot.
START TO FINISH:
WRITE,
THUMBNAIL,
DRAW,
PRINT GUTS, PRINT COVER, STAPLE TOGETHER, FOLD, GUILLOTINE EDGE (Optional)
12-PAGE STRUCTURE RECAP
[1] (INTRODUCTION/POINT OF ENTRY)
[2][3] [4][5] (Events that lead into the turning point.)
[6][7] (TURNING POINT) CLIMAX
-This is the heart of the story. The most important event (moment, scene, beats). -This doesnât have to be an event in linear sequential orderâit can be a flashback (outside of linear sequence). -Sometimes used as entry point for a new character or problem.
[8][9] [10][11] (Events that result from the turning point and lead into the end.)
[12] (RESOLUTION OR CLIFFHANGER) END
I canât say what exactly goes into spreads [2][3], [4][5], and spreads [8][9], [10][11] because itâs your project. Worry about them after polishing INTRO, CLIMAX, and END.
But! These spreads connect PAGE 1 to 6, 7 and PAGE 6, 7 to 12.
The common thread connecting them visually is âaction, reactionâ.
Text, in speech bubbles or in captions (as a narrative voice), can play an important role in connecting events together.
So you canât skip the writing that I described in depth in Part 1.
WRITING PAGES AND PANELS
What is the main event that happens on the page? Establish what it is, then breakdown into the beats that âsurroundâ it. Condense wherever possible.
SEE PART 1 FOR THE BASICS. (WEâRE ADVANCING NOW!! )
MAIN EVENT: A guy gets punched. (One panel)
EXPANDING!!!
A girl punches this guy. (Still one panel) OR
A girl punches this guy. He falls back. (Still one panel even if he loses a tooth or goes through a wall.)
A guy takes a swing at her with a baseball bat but she catches the bat and punches him. (Even this could be one panel, but can be two, three, or more with a detailed breakdown.) Like in the tortoise and hare example.
A guy coming up from behind swings a bat at her.
She is surprised but
catches the bat
For a split second, he sees the punch coming.
Fist connects to jaw.
His feet leave the groundâŠ
Can you imagine this as a page? This timeâno example. Try drawing this as an exercise. Tag me if you do it! Iâd love to see it!
For the written portion you can expect to have roughly 12 main events for the whole thing with as many beats (panel breakdowns) as you can comfortably fit into each page. Keep a maximum of nine panels per page.
THUMBNAILS
Thumbnails are small sketches of plans (for layout, composition).
Draw a minimum of 3, maximum of 5, thumbnails per page.
Youâre looking at doing 36 to 60 thumbnails of layouts, before you can draw 12 pages.
With the exception of PAGE 1 and 12, thumbnail the pages as spreads (in twoâs).
Neuroses is ruining your life if you thumbnail more than five layouts per page.
Sketch 3 - 5 thumbnails (no more and no less) then pick the best one of the bunch to sketch.
The best isnât always âperfectâ but a comic book is made up of more than one page.
One page by itself doesnât matter.
A comic book is made up of more than one page.
DRAW!!!
If this step is the easy part for you then I donât need to tell you more than âwrite, thumbnail, draw [12] , [6][7], [1] and then get to the other spreadsâ.
If drawing is the hard part, you should still do the work in the order Iâve mapped out in Part 1.
If you feel like your art skill âisnât high level enoughâ to accurately illustrate the serious content of your beautiful masterpiece story, get over yourself and write anyway, draw anyway. It didnât stop ONE of One Punch Man and Mob Psycho 100 fame, it shouldnât stop you.
We only have so much life to live and even less time to enjoy it. Live your dreams. Or live to pursue them.
FAQ
Q. Why 12 pages? Why not 24? Why not 32?
A. My limits are set by time management and keeping printing costs down. The more pages you have, the more expensive and difficult making is going to be.
For example, 32 pages is essentially 16 spreads printed on 8 sheets.
The more pages you have, the thinner the paper has to be. Thin paper means a lesser quality print with pages that might even be a little see-through.
I donât know how much of this youâre doing by yourself, but if you have to staple and fold your own consider: Can the staple can penetrate x amount of paper of my chosen thickness? Can same x amount be folded without a fight? (If necessary) can x amount (folded) be chopped with guillotine without a struggle?
After you finish 12 you can start another 12. Only take on this much at a time. If youâre reading this, then trust me. Donât fight me.
If you need to know anything else or to talk about your project, shoot me a message and Iâll answer if Iâm still alive.
BUS FARE? | COFFEE? :3 | * | * | THANK YOU
Smooching notes~!
So the people on Twitter seemed to find my notes very useful, So I am sharing them to you guys as well
have fun!
Paul Kirshnerâs Dope Rider
Danai Gurira photographed by Dennis Leupold for Ebony Magazine â June 2018
RIP to Harlan Ellison. Hereâs a few Jim Steranko works inspired by Harlanâs short story âRepent Harlequin, said the Tick-Tock Man!â
âMoney doesnât mean anything to me. Iâve made a lot of money, but I want to enjoy life and not stress myself building my bank account. I give lots away and live simply, mostly out of a suitcase in hotels. We all know that good health is much more important.â
Mission: Impossible - Fallout (2018) - HALO Jump Stunt Behind The Scenes
Iâm sorry, Hermann⊠theyâre in my head.
âWeâve seen a lot of stories about the heroic guy and the heroic girl who find love at the end, but weâve not seen many about the two oddball scientists who are forced to work together, who are complete opposites, who develop a real bond and love for one another, and I understand what theyâre responding to. By the way, it informs what I do in the scenes. I think my character loves your [Burn Gormanâs] character. Although he also would never admit that⊠And they have sex, by the way.â
â Charlie Day, when asked why people ship Newt and Hermann.