Oct 6, 2017
NERVENKRANK: A STORY ABOUT JOHN HEARTFIELD #2
buy online, $5 USD
seen from Suriname
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seen from United States
seen from Russia
seen from United States
seen from United States
seen from Japan
seen from Japan
seen from United Kingdom
seen from Japan
seen from Australia
seen from Türkiye
seen from China
seen from Germany
seen from United States
seen from United States
seen from Türkiye
seen from Italy
seen from Netherlands
seen from South Korea
NERVENKRANK: A STORY ABOUT JOHN HEARTFIELD #2
buy online, $5 USD
sketching for Nervenkrank #2
Thanks for reviewing my book, Optical Sloth!
One point of confusion I ought to clear up: the NERVENKRANK preview book contains the first 8 pages of NERVENKRANK #1, so if you want to read #1 you definitely don't need to read the preview first. It's the same stuff. That's why I'm not selling it online anymore (although I'll be giving away free copies at cons until I run out).
Couple of slides from the presentation I made at MIX on September 27th.
Sometimes I get compliments on my cityscapes. I find this pretty funny since I only attained a good working knowledge of 2-point perspective about eighteen months ago. (3-point, forget about it.) People have asked me: "How do you get character into your buildings?"
It's really, really simple!
Draw with a ruler. Don't ink with one.
When you ink your characters, do you use a ruler? No? Don't use one on your backgrounds! If you use different tools when you draw different parts of the page, they will look like they come from different worlds. (Of course, if that's what you want, go ahead on.)
"But I can't draw a straight line in ink!" It's fine. Neither can I. The edges of buildings aren't really that straight anyway. Do it a lot and you'll get better, but I bet you're not as bad as you think you are.
Basically, my philosophy of comics making boils down to one set of tools. If you draw by hand, you should ink by hand, you should letter by hand, you should color by hand if it's at all possible.* If you draw digital, ink digital, letter digital, color digital. Neither way is better. But I don't like it when they mix.
* Obviously you're going to use the computer for post-production, there's just no getting around that. What I do in Photoshop is an adjustment layer for levels, an adjustment layer for black & white, and a layer for erasing stray ink and coffee stains. I hate doing corrections in post, so I just try not to screw up.
Underground Video Network: UVN Spotlight episode 12
Big thanks to Kelsey and Richard, and an extra special thank you to Tom Hart, who noticed the camera and said, "Hey, you should point that at Katherine."