#work progression

[drawuni]

WiP of “Profreshional” Odi working a Salmon Run shift

[doodledumping-ground]

The complete work progress for “Luminaries Legendary Trio”. It was a long process but well worth it, lots of changes in character and image on the way XD The colour palette was the hardest to nail down, but we finally settled on the last pelette. I really wanted #1 luminary to have visible yellow skin, but that idea was scrapped (for good reason)  XD

[aelyryapayne]

Throwback

I started digitally painting in my current styles around two and a half years ago. In that time, I feel that I've improved a lot, though I'm sure I still have much to learn.

As new year is meant to be a time of reflection, I have posted this comparison from 2021 here as a testament to what can be achieved in the space of a few months. These two images use the same basic sketch and references, but were painted six months apart!

[woefuleuphoria]

Reference Material for Run Cycles:

I watched this video and studied the Run Cycle videos from R Williams, 'The Animator's Survival Kit Animated' in order to re-inform myself on how to create run cycles for human characters. I believe this research has paid off in my final animation as the run cycle that I have created for my Wizard character is quite good.

Harvard Referencing:

The Animator's Survival Kit Animated. 2001. [DVD] Directed by R. Williams. London: Faber and Faber‎).

LeapTheFrog. www.youtube.com. (24/06/2021). Front Facing Run Cycle Animation.

Wizard Run Cycles - Animation Progression

This is the progression for the run cycles of my unnamed Wizard character. I am happy with how these run cycles have turned out, compared with the run cycles I have produced earlier on in the year this is a significant improvement.

I really wanted to show my abilities in animation for the run cycles of my Wizard and Beast characters so I spent a lot of time on the animation for these two elements in the film.

I have managed to capture a lot of personality in the run cycles for this character. He takes long strides while running and his upper body moves quite a lot as he takes each step, this gives the Wizard a goofy demeanour, which is an intentional part of his characterisation.

[pineappland]

Together ..

[spnfox]

That moment when you felt better about your line work vs. Ur coloring job

[arc-comics]

Work Progress Guideline

Alright, I should have done this way sooner but here is some kind of illustrated guide for making comics for ARC. Keep in mind that I simply make a dummy comic, so you can still have your own approach with it. However, important details will be bolded so note that. Also, this is NOT a comic-drawing tutorial, so I won't detail on how to make word balloons or panels and such.

1. First of all, write up a plot draft to script out how the comic gonna be. You don’t hafta write a whole novel, just scenes and pieces of dialogues and other important details, including the plot summary and estimated number of pages. For example here, I write on the Notepad and penned out my ideas (although this is a sample, so the writing is VERY crude). Detail out what’s going on in each page and such.

Name the characters if need be, but you don’t have to write out how characters looks like unless its story relevant. This should be one of the earliest drafts you can submit to me before approval.

2. After the script is done (and approved), then move on to the storyboard phase. In this example, I simply made an A4 canvas with 6 panels, representing each pages (they were B5 sized but scaled smaller). You may do it your own way, however. Traditional artist can even use testpad paper to draft out pages, as long it can represent the script.

3. Here is a rough example of the first three pages. You can use very basic block-man to represent the character (label them if you have to). This phase is to plan out the arrangements of scenes, panels, characters and dialogues. This part is also when you can revise the script and make necessary modifications, in case a page is not enough to convey a scene (or the opposite) This is the second draft I expected you to send in once you’re done, along a revised script if have to, just for the editor to check and maybe drop some advice. This draft is particularly important, so editors can plan ahead with the book arrangement.

4. Once the drafts are complete and approved, it’s time to do the real thing. I used Manga Studio EX for this job, and I used these settings for my digital work, but the dimensions must be followed for everyone. Since the manga draft settings are only for Manga Studio/Clip Studio Paint, there is a .png template for those using Photoshop or SAI. Traditional artists may also refer the page guideline measurements. (The Multiple pages is also an option not necessary to follow)

5. On the new canvas, refer to your storyboard or in my case as a digital artist, I simply copy paste the sketch from the storyboard and enlarge it to fit the canvas. Of course, traditional artists have to look at the draft as reference for their final pages. Either way, you draw out the real thing on what you have planned out on the storyboard.

6. The next step we do is to make a more refined sketch. This is where most of the real work coming to life. At this point, I don’t really expect you to submit progress, but I will check on you guys from time to time. It is still important that you take your quality time with this however, so don’t rush it if you can. (However, don’t take TOO much of your sweet time on it coz you know, deadlines) Just open up you music player and listen to your favorite metal music while you draw. (Other music optional) Once the entire refined sketch is done, you can choose to send me the sketch progress if you need some editorial help or if you are confident enough, move on to the next step.

7. After the sketch phase, it’s time to ink and tone it, which is pretty obvious. This is where you finalized the art, but be sure to have a backup in case there is a need to modify the art.

8. On a separate layer folder (if digital), add in the overlay parts such as title graphics, dialogue balloons and texts and such. Traditional artists that scanned their work can add the dialogue stuffs using Photoshop and Manga Studio/ClipPaint. Note that in the layer panel I place graphics and dialogues in a separate folder, is so you can easily modify it in your own convenience. (just in case of typos) However, we editors CAN edit the texts ourselves if need too, but only the ones in the dialogue balloons since other texts like sound effects and such are unnecessary effort for us to do on a finished .jpeg file instead of from a .psd file.

9. Finalize your work. Once you got everything done, export them as high quality image file (jpeg or png). Colored work must be in CMYK color, so it can be print ready.

For convenience purposes, name your files in this format

ARTISTNAME_COMICTITLE_PAGENUMBER.jpeg (e.g: Tfw-No-GF_SpookyScarySkeletons_1.jpg)

10. Once everything is done. Put them all in an appropriately named folder and submit them to me via Dropbox, by sharing the link or better, invite to collab. This can be done even during the draft phase. Don’t celebrate just yet, as there might be some editing works and proofreading to be done to ensure quality. Once it’s all approved and confirmed, then be happy about that and look forward to it’s printing.

and that's it. This is the basic on making a comic/illustrations for ARC.