Shit and Piss - Tyler Landry
please follow this example when posting your submission to the 2015 comicsworkbook Composition Competition. Front cover, 7 spreads, back cover. FYI Tyler’s measurements are slightly different than the ones specified in the contest. Please see contest rules for exact measurements. Thanks. Good luck!
thee SANTORO CORRESPONDENCE COURSE and
thee Comics Workbook Rowhouse Residency presents
the COMICS WORKBOOK COMPOSITION COMPETITION 2016
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1st place - $500 cash prize to the winner
2nd place - $250 credit at Copacetic Comics
3rd place - $100 credit at Copacetic Comics
plus four $50 honorable mention prizes from Big Planet Comics
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Create a 16 page signature comic book narrative to the specifications below
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DEADLINE: August 30 2016 midnight new york city time
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PAY ATTENTION!! THIS YEAR IS DIFFERENT! Here and Here and Here are last three years if you haven’t heard of the contest. This isn’t a scam, silly.
Here are the specs:
Original art page size: 5.5 x 8.5 inch originals with a 5 x 7.5 inch live area. Three equal “landscape” oriented panels. No exceptions. Each panel will be 5 inches wide and 2.5 inches tall. The “Tezuka Grid”. MEANING: YOU CANNOT CHANGE THE PANEL SIZES. 14 pages with 3 panels per page means you only have 42 panels to tell your story. And two covers.
Work may be in color OR black and white - OR - a combination of both.
You may also cut paper to the standard panel size of 5 x 2.5 inches and arrange them on your 5.5 x 8.5 paper quarter inch margins east, north and west with a three quarter inch margin south.
These “specs” were derived from Osamu Tezuka’s proportions for his first manga, The Mysterious Underground Men. It is a classic 2:3 proportion which is the same as traditional North American comic books. See above photos–I determined the live area and then scale’d up to a standard North American size which is affordable to print. See my ideas about the two most used comic book proportions HERE.
International students must use the same specs. No complaining.
It is recommended that you use one 8.5 x 11 piece of paper to compose the “spread”. The point is to draw small. And to draw by hand. And to learn how to draw in a “1 to 1″ fashion, as this proportion is perfect for North American “mini-comics” and for makers worldwide to produce comics from office supplies. And can be reduced to make a traditional 100x150mm live area for manga. See thoughts on this subject HERE.
Thats 14 pages of story plus two covers. Meaning seven spreads and a front and back cover. A 16 page signature. Follow this example here.
THE STORY MUST BE COMPLETE. SERIAL INSTALLMENTS of a longer narrative ARE NOT ELIGIBLE. THE STORY MUST BE NEW. IF YOU REPURPOSE AN OLD STORY THAT HAS ALREADY BEEN PUBLISHED YOU WILL BE DISQUALIFIED. Consider this an exercise in short story writing. I think the 16 page signature is ideal to contain a short story. Adaptations of existing works are not eligible. Like, you can’t copy a sequence from a movie.
Photograph or scan your pages and post them on your tumblr AS SPREADS. If you don’t have a tumblr - make one just for this contest. No exceptions! No complaining! Also post the front cover as the lead image and the back cover as the final image.
Email me - santoroschoolATgmailDOTcom - that you have posted your entry to your tumblr - complete with your name and title of the work in the text field and that it is for the composition competition 2016 - and I will reblog it on to the comicsworkbook site. I will be posting them - reblogging them - on comicsworkbook as they come in. The good, the bad, and the ugly. I will, however, only be posting stories that stick to the RULES. If you don’t follow the rules, I will not reblog the story and you won’t be eligible for the cash prize. Any questions about the competition - please email me.
The competition is open to all. You do not have to be a former student of mine. Former students of mine ARE eligible to compete.
Again, If you have any questions about the rules please ask. Better to ask and be safe than to be mad when I disqualify you over some missed detail. Seriously. Remember the page size: 5.5 x 8.5 inch originals with a 5 x 7.5 inch live area. Three equal “landscape” oriented panels. No exceptions. Each panel will be 5 inches wide and 2.5 inches tall. Work may be in color OR black and white - OR - a combination of both.
Remember! Email me - santoroschoolATgmailDOTcom - that you have posted your entry to your tumblr - I will reblog it.
You may enter as a writer/artist duo.
DEADLINE is August 30 2016 at 11:59 pm EST
Winners will be announced the following week.
please reblog this announcement
GOOD LUCK! signed Frank Santoro
COMMONLY ASKED QUESTIONS:
Can I have gutters in between the panels and can I work digitally.
ANSWER: You can have gutters - and you can work digitally. However I still want you to draw it at 5.5 x 8.5 inch original page size with a 5 x 7.5 inch live area - don’t draw large and shrink it down - ideally you are drawing panels that are 5 x 2.5 inches. Thanks. FS
Only thing one “HERE” doesn’t have a hyperlink (See my ideas about the two most used comic book proportions HERE)
Let’s get to it!!
comic book proportions riff HERE http://coldheatcomics.blogspot.com/2015/02/notes-for-comics-symposium.html
(via comicsworkbook)
Learn How Comic Book Artists Use Color as Subtext
Spatterings of red in a muted color field. Panel from Pretty Deadly #1, by Kelly Sue DeConnick, illustrated by Emma Rios, colors by Jordie Bellaire. Screencap via
Second only to the inker for the “most misunderstood job in the comics business,” the colorist has the ability to either completely enhance or deflate the mood of a comic with their work. In this week’s edition of comics masterclass Strip Panel Naked, Hass Otsmane-Elhaou looks at Jordie Bellaire’s color work in Pretty Deadly #1, written by Kelly Sue DeConnick. According to Otsmane-Elhaou, color work in comics isn’t just about “naturally coloring the world around the linework in the book. There’s a lot you can say or do with your choice of palette, and so I wanted to take a look at how Jordie Bellaire does more than just ‘color in’ Emma Rios’ linework in Pretty Deadly. I wanted to show how she, crucially, adds more to the story and theme and subtext of the book, things that wouldn’t exist without her input.”
The same clouds give off different vibes in different panels. Panels from Pretty Deadly #1, by Kelly Sue DeConnick, illustrated by Emma Rios, colors by Jordie Bellaire. Screencap via
“A colorist is an artist like any other role,” says Otsmane-Elhaou, “like the letterer, the writer, the penciller, whatever. So yes, the role is to add color and effects to the linework, but really you’re making a series of choices in how you want an audience to perceive the world, or the characters. If you rendered a whole page in blue tones, for example, it would create a calming, colder effect than if you did that whole page in shades of red.”
Otsmane-Elhaou says the coloring of Jordie Bellaire works so well because of the way she limits herself and her palette. “If you have a million colors to choose from—as colorists do—and you use them all, they all start to lose meaning,” explains Otsmane-Elhaou. “If you reduce that number to a limited selection, it allows you to tell your audience ‘this is our color space.’ Once they understand that, you can start breaking those rules, and throwing in new colors to really create a huge impact. I really love when artists do that.”
For other instances of amazing color work in comics, Otsmane-Elhaou recommends Dave Stewart’s work on Hellboy in Hell, and, of course, “anything at all by Jordie Bellaire. Honestly.”
Watch this week’s Strip Panel Naked below to see how Bellaire utilizes restricted palettes and surprising pops of color.
Catch up on your classwork with earlier episodes on the Strip Panel Naked YouTube channel.
Related:
On Panel Density: Comic Book Class Is Back in Session
The World’s First Computer Programmer Becomes a Comic Book Superheroine
(via comixology)
Source: nofomoartworld
Personaje de ANTI, Ilustración por Henrike Martxa
Q:So, I've been having troubles writing for the past 5 years and I really want to get back into it. Do you have any kind of suggestion or advice?
Set aside time to write that’s only writing time. Put away your phone. Turn off or disable your wifi. Write in longhand. Put up a do not disturb sign. And make your writing time sacred and inviolable.
And in that time, this is the deal. You can write, or you can not do anything. Not doing anything is allowed. (What not doing anything includes: staring at walls, staring out of windows, thinking broodily, staring at your hands. What not doing anything does not include: alphabetising the spice rack, checking Tumblr, taking your pen apart, playing solitaire or running a clean up program on your computer.)
You get to pick how long a day your writing time is. An hour? Two? Three? Your call.
Doing nothing gets pretty dull. So you might as well write. (And if you write 300 words, one page, every day, you’ll have a 90,000 word novel in a year.)
Remember illustrator Ronald Searle saying that the experience of his imprisonment as a young man stayed with him – as a condition that made him work.
Lock up to unlock.
Source: neil-gaiman
In case you didn’t know, Cid is the best. We could all use a Cid in our lives.
Art from Princeless: Raven the Pirate Princess #9 by @unassumingpumpkin @tenbandits and @madcapcomics
SQUEEEEEEEEEEEEEEEEEEEEE
A signing person? In a comic book? ACTUALLY SIGNING? With written translations for anyone else who doesn’t get it? MY LIFE IS NOW COMPLETE.
Cid is always amazing.
I want to do a whole comic that’s just Cid and Jayla having science adventures
Source: princelesscomic
the cartoonist ghetto
if you’re a cartoonist in today’s world, you’re sort of stuck in tricky situation. on the one hand, you have to be original. it’s not a good thing if some one says, “oh, your comics are just like so-and-so”, you need to have your own personal style. on the other hand, if you’re really original, then people might not be able to relate to your comics because it’s so different from what they know.
if some random person were going to take a peek into the world of alternative comics, they might just be totally confused and disoriented because all the cartoonists seem to be exploring the possibilities of comics in 100 different ways.
when you go to an alternative comics show, the most common response i get from people is, “it’s so overwhelming”. there’s so many comics. each one is like a separate universe, and when you go from reading one comic to another, it’s like you’re jumping around at light-speed through endless bizarre dimensions.
so you need a guide. I WILL BE YOUR GUIDE. this is one of my projects for the summer. there are so many awesome cartoonists i know here in portland, oregon where i live, and they don’t all necessarily have “an audience”. i’m going to take some photos and do some write-ups of some of my favorite cartoonists here, and share that with you on tumblr, spread the word, so these artists get more people interested in what they’re doing, which is important.
i’m going to focus on cartoonists who identify as female or nonbinary or queer. why? because i feel like it. yes, i have plenty of cartoonist friends who identify as straight males, and you’re doing awesome work, guys, i’m sorry to leave you out in the cold. some day when we live in a different world where gender expectations don’t exist, then everything will be different. but we don’t live in that world. and there are some things we need to do in order to get to that world, and i’m hoping to do some of those things.
soooooo… coming soon! more posts about cartoonists. i will be your host. travel with me through the cartoonist ghetto!
Anti #0
Titulo: Metáfora o Amarillo pálido
Portada, Pagina 1, 2, 3 y extra
Por Henrike Martxa
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