Some of tonight’s Sketchbook ish.
That’s one sexy butt
Finally getting around to reading Story, Robert McKee’s screenwriting “bible” (comes highly recommended for comicsers) and it’s pretty darned great for thinking about how to put a story together. At one point he talks about how difficult it is to create compelling stories these days and how sophisticated audiences have become; we ingest so much narrative media on the day-to-day that even the best writers have work their asses off just to stay seconds ahead of the audience. Last night I was watching Mr. Nobody, an ok film that in general felt like it thought it was smarter than it was, but it was ok, not terrible and then right at the end, there was one line that ruined the whole movie. Maybe I’m being super harsh but that one line killed the whole thing for me, all the positive things I felt about it came crashing down. An unnecessary, eye rolling cliche line that UGH, seriously why did you film that, couldn’t you hear how it sounded, or watch it in the editing room and be overwhelmed by the need to rework that part (I think I have established that I did not like the line). It made me think of McKee and just how difficult story writing is, how easy it is to fuck the whole narrative up with one poorly written line, one thing out of place, and it actually makes me feel better about my own present attempts at narrative. Yeah, I’m having a tough time, but that’s because what I’m doing is really tough, really really tough meaning when I get through this project, however long it takes, I will be one fucking TOUGH broad.
Over the next week, I will be posting a sketch for sale each day. The sketches are 5” x 7”. The price per sketch is $30, which includes shipping. Some will be black & white, and some will have a secondary colour.
However, if a sketch is not purchased by 11:59pm EST the day it was posted, it will meet with a fiery end just like the hapless monster in the video.
Today’s sketch features a burglar. You can purchase it here. Or you can simply wait and learn of its fate tomorrow.
I love Dakota’s fucked up brain! (I say this will full admiration) I would encourage you to purchase these beautiful drawings and all, but I love the fire too much.
Just updated my web site to include the entire suite of 26 Secret Codewords of the NSA. Finished! It took seven months, twenty eight sheets of Japanese washi, and forty five 4” x 6” blocks of shina plywood.
BHP thinks you should all go and check out Annie’s great set of mokuhanga prints <3
18 tips for comics artists by Moebius "brief manual for cartoonist "
- My 8house collaborator and impressive dude, Xurxo g Penalta translated this Spanish Moebius list of advice for artists. I thought would be cool to post. (Thanks Xurxo)
- http: //www.jornada.unam.mx/1996/08/18/sem-moebius.html
- 1. when you draw you must clean yourself of deep feelings (hate, happiness, ambition, etc)
- 2 it's important to educate the hand, attain obedience, to full fill ideas. but careful with perfection, to much, as well as too much speed, as well as their opposites are dangerous. to much looseness, instant drawings,aside from mistakes, there's no will of the spirit, only the bodies.
- 3. perspective is of sum importance, it;s a law of manipulation in the good sense, to hypnotise the reader. it;s good to work in real spaces, more that with photos, to exercise our reading of perspective.
- 4.another thing to learn with affection is the study of the human body, the positions, the types, the expressions, the arquitecture of bodies, the difference between people. the drawing is very different when it come to a male or a female, because in the male you can change a little the lines, it supports to have some impressions. but with the female precision must be perfect, if not she may turn ugly or upset. then no one buys our book! so for the reader believes the story, the characters must have life and personality of their own, gestures that come from character, from their diseases; the body transforms with life and there's a message in the structure, in the distribution of fat, in every muscle, in every fold of the face and body. it;s a study of life.
- 5. when you make a story you can start with out knowing everything, but making notes (in the actual story) about the particular world of that story. that way the reader recognizes and becomes interested. when a character dies in a story, and that character has no story drawn in his face in his body, in his dress, the reader does not care, there's no emotion. and then the editors say: "your story is worthless, there's only one dead guys and I need 2) or 30 dead guys for it to work" but that is not true, if the dead guy, or wounded guy or sick guys or whomever is in trouble has a real personality that comes from study, from the artists capacity for observation, emotion will emerge (empathy). In the study you develop an attention for others, a compassion, and a love for humanity.
- it's very important for the development of an artist, if he wants to be a mirror, it must contain inside it;s consciousness the whole world, a mirror that sees everything.
- 6. jodorwosky says I don't like drawing dead horses. it;s very difficult. it's very difficult to draw a body that sleeps, that's abandoned, because in comics you're always studying action. it;s easier to draw people fighting thats way Americans always draw superheroes. it;s more difficult to draw people talking, because there are a series of movements, very small, but that have a significance, and that accounts for more, because it need love, attention to the other, to the little things that speak of personality, of life. the superheores have no personality, all of them have the same gestures and movements (pantomimes ferocity, running and fighting)
- 7. equally important is the clothing of the characters, the state they;re in, the materials, the textures are a vision of their experiences, of their lives, their situation in the adventure, that can say a lot with out words. In a drew there's a million folds, you must chose 2 or 3, but the good ones.
- 8. the style, the stylistically continuity of an artist is symbolical, it can be read like the tarot. I chose as a joke the name Moebius, when I was 22, but in truth there's a meaning to that. if you bring a t shirt with Don Quixote, that speaks to me of who you are. in my case, I give importance to a drawing of relative simplicity, that way subtle indications can be made.
- 9. when an artist, a drawing artist goes out on the street, he does not see the same things other people see. what he sees is documentation about a way of life, about people.
- 10. another important element is composition. the composition on our stories must be studied, because a page, or a painting, is a face that looks towards (faces) the reader and that speaks to him. it's not a succession of panels with out meaning. there's panels that are full and some that are empty, others that have a vertical dynamic or a horizontal one, and on that there is intention. the vertical excites (cheers), the horizontal calms, an oblique to the right , for us westerners, represents the action heads towards the future, and oblique to the left directs action toward the past. points (points of attention) represent a dispersion of energy. something places in the middle focalises energy and attention, it concentrates.
- these are basic symbols for reading, that exercise a fascination, a hypnosis. you must have a consciousness about rhythm, set traps for the reader to fall on to, and if he falls, and gets lost and may move inside them with pleasure because there's life. you must study the great painters, the ones that speak with their paintings, of any school or period, that does not matter, and they must be seen with that preoccupation for physical composition, but also emotional. in what way the combination of lines on that artist touches us directly in the heart.
- 11. narration must harmonize with the drawing. there must be a visual rhythm from the placement of words, plot must correctly maneuver cadence, to compress or expand time. must weary of the election and direction of characters. use them as a film director and study all different takes.
- 12. careful with the devastating influence of north american comics in mexico, they only study a little anatomy, dynamic composition, the monsters, the fights, the screaming and teeth (grin). I like them as well, but there are many other possibilities that must be explored.
- 13. there's a connection between music and drawing. but that depends also on the personality and the moment. for perhaps 10 years I've been working in silence, and for me the music is rhythm of the lines (the music he listens to).
- to draw is sometimes to hunt for findings, an exact (fair, just) line is an orgasm!
- 14. color is a language that the artist (drawing artist) uses to manipulate the readers attention and to create beauty. there's objective and subjective color, the emotional states of the character influence the coloring and lighting can change from one panel to the next, depending on the space represented and the time of the day. the language of color must be studied with attention.
- 15. especially at the beginning of a career, one should work on short stories but of a very high quality. there's a better chance to finish them successfully and place them on a book or with editors.
- 16. there are times when we are headed to failure knowingly, we choose a theme, an existence, a technique that does not suit (convene) us. you must not complain afterwards.
- 17. when new pages are sent to editors and see rejection, we should ask for the reasons. we must study the reasons for failure and learn. it's not about struggle with our limitations or with public or the publishers. it's more about treating it like in aikido; the strength (power) of the attack is used to defeat him with the same effort.
- 18. now it is possible to find reader in any part of the planet. we must have this present. to begin with, drawing is a way of personal communication, but this does not imply that the artist must envelop himself in a bubble; it' communication with the beings near us, with oneself, but also with unknown people. Drawing is a medium to communicate with the great family we have not met, the public, the world.
- august 18th 1996 compiled by Perez Ruiz
- - BIg side eye at this part "with the female precision must be perfect, if not she may turn ugly or upset. then no one buys our book!" but otherwise an interesting read
Vegan French Fry Round Up
I’m in love. ..
This is porn
Everything I love about pictures in one picture
Helena Bochořáková-Dittrichová. I read about this woman in Signals from the Unknown: Czech Comics 1922-2012, Googled her, and found a HuffPo article had been posted 9 hours before my Googling. Good timing. It promotes the exhibit The First Woman Graphic Novelist: Helena Bochořáková-Dittrichová.
This is so completely satisfying.
My partner would deliberately switch pencils just to piss me off.
But only because I like being pissed off sometimes, about things that don’t really, really matter to me.
can we just start a movement where we go to male politicians events and we ask them sexist questions like “if you are elected who will take care of the kids” and “what designer are you wearing tonight” “do you think that your stunted and constipated male emotions will affect your decision making”
While everybuddy’s at TCAF, risograph CMY printing for CAKE is what’s happening in Florida
Look at what my heart-keeper’s been up to! CMY Riso!
Ceramic Coral Reef by Courtney Mattison
Our Changing Seas III is the third piece in a series of large-scale ceramic coral reef sculptures by artist Courtney Mattison. The sprawling installation is entirely hand-built and is meant to show the devastating transition coral reefs endure when faced with climate change, a process called bleaching. She shares via email:
At its heart, this piece celebrates my favorite aesthetic aspects of a healthy coral reef surrounded by the sterile white skeletons of bleached corals swirling like the rotating winds of a cyclone. There is still time for corals to recover even from the point of bleaching if we act quickly to decrease the threats we impose. Perhaps if my work can influence viewers to appreciate the fragile beauty of our endangered coral reef ecosystems, we will act more wholeheartedly to help them recover and even thrive.
Our Changing Seas III is currently on view at the Tang Museum at Skidmore College through June 15, 2014.
I CAN’T HANDLE HOW COOL THIS IS!!!