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31st May 2013, 6:37 AM #41
Kupocake

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Location: S. California
I live in a part of California that's probably got more Asians than any other race. When my family moved in, the city and the cities around it were predominantly white, but over the course of a decade, it became an Asian neighborhood. What's even more interesting is that it's also dominated by first-generation Asian-American immigrants. My siblings and I, along with all my friends and classmates, have been raised on very strong Eastern Asian principles because of our parents, but we've also been raised on American culture, and specifically Californian culture. The result is a unique microcosm that you just won't experience anywhere else.

And we drink boba all day, so there's that too.
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29th May 2013, 8:18 PM #42
Kupocake

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Agreed with Robotwin, definitely too much space on top. In addition, the general flow of the layout is confusing as well. Anywhere there are words or a graphic, your readers' eyes will dart there first, and follow to the next closest thing. So in this case, my eyes start on the top left with the guy with the watering can, but then jump right down to the navigation bar second because it's closest to the top-left graphic, and because it's blue and different from the rest of the page, it stands out. And then third I look at the comic page. In short: I miss the title of your comic completely!

There's a reason why most (Western) comics have either the navigation bar on the right or just above the comic without taking up much space: the rightside makes the navigation secondary to the comic page because English readers start on the leftside and work their way to the right (which should be the case with most webcomics: it IS what people are looking for!) while right above the comic helps the reader subconsciously remember where the navigation is when they're scrolling down to see your pages. Comics that have navigation bars on the left side are more uncommon, but if they do, they tend to make the website banner more right-side heavy or centered to de-emphasize the left side of the website.

Anyway, I suggest making a new document on Photoshop/Gimp and block in where you would like your graphics, comic, etc. first and mess with it until you're 100% happy with how it looks. Then, mess with the code accordingly. It's harder to arrange your website well on a code-level, but on Photoshop/Gimp, you can play with the visuals easily.
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28th May 2013, 5:11 AM #43
Kupocake

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Mayyday:Ok, can someone explain the whole "Project Wonderful" thing? It sounds like a pretty solid way to bring in new readers.


It's an advertising service that caters well toward webcomics. It works like an endless eBay auction: you bid how much you want to spend per day on any site that has a Project Wonderful ad space. If you're the winning bid, your ad gets shown. And the nice thing about it too is that these ad spaces don't cost you a whole lot of money: think cents a day (and sometimes even free!). And with any kind of advertising, it's best to figure out what's your demographic and what comics/sites cater toward the readers that would be attracted to your comic. After that, it's pretty easy to get new readers in.

To make it even more cost efficient, put an ad space on your comic as well so that you can use whatever revenue you make on your site to advertise more. It takes some getting used to, but since I started using it, my readership as increased quite a bit.
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28th May 2013, 1:13 AM #44
Kupocake

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Check out the responses in this thread about the same topic.

Short answer: have a really good comic with a good looking site to boot, be a friendly non-jerkass person and socialize on social media sites and with other webcomic creators, and check out Project Wonderful once you have a decent amount of comics done (30-50). That's about it, the rest is just luck.

Edit: And have quality regular updates so that people keep coming back!
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26th May 2013, 7:56 AM #45
Kupocake

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Some people are very protective of how their work is presented, and fanart can compromise this image. Take Disney for example: they will throw out lawsuits on anything from Tinkerbell tattoos to Winnie the Pooh on your monster truck. The reason being: they don't want the Disney characters on these things because they've deemed it trashy, which goes against the family-friendly image they've built up. I know Anne Rice was also particularly protective of her characters to the point where Interview with a Vampire fanfiction would be removed immediately; she doesn't want her characters to be presented in any way other than what she presents.

The fanart problem happens more with people who are successful rather than your average fiction creator, that's for sure. Probably because the bigger something is, the more fans it'll follow, and fans can come in all shades of normal to crazy.
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26th May 2013, 5:27 AM #46
Kupocake

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Image: http://25.media.tumblr.com/11e4612558d906a063ecd2f08a0cd724/tumblr_mne4c7GPQR1srdn9xo1_500.jpg

There needs to be more Ace Attorney fanart in this world.
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26th May 2013, 2:32 AM #47
Kupocake

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Yeah, I can't see it on my end either, and I haven't really heard of anything like this before. Really weird.
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25th May 2013, 1:16 AM #48
Kupocake

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snarkington:
Kupocake:I'd hate to suddenly be thread-mod for Snark, but...
(Ah who am I kidding, I'd love to be thread-mod for Snark)

Kupocake is now officially the Thread Mod.

FUCK YEAH.

Actually, to GigaNerd17, if I may throw in another suggestion, watch your favorite films or read your favorite comics with a really REALLY critical eye. Put these words in your art vocabulary: foreground, midground, background, but especially the foreground. Take note of the people or things that are in the foreground and how do they relate to the rest of the composition. The foreground can be your best friend in the world, but a lot of comic artists don't always utilize it to make their compositions stronger.

Using foreground/midground/background at once is the easiest way to give some depth into your composition when it isn't there. If it helps, do some quick sketches of the scenes or panels you're admiring. Chances are your favorite comic artists have a pretty good amount of experience and referencing their compositions is a good way to go. Additionally, your favorite movies were probably made with a lot of money, and those studios hired artists and filmmakers who are very careful with their compositions so they won't waste more film than they need. I'm no expert, but this is how I learned to compose for comics.

Good pose choices happen when you understand the character really well. Think about what they are feeling and how would their body act on it. If it helps, get off the desk chair and act out your poses in front of a mirror, not just to draw the poses better but to also get a better understanding of what's a natural pose to hit for that emotion. A good way to practice is to draw the emotion using the character's entire body without using a facial expression. When you draw more and become a stronger artist, it becomes easier to think up of the right pose for the emotion.

Okay I'm done hijacking.
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24th May 2013, 7:50 PM #49
Kupocake

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dougwarner59:I wouldn't mind a review of the comic I just finished: "dar-val #4."
I could use all the help I can get. It is located at:

http://murghcomics.thecomicseries.com/comics/120/


I'd hate to suddenly be thread-mod for Snark, but...

Image: http://img-s3-01.mytextgraphics.com/sparklee/2013/05/21/bd51b9bdef73f08b46ea0f15a18ecced.gif


(Ah who am I kidding, I'd love to be thread-mod for Snark)
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24th May 2013, 4:26 PM #50
Kupocake

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The goal is to get a job somehow, but even without one, this looks to be my busiest summer ever. What I need to do is...

- Have stuff ready for my shared table at the Artist Alley of AnimeExpo. So I've been arranging Cans of Beans into an issue and have been running around trying to find the best printer for this. And I haven't even started on the anime fanart prints I want to sell!

- Do a storyboard reel in AfterEffects. The storyboards currently on my portfolio site no longer showcase my abilities, they are old and yucky. If I'm going to get a job as a storyboard artist, I need to make a freaking good looking one before studios get back into the TV season.

- Clean-up and color my animated short Bedtime Story before the end of August. We got an incredible reception at the last film festival we entered it in, but it was only in pencil test/rough animation form. Some film festival executives in San Diego loves our film so much they want it in their festival, but it must be fully color by August. This is going to take up pretty much all my time, and I'll need to buy a scanner big enough for 16F animation paper.

- Finish writing the script for Paranoia versus Paranoia by the end of summer. I promised Gearfish this and I intend to keep it.

- Build up a buffer for Cans of Beans. This is starting to look unlikely with all of this going on.

- Re-learn Adobe Flash. I learned how to use it back in high school, but that was 4 years ago. Now every studio and their mother wants Flash animators and my school unfortunately never taught the program to us. So, some friends and I are going to learn it by doing some simple dialogue tests.

- Probably travel to Fresno sometime this summer for reference photos. Cans of Beans-related reference photos. Shhhh.

And hopefully this will all accumulate to a lot of good work and job opportunities. X_X
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24th May 2013, 4:14 PM #51
Kupocake

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Yesterday was Open House day for a ton of major and independent studios to come over and look at our work, and possibly hire us. So I dressed fancier than usual, made a nice slideshow of my artwork, and networked like mad.

A lot of people were impressed and liked our work! Ours being my animation partner's and mine. I was almost out of business cards by the end of the day. I got to meet the writer of Robot Chicken, the head of the Sony Animation division, some Family Guy crew members, about four Blizzard artists, a few studios who were interested in freelancing for comics, and some secretive independent studios. Most were in the off-season or just starting up so they're not looking at the moment, but more like scouting it out so they know who to hire once they are on track. It was a good day for the most part...

...until I found out that one of the other animators in my class claimed my artwork as her own. Fucking hell. I didn't get to confront her about it, but this is the second time she's done something like this (she claimed my partner's artwork for her own in front of Nickelodeon people). Considering I may never speak to her again, I have promised myself I'm not going to be recommending her for jobs anytime soon and just leave it at that. Sweet freedom.

So I ended the day by going to the beach with my amigas and eating a lot of Mexican food. Overall, great day with some sour spots.
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22nd May 2013, 4:46 PM #52
Kupocake

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www.writtensound.com/index.php

For everything else specific, I try to sound it out in my head and just go with it.
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19th May 2013, 5:27 PM #53
Kupocake

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Uglulyx:

Wait, is this like your work office, or is this in your home? Or do you rent a space or something? D: I'm still jealous either way to have a room that large just for drawing.



It's my college's "Senior Studios," where once you get to your fourth year, you get the privilege of having your own studio space for a whole year. All the majors have their own part of the building, all equally interesting, but this is the Animation major's room, which is highly necessary because animation requires a ton of equipment that I don't have the money or space for back at home.

However, because I'm graduating tomorrow, I'm getting officially kicked out of my cubicle on July 31, so I'm just enjoying my last moments with this place.
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19th May 2013, 4:55 PM #54
Kupocake

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Spoilered because I am far too proud of my workspace/some are pretty big/I'll save someone's sanity.

[spoiler]
So this is the entrance to the animation studio. Obligatory Wreck-It Ralph poster seen here.
Image: http://i.imgur.com/UbNaAHSh.jpg


Walking in, this is what you'll be greeted with.
Image: http://i.imgur.com/wyfGA4Zh.jpg


Getting closer to my workspot! Which is where all those strange curtains and Christmas lights are.
Image: http://i.imgur.com/KmdVfBHh.jpg


The cubicle closest to us is my amigo's. But behind that is a window to my desk.
Image: http://i.imgur.com/K8qouA2h.jpg


A window shot of my partner's desk.
Image: http://i.imgur.com/UxgLjQph.jpg


So here's my desk, finally! I modeled it after the father's bedroom in Bedtime Story, the animated short my partner and I have been working on.
Image: http://i.imgur.com/z55mRYkh.jpg


And this is my partner's desk, who modeled it after the little girl's bedroom in Bedtime Story.
Image: http://i.imgur.com/P2vAgc8h.jpg


Nighttime Christmas Lights shot!
Image: http://i.imgur.com/bjtvRjuh.jpg


Pull away and here's a shot of our giant King Candy cardboard cut-out. Why do we have King Candy? Because I have no idea, ask the strange people in the green corner of the room.
Image: http://i.imgur.com/D7Wlq6zh.jpg


Photo of the amazing Simba versus Terminator-Mufasa drawing on our wall (by animator Shawn Keller).
Image: http://i.imgur.com/RhMLv7Th.jpg


Photo of the animation downshooters, where we shoot our scenes, page by page. We do this old school, yo. Above are a couple of drawings by Glen Keane and a drawing of various Looney Tunes/Tiny Toons characters, and Darkwing Duck (also by Shawn Keller).
Image: http://i.imgur.com/iFYrQYAh.jpg


Close-up of the Ariel drawing by Glen Keane. I kept asking if this was original, which I think it is, but some say it's just a very VERY good reproduction. I dunno, either way, it's impressive.
Image: http://i.imgur.com/7W44dFkh.jpg
[/spoiler]

So now you know how much of a humongous dork I am.
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18th May 2013, 4:43 AM #55
Kupocake

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Zappit:Heh, here's a subject near and dear to me. I wrote an opinion piece on this back in '06 for Comixpedia (now Comixtalk) that turned into one of the most active discussions/shitstorms the site had in a while.

I stressed the importance of working on a unique and personal style. At that time, copying the styles of popular webcartoonists was rampant, and still is, really - and pointed out that simply mimicking another's work is a cheap shortcut that does not teach the budding artist anatomy, perspective, and how to develop characters that fit in the world that cartoonist was creating. I still believe that. Art is a very personal and individualized road to travel. If you can't take the time to develop your own abilities, it will never happen on its own.

Those artists that do take the time create work that is instantly recognizable and memorable. Mike Krahulik, Robert Crumb, Will Eisner, Bill Wattersom, Charles Schultz, Shel Silverstein, Theodore Geisel...these are masters of cartooning from a variety of cartooning mediums. Each has a unique visual approach with its own charm and lasting appeal. I'm not going to remember the guy that copied their work. I'm going to remember the original and call the copycat a hack.


I agree that copying a bunch of different styles in hopes to be popular is going to make an inferior product, but I don't agree that "working on a unique and personal style" is all that's made out to be. From my experience of working with a lot of inexperienced or new artists, the ones who are constantly trying to find a unique style miss out on basic fundamental training just as much as the ones who just harp on someone else's style.

In my opinion, what should be emphasized are the absolute basics: draftsmanship, being able to turn forms in space, strong silhouettes, perspective-from-imagination, solid anatomy, color theory, etc. Artists will gain their own unique, personal style once they build up their skills and soak in the material they've been in love with for all this time. Personally, "forcing" a style out, especially when the artist is still fundamentally struggling, will result in a mish-mash of things they think is design, but actually ends up to be a Frankenstein abomination.
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17th May 2013, 6:31 AM #56
Kupocake

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snarkington:I like how he no longer looks like he's from Cans of Beans but is still undeniably drawn by you.


I wonder what about my work looks like it's drawn by me. :U I mean, some people have pointed it out before, "this is so Kupocake's line quality" or "I really like the way Kupocake sketches," and other similar statements, but I haven't quite figured out what was unique about the way I draw. Love to know your thoughts (or anyone else's)!
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17th May 2013, 5:58 AM #57
Kupocake

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Image: http://24.media.tumblr.com/0ef2a5db68143e56993d3d01b300d778/tumblr_mmxhqpS2SP1rq4y4lo1_500.jpg

Inking practice! Same strange character, but I challenged myself by using the Kabura nib instead of my usual G nib. Also trying to get my drawing groove back with a very different style.
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16th May 2013, 7:07 AM #58
Kupocake

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Image: http://24.media.tumblr.com/cd1a823cd100aaae6706a8a5807c3bd1/tumblr_mmvplcUQxc1rq4y4lo2_500.jpg

Image: http://24.media.tumblr.com/4c3ec70f4556209fa6670342ee510929/tumblr_mmvplcUQxc1rq4y4lo1_500.jpg


For another story I've been brewing, maybe something I'd like to pursue in the future. His name is Herb and you shouldn't really trust him.
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14th May 2013, 10:55 PM #59
Kupocake

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Kyo:is it finer than mickey


If you're referring to the mouse variety, I cannot drink it. Therefore, yes.
If you're referring to the Rooney variety, I cannot drink it. Therefore, yes.
If you're referring to the malt liquor variety, I can drink it but I haven't yet. Therefore, maybe.
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14th May 2013, 10:41 PM #60
Kupocake

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Blueberry coffee is just about the finest thing ever created.
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