I'm looking for tips on Alexandra Erin's Twitter - her thoughts were enough to get me to finally set up a page (but not, as yet, a campaign. That will have to wait). Unfortunately she posts so much that I can't find it right now. One thing she said was make sure you have free content, specifically old early-access material that is now free elsewhere, and encourage people to follow even if they don't immediately pledge.
Preparing for Inktober with my first traditionally-inked page in five years (I originally thought it was longer ago, but I remembered some I did in 2012/13). This has already been cleaned up, had digital backgrounds and some detail work added, and flatted. Shading/highlighting, word balloons and lettering yet to be done.
I have no idea, but for me the choice was between coming up with my own version of the event and not doing it at all. So I think the important thing is to challenge yourself to draw something every day.
I hadn't even looked at mine in five years or more (I spent some time doing pencil-only art in the late naughts before switching to digital inks exclusively except for a handful of pages around 2012). I had a very large bottle of Talens India ink that was still liquid. I poured some into a smaller ink bottle only to find that it was super-thin and runny. The graphite particles had all settled at the bottom of the big bottle. A vigorous shake of the big bottle and new attempt at pouring some out worked, but I'll have to do it again.
Most of my brush pens from that era still work, as does a stinky marker. The ink from that goes right through even my thickest paper, but I don't care. It has to stay on long enough for me to scan this art and after that it can turn the paper to soup for all I care.
I have now checked the state of my traditional art tools by inking a comic page with them. The Indian ink is not in the best condition but I can work with it. It's good to go and so am I!
Still doing a Lite version of Inktober though.
I'm trying to decide if I want to do Inktober this year. It sounds like fun and I usually learn a lot from doing art challenges; but I'm already in the middle of another challenge and have a lot on my plate generally. So before I make up my mind, I would like to ask artists who have taken part in Inktober before: how much time, on average, did end up spending on it per day?
I've already done Sir Gawain and the Green Knight, way back when I started ROCR, so that one's right out. I'm considering adapting a pair of German jungle girl movies that are probably in the public domain now, but if they're not, I'll just file the serial numbers off. There's also a widely maligned latter-day Heinlein novel that is definitely not in the public domain that I have plans for...
As a fan of your comic, the fact that you'd even ask indicates just how absurd these ratings are in the first place. I agree with most of what the previous poster said: Cochlea & Eustachia is not for kids to start with regardless of how much nipple there is to see. As for how much anatomy you want to draw, that decision is entirely yours.
Or we could just... not. All of the good HHGTTG novels have been done to death and the problem of all the great jokes being jokes that you already know won't go away. And the one novel that another writer has added to the canon is pure fanporn. Show the Leader of the Universe again! Bring back Fenchurch! Bring - ah, who am I kidding, I don't even remember that much of it, just that it was full of references to ideas instead of having actual ideas (I have this problem with new Muppets stuff as well).
Dirk Gently at least worked because it had, to me, a Douglas Adams feel without carbon-copying it. A reasonable level of disrespect for the source material kept it fresh. But surely there must be other artists working in the spirit of Douglas Adams whose work screams for adaptation?
Doctor Who and the Krikkitmen. It was intended as a movie and as such would always have been a longshot to be made.
I think the issue with the reuse of Shada and City of Death was that Shada was unfinished, unaired and unlikely to ever be seen except for the bits that were used in The Five Doctors. Before home video, the expectation was that unaired episodes would just disappear down the memory hole. Hard to believe, now that Shada is the most-recreated Doctor Who story...
As for the American Dirk Gently series, I loved it. My problem with the HHGTTG movie was that it tried to both follow the original story while removing the 30-year-old-jokes that everyone could recite from memory. A good idea, but what they added to replace those great-but-stale jokes wasn't nearly up to snuff.
New on Rogues of Clwyd-Rhan - for a given value of new. This is a redrawing of a page my then-fiancee did for me back in 2008. That version, which is excellent but doesn't look a bit like the style of the rest of the comic, can still be found here.. I'll be redrawing pages for a while as Aggie did 19 pages for me before we both switched back to our own comics.
(I've skimmed the thread super-quick as I've got to go to work in a little bit)
I strive to do better than I have, and that includes a little bit of retconning in art I'm redrawing. Back when I started Rogues of Clwyd-Rhan in 1991, I assumed pretty much that fantasy = medieval Europe = everybody's white. I've learned a thing or two since then. I did give the faeries a wide range of skin tones, but mostly just to tell them apart. In my recent redrawing/recoloring, I'm changing the skin tones of a few characters to at least create the appearance of more ethnic diversity. I guess to some that counts as 'forcing it' but I see this in the same light as the replacement of some backgrounds with better-designed ones based on historical models.
For Abúi's Travels, I decided that in the midst of a massive crossover, I would draw every minor character that was designed by me for the story as non-white. I kept that up until I introduced the fake police officer. Then the Venusian nudist colony happened, I liked some of the black naturists I had added as part of a throwaway gag about Abúi's naivety, and the Shirtley family was born. They will eventually be the leads in their own story, if I live long enough to make it. I guess "design only POC characters for a while" also counts as forcing it, but I had a marvelous time doing so and ended up with some great characters and a plan for a much more interesting, ambitious comic than the one I was making as a result of the process.
I'm generally sympathetic towards the idea that stories and characters should flow organically, but on the other hand, I wouldn't let my subconscious take the driver's seat in developing story and character than I would use my unedited dreams as scripts. People's subconscious, mine definitely included, is full of clichéd drivel and if you want your characters and plot to work, you generally need to think about what you're doing.
Trying to add more sexual/gender diversity to my comics, especially Spun Off which could be a great vehicle to explore that. What's stopping me at this point is mostly a failure to produce - I often wonder what I could do if I had more hours in a day.
Steven-Vincent:I am the WORST sort of cheater. I don't draw at all. I do CGI rendering. Lots of people turn up their noses at it.
And I tried that and found CGI simply too much work - too much fiddling around with poses and lightning and rendering and positioning and backgrounds - it took forever. I presume that it gets faster as you get better at it, but even as a slow artist, I can get the job done much faster with pencils and digital drawing tools.
You can go back through my archive and see where I used very basic renderings as a base to draw over. But even those slowed me down far too much for it to be worth my while.
My point is, I understand it's a skill like every other one. An expensive and time-consuming skill to learn.
(On a related note, I recently bought a synthesizer and a stack of software synths for my iPad to get back into music writing. I thought my lack of keyboard skills would be compensated for by using sequencers. I was wrong - sequencers are a drag until you have at least a basic grasp of where to point your fingers on the piano keyboard, so I'm now learning that, one hour of free time at a time.)
And then what you should have said in a haughty voice "well madam, I make my own paints because store bought paints are not pure enough. I make the lamp black from crushed charcoal, the blues from the violets growing in my garden and... Actually you don't want to know what I make the browns with..."
You laugh, but that right there is the history of paints.