For regularly updating comics, last page. Nothing matches the disappointment returning readers feel when they see that the page has updated, e.g. through the My Subscriptions tab, only to land on the first page after they click. I will and have stopped reading comics over this. It's a petty thing when you think about it rationally, but it's how it works.
Kobaian is probably not on a par with Esperanto which was designed for real-world use and honed by a century of actual use. But considering I know about Magma through an online friend who is a fan and a dedicated conlanger, it's probably not gibberish either.
I was mistaking this for another celebrity thread that I had no interest in, otherwise I would have responded earlier. Here's my 2 cents:
For Christian Vander, as part of your plotting, you need to at least consider very strongly the possibility that all the mythos surrounding Kobaian is part of a long con to fill the heads of fans with Neo-Nazi ideas. Don't take my word for it, because there is some ambiguity about this and Vander isn't talking. But it's very possible, based on circumstantial evidence (historic interviews, statements by ex-members of Magma) that the mythos is fascistic in nature. Now, assuming for a moment that you don't want to make a Nazi the hero, here are a couple of ways this possibility can be dealt with:
You could decide, based on your own research, that there's no there there, that what there is of Vander's alleged Nazi fascination is like Lemmy's interest in Nazi memorabilia and, as with Lemmy, isn't evidence of a pro-Nazi stance. Problem is, with Lemmy we have his public statements on why he was interested in those things and what his actual positions were - he was an anarchist and not afraid to let people know about it. Vander, on the other hand, has not clarified his position. So, what's going on with him?
You could also decide, based on your own research, that, yes, Vander is stealth-spreading Nazi propaganda through his lyrics, conlanging and world-building. Still want to use him in your story? Your team of heroes now has a mole in it.
...or you could decide that it's not that important either way, if he's a minor player in your story and he can have something of the dark about him without it affecting your plans. Naturally, you have other options as well as you're in charge of your story and I'm just a guy relaying what I've read about a year ago (my own conclusion is that there's enough evidence for me not to trust this guy or want anything to do with him, and that I will never run out of other interesting music I could explore instead, so I would base my decisions on the second option). But I do think this is important enough to give you a heads-up about.
Children. Their proportions are all over the place and all the elements of their faces are separate from one another, plus any line you do draw in a child's face ages it a year. In old people's faces, the lines can be used as a map to help put all the major elements in their proper place.
Cityscapes or Crowd Scenes
Shamefully, as the son of a construction engineer, buildings cannot hold my interest for more than five minutes. Crowds are merely a matter of not stopping.
* Exceed the number of updates I added last year, which was... er, the document in which I tallied them is on my other computer and not in the cloud. It was a pretty good number.
* Take part in at least three drawing challenges and do more art than I managed in the three drawing challenges I did in 2017.
* Take part in NanoMango for once.
* Start two comics, but not before they've been properly outlined and a full chapter written.
* One of these comics will be in black and white, because I really miss drawings that can carry the story without colors.
* At least one of these comics should be with a Photoshop-free workflow, either all-traditional or using a digital process that Photoshop isn't part of (so e.g. Pixelmator, GIMP, Krita, or Clip Studio Pro for all processing steps that I currently do in PS)
* Learn Clip Studio Pro.
I'm going to need to make a lot of time for these things. That will be another resolution, to aggressively guard my non-work time.
January was dedicated to portrait art, like January 2018 will be again. I drew 19 portraits in total. This, of my friend Carlokas, is one of the best from that challenge. Carlokas’s selfie game is ON POINT as are his smoldering looks.
February was an entirely unproductive month in which I drew two quick sketches. This, for a planned new White House In Orbit project, was one. Geir and I are both keen to bring this comic back after a decade and a half, but Geir is not well and neither of us have time and energy to give this the attention it deserves. Story of our lives, really.
March was another month that wasn’t very productive but I did a bit of work on Abúi’s Travels, inching that comic closer to completion. Later in the year, I did a side quest for that in about 15 quickly-drawn pages which are not featured in this overview.
In April, things picked up dramatically. Among other things, I finished a page for The Lives of X!Gloop that I had started in late 2015. Or was it 1993? In any case, it got its final form and actually looked pretty good.
More unfinished business got worked on in May as I redrew parts of the Rogues of Clwyd-Rhan storyline Feral. I would do quite a bit of work on that between May and November, turning ugly pages into pretty ones and redrawing a long sequence to improve stylistic consistency.
June and July were months in which I worked super-hard to update regularly. In fact, across all of my comics that are currently active, I updated daily during July. I would like to do that again as it got a lot of stuff out of the way. Pages shown are both from Lives of X!Gloop.
I did, however, rebound from that productivity in August, when I should have been working on Rogues of Clwyd-Rhan but couldn’t find the motivation and drive. The day job was also picking up (the summer became known as the Summer of Horror at the office as people had scheduled vacation in the summer to make up for overtime, pushing whoever was still working into further overtime. This was eventually fixed with large cash payouts of overtime worked, but we’re still short on staff). I spent some time doing character art for a near-future SF/Jungle Girl comic called Fury of the Plains which I hope to do some actual pages for this year.
The day job situation continued throughout September and October, pushing comic work into the weekends. I did manage to redraw 16 pages of Rogues of Clwyd-Rhan before my productivity crashed entirely in November. One unfinished Rogues of Clwyd-Rhan page was all I produced that month before taking a break to take care of personal business.
December was Decemboobs month for the third time. It’s a month-long-daily challenge for cartoonists and other groups of artists with a history of, shall we say, difficulty drawing human breasts convincingly, to draw them from reference, either from photo reference or from life. I did mostly traditional pencil art, but switched to digital late in the month. One model, Yournudemom, was the subject for five different drawings that month and so she’s featured here as well. I made 28 drawings in total, which is a record for me.
I’m not sure I made as much progress during the year as I wanted to, or as much as I felt like I was making at the time. Restoring productivity was the name of the game for much of the time. That worked! I added a lot of updates to my webcomic sites and had a lot of fun doing so. And in December, I gained a lot of new viewers on Tumblr especially.
It's weird. Nothing that my art teacher in high school told me sticks out as something that I still use or value, but whenever I draw from reference in traditional media (pencils and illustration board, mostly - I don't paint and learned how to ink from 20 years of sucking at it), I can see his influence in it. I guess I did learn to work methodically, stick to it, look for texture and greyscale with a specific set of tonal values that I subconsciously copied from him.
In 2017, I've been breaking out of the grid more and it's been rough going. I grew up with European comics that had a rigid underlying grid and so that's what comes naturally to me. What helps is making multiple thumbnails and thinking about what panel you want to be the most important or striking. Then build the rest of your layout around that. I think Dershing Helmer and Romano Molenaar have public tutorials about that (or maybe Molenaar taught a live class - I don't remember. Search for his name on YouTube anyway).
However: don't feel bad if breaking out of the grid isn't working for you! From Watchmen to Tintin, some of the highest-rated, classic comics have used grids to great effect, adding rhythm, symmetry, and flexibility for serialization that helped make these comics both popular and great. If you want to reach large numbers of unsophisticated readers, give your comic a cinematic feel, publish in multiple formats, or create a sense of the inevitable in your story, grids can help you with those things.
Sign me up with Rogues of Clwyd-Rhan. That has a huge cast so I can narrow things down to some key characters if people want. Comic has all flags except Sex; am OK with all flags. Like everybody else, I'll make time.
...(RockB):Lee M: Since there was a warning right before my post, I thought I better be (a bit overly?) cautious, so...
[spoiler]About Rogues of Clwyd-Rhan, telling by as much (or as little) I have read of it (from the beginning until shortly after they met Kel, and the last few pages, just a quick look to see if something changed), I didn't notice more than very little nudity. Like when they get their clothes stolen. Maybe later on...[/spoiler]
I am generally tired of crossovers. They are a huge hassle to create and, if you rely on other people's 'horsepower' and especially their website, a bigger headache to maintain over the years. That being said, I don't like the idea of you or anyone else just abandoning them. Please explore people's suggestions made here for wrapping the story up quickly. I can also go to the recent pages later today and see if I have some suggestions.
(Re: "All my characters are half-naked anyway": comics where that is the case aren't exactly hard to find.)
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.