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07 September 2007 @ 01:00 pm
(I hope this is allowed...)

Cut for tl;dr =)Collapse )

So, thoughts? Am I on to something, or just getting old and boring?
 
 
30 August 2007 @ 01:38 am
Well I'm new to the game of Webcomics. well, actually technically I havn't even started yet, I'm sitting on the bench planning what I'm going to do.

I've already come up with a couple of idea's for webcomics, and few ideas for strips with which to put them. currently i'm lacking the hardware/software to make my ideas become (virtual) reality.

I was just wondering if anyone could suggest some good programs/hardware to get/use. (ie. digital sketchpad, or programs good for editing scanned drawings, etc)

Thank you
 
 
13 January 2007 @ 01:45 pm
as a webcomic artist, we've heard all the excuses people who poorly draw their comics, and when one tries to honestly help them, they retreat to their "style" excuse, such as "it's my style" and such, and refusing to learn new techniques and methods, Often berating those who offer to help..

hence...

Photobucket - Video and Image Hosting
 
 
Current Mood: amusedamused
 
 
11 November 2006 @ 04:13 pm
okay, so i recently got this program, and it looks so... alien to me, since i am very used to photoshop, anyways, i was wondering what advice the folks around here could give me on that front?
 
 
05 May 2006 @ 10:29 am
I approved a recent posting regarding "The pulse" series on webcomics, posting a bunch of links to webcomics in the feature. Because its webcomics related, I did let it go. However, I want to know from YOU if this sort of thing constitutes spam in your eyes, or do you want to see such things?

Let me know so I can moderate better in the future.
 
 
 
05 May 2006 @ 12:48 pm
hi all

below are links to the webcomics featured recently in this PULSE feature ... go check 'em out:

INTRO TO WEBCOMICS: ROBERT BURKE RICHARDSON'S ELF-HELP
http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=36;t=005081

INTRO TO WEBCOMICS NATE PIEKOS' ATLAND
http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=36;t=005076

INTRO TO WEBCOMICS: THE WORKS OF ALEX HERNANDEZ
http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=36;t=005072

INTRO TO WEBCOMICS: PHIL JULIANO'S BEST IN SHOW
http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=36;t=005067

INTRO TO WEBCOMICS: FEMME NOIR WITH CHRISTOPHER MILLS
http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=36;t=005058

INTRO TO WEBCOMICS: WES MOLEBASH'S YOU'LL HAVE THAT
http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=36;t=005050

INTRO TO WEBCOMICS: JASON THOMPSON'S "THE STIFF"
http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=36;t=005046

INTRO TO WEBCOMICS: MICHAEL COHEN'S STRANGE ATTRACTORS
http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=36;t=005041

INTRO TO WEBCOMICS: CHRISTIAN BARRATT'S SAM and SAM
http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=36;t=005036


INTRO TO WEBCOMICS: VICTOR POON'S BUREAU 13
http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=36;t=005033

INTRO TO WEBCOMICS: CHRISTOPHER COCKING'S THE VORTEX CHRONICLES
http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=36;t=005023

INTRO TO WEBCOMICS: SCHMIDT & FRANK'S NANNAH LAVEAUX
http://www.comicon.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=36;t=005028
 
 
10 April 2006 @ 12:07 am
THE PULSE
http://www.comicon.com/pulse

is running a special every week day called INTRO TO WEBCOMICS where we showcase a differnet webcomics creator. If you'd like to have your comic featured in that, email me at jencomx3@aol.com for details.

Best,
Jennifer M. Contino
Writer, COMICON.com PULSE
http://www.comicon.com/pulse
e-mail: jencomx3@aol.com

Find me on MySpace:
http://www.myspace.com/pulsejen
 
 
08 March 2006 @ 03:34 pm
Okay, this is always a big question to those of us who have the opportunity to go and exhibit at a con, be it at a table or in an artist alley.

What do you take? What do you need? How do you make the most of your time and money at the con?

I've done a few cons myself, including the 'Biggun' of the San Diego Comic Con in the small press area, but I'm going to Sakura con on the 24-26 and this will be my first time in the Artist's alley.

So I'm looking for input as it were. What do I need? What should I take? What can I expect?

Right now I'm looking at taking a sketch book/artbook with a combination of finished and sketch art for people to look through. I have such a broad range that people often look through my stuff and think it is the work of several artists. Also, I made the really huge mistake of not having one for the SDCC, and it really hurt me.

Otherwise.. I'm really not sure what I need. Stickers? Buttons? Bookmarks? Should I take ashcans of my comic ( no time to have anything professionally printed..) or should do you spend most of your time doing commissions? I've seen 'art cards' be very popular at SDCC.. has anyone else done these?

If you've been to an artist's alley, I'd love to hear from you in terms of your experiences so I might have an idea of what to expect. Did you take something that really worked well? Something that didn't work well. Share your experience.

I NEED DATA DAMMIT.
 
 
12 January 2006 @ 01:39 pm
This was actually a response to a debate thread on manga, but I thought it was good enough to post here.

+++++++++++++++

People have a hard time seperating style from substance too. When most people hear the word 'manga' they immediately reference the visual style that we in North America are now becoming rather intimately familiar with. At least the 'main stream' visual style that is being imported in both foreign and domestic animated and sequential art entertainment. And while I'm a big fan of the artistic styles of manga ( of which there are as many as individual fingerprints), there are just some things which should NOT be ported over to that 'style' for the sake of popularity. (GI Joe and He-man come to mind..)

But along with the imported style there is a subtle visual language within it which engrains many aspects of japanese culture, which is just frankly wrong when people who are not really familiar with it try to use it. Its like speaking a foreign language with no idea of the grammar or context. I'm not saying I'm an authority on the usage of this, but at least I recognize it exists.

There is also the seperation of the actual story and true substance of a comic from the visual art. If you strip the pretty pictures and colors of the art of a comic, all you have left is the words. But people do not seem to be able to seperate these two key componants when talking about manga in particular. 'manga' includes both these componants but they should be addressed seperately when it comes to addressing quality of work. Hell the writer and artist may not be the same person!

I think a lot of the popularity of manga can be attributed to the freshness it brings to comics in terms of subject matter in comics to north america as well as the exoticness of the art and stories. The culture which developed it has very different attitudes than north americans on the subject of comics and comic content and it reflects that. Comics in asia are something everyone reads. Its not just for kids, its not childish, and its widely accepted. Its open season on subject matter, nothing is really truly taboo, whereas in north america, for years, comics were simply put 'kids stuff'. With the exception of say more independant or specifically adult magazines ( Heavy Metal comes to mind ), but it wasn't accepted. Reading anything cept maybe the daily funnies, (which we ALL know how censored and generally bland they got because of everyone's 'sensitivies') reading comics was not generally an accepted adult pasttime. Even then, unless you are a big fan of superheroes, fantasy, Archie or like.. Casper, you probably weren't going to find much in the local bookstore.

Another interesting fact about north american comics is that they were, historically generally geared towards a male audience by male authors and artists. Yes, there were some female cartoonists ( more in the strip sense of syndicated newspaper style), but they not well known, and even less so on the actual 'comic book' format. When the comic industry began to die in the 1950s, women were the first to feel the axe. As sales dwindled and the Comic Code came into effect ( thank you Dr Fredric Wertham. Jerk), it just drove another nail in the coffin. Consolidation of lines followed, titles were dropped for survival, artists and authors were fired. People at that time also were introduced to radio and television, which were free, rather than the comic, which you had to pay for.

Japan on the other hand, while suffering the SAME PROBLEMS, took a totally different approch. Since TV and radio were not nearly as prevailent, japanese still turned to manga and comics as their escape. Manga producers UPPED their output, not reduced it, lowered their prices and started creating anthologies, which would lead to graphic novels that are so familiar today. The surge in production lead to the male artists moving up and away from 'girls' titles, which feed up space for female authors and artists who have since created a highly refined female oriented comic art form.

Manga now has a WHOLE GENRE that is highly developed and geared towards women often by female creators (Shôjo and Ladies Manga). Manga is very influential in getting women interested in drawing and reading comics by introducing them to a format and variety of subject matter that is interesting (and accessable!) to them. Granted the women's market is smaller than the male oriented manga market, but its there and its growing in North America.

You really don't see much from the north american side for females until the 1970s or so, and even then, its pretty much underground stuff, and we know how generally successful underground print comics are. In terms of the mainstream, lets face it. The unwashed masses think comic in the north american sense, they think of little boys reading spiderman comics in superman PJs.

There's obviously a lot more to it especially now with the webcomic. We see less distinction between male/female oriented comics and more of a blend of concept, and of course accessability makes it much easier to try out a lot wider variety, not only for artists, but readers as well, with little to no risk.

Manga has, like it or not, awakened a whole new audience to comics. They are learning that comics are not just for children and not just for little boys. But people tend to like what they know. They know the visual style of manga and they look for it. They are discovering " Holy cow! comics ARE cool!" Sitting around 'poo poo-ing' on manga and anime for it simply being popular is rather looking a gift horse in the mouth. With the growing popularity of the graphic novel and the new, growing interest in comics that are not just for kids, coupled with the massive publicity power of the internet, the opportunities to hook eyeballs into your work have never been higher, even if you DON'T do manga.
 
 
13 December 2005 @ 12:54 am
Comic Name: Glumco
Comic Creators: CheezyWeapon & Skewerflash
Rating: NSFW (Nudity, Sexual & Violent themes)
URL: http://glumco.keenspace.com/
Summary:
"Pure agony in Comic form"
This is the tagline at the top of the comic. Glumco is (apparently) the largest company/corp in hell, but the comic goes all over the place, exploring the plights and lives of various characters in hell.

The Good

Art:
Glumco has an extremely unique, flowing style that smacks of something genuinely experimental and artistic. It has a sort of doodlish quality and does not pretend to be a finished artwork per se with all the polish of some comics but rather comes off with a sort of dream quality (or nightmare perhaps) that I personally find appropriate to the subject matter and tone of the comic. Although as it seems to be drawn by two people with very different styles, so the art quality does vary pretty wildly.

Characters:
The characters, at least of the actual Glumco Comic, PinPrick, Enema Kid, Stitches, etc, are quite unique and memorable. Their designs are unique, twisted and appropriate to the setting. They are quite easy to tell apart and have their own distinct personalities that come across very quickly.

Website:
The comic's website is very clean, simple and easy to navigate. The simplicity and almost blandness of the webdesign allows one to focus on the comic, which really matters, without the usual clutter of most webcomic sites.

The Bad

The Story:
Unfortunately, this is where Glumco falls down, and its not because its a bad story per se, but how it is actually physically presented. The page flow is disjointed with early filler and a wild shift between stories and artists with no clear boundries or establishment before hand. Its very easy for a reader to be lost and become disinterested or just down right confused and frusterated by the constant direction changes if one is to casually surf the archives. Although being that Glumco does not yet have a massive archive, it is possible to slog through it and sort of figure things out, but the average reader probably won't after a point. There is a menu with the pages earmarked as it were, but its more likely they will surf through it just using the next and previous buttons. I also feel that Skewerflash's work should be presented outside of the regular storyline as it just throws a massive WTF at the reader and showing the two works just randomly intermingling. There is also the matter of the comic trying to be several things at once. A serious story comic, a funny/oneshot comic, random art comic, a short story comic which really sort of muddies the waters. I'm guessing this is just a sort of side project of amusement for the artists with no real serious intentions, which is fine. But if, at some points there was a desire to go 'serious' with it, there would be some fixing to do.
Solutions to improve: Pick a storyline/format and go with it. Keep filler and random art seperate. Keep storylines that are related together and don't intersperse so much filler. Arrange the archive so that pages of the same storylines are listed together for easy navigation and skipping around to follow an individual storyline. Being consistant will do wonders for picking up new readers. Avoid jumping around stories. Try to finish a storyline before starting a new one.

The Ugly

The Other Artist
Unfortunately I can't think of any way to put this delicately, but Skewerflash's stuff should really see its own site, or own area seperate from the rest of Glumco's art. It is obviously a completely different calibur and totally different style which is jaring, distracting, and does not contrast well with Cheezy's beautiful, twisted, and flowing style that really seems to define Glumco. It seems ugly and blocky in comparison, and being so closely associated, one cannot help but compare the two. The association is not really doing any favors for either and proves more to distract and detract from the work as a whole. The typography in Skewerflash's work is really quite ugly, blocky, and very difficult (or just plain painful) to read in places. I would pass the link to Blambot.com along to him if he is in need of good fonts. I really think the two should be seperated so that both can be more appropriately judged on their own merit.

Conclusions:
Glumco has a lot of potential artistically, although due to subject matter and general twistedness of the comic, mainstream audiences are pretty much out of the question. It is very unique for an adult comic though. It could probably draw a decent mature audience if some of the essential problems with the story and presentation of said story were resolved. I think of all the storylines the "Enema Kid" one held the most promise as an 'opening' story, and even if Glumco was simply a series of short stories, it could still be a very interesting read.( I did find the actual Glumco story to be amusing) It comes down to presentation and order of presentation which hampers this comic along with too much filler diluting the substance.

Recommendations:
1) Rearrange at least the archive navigation so that pages of a given storyline are listed together.
2) Give filler and random art their own place (gallery perhaps..) that is not in the archive of the comic.
3) Move Skewerflash's work to its own, seperate section.( Particularly the Erotic Rage storyline stuff) It is jarring to the flow of the comic and comes off as a poor guest comic rather than its own, standalone work. If you feel you cannot remove from the main archives, at least put all of Skewerflash's pages together and make it clear in the archive navigation.