[Nab] Comics

Oh Daddy #3, Page 20

OD3 20 LR.png
 
A couple of months ago I decided I wanted to finish both Oh Daddy #3 and Well Hung Willard #1 before starting anything new and I'm sort of getting there. But I got diverted doing the rough art of a thing that included Betty and a randy photographer and I added another page at the end of WHW #1 so things got a bit slowed down. So to fill in a gap I've decided to post a page of Rivadale Bits #4. Not sure how many pages of this I'll post because it's not quite as far along as I tend to like comics to be before I start posting them but I thought I'd better post something. I hope to have the next page of WHW up before the end of the week and then possibly the last page of Oh Daddy #3.
 
So I wanted to ask about your "process" (it sounds like a pretentious question but it's more efficient and dignified than "how do you draw the comics" or it would have been had I not been compelled to explain it like a total spazz) . I assume you are using a stylus on a digital pad and while you are indeed responsible for rendering each visible line through bodily physical hand motions, all of it takes place in the digital realm and there is no analog artifact containing the initial rough sketch at all? This gives you the ability the old school guys would view with contemptuous envy because you have the option to "ink" (or "lines" as Incognitymous referes to it) the image you are creating in real time as you sketch it, then when the black and white "lines" are satisfactory, you move on to coloring? Or is your process half old school/half new school and you do actually have a real physical pencil and sketch the rough layout in graphite or charcoal (though I doubt you would get those clean, super thin lines with charcoal) on a real sheet of paper? Do you do concept sketches where you cycle through several ideas for panel size and sequence and finally decide on the one which works the best? I know that unlike me you have a life so I will consider it a victory that you read this all the way through and will appreciate any behind the scenes tid bit you throw me in response 🤘🤘🤘🤘🤘🤘
 
WayRadSteve666 said:
So I wanted to ask about your "process" (it sounds like a pretentious question but it's more efficient and dignified than "how do you draw the comics" or it would have been had I not been compelled to explain it like a total spazz) . I assume you are using a stylus on a digital pad and while you are indeed responsible for rendering each visible line through bodily physical hand motions, all of it takes place in the digital realm and there is no analog artifact containing the initial rough sketch at all? This gives you the ability the old school guys would view with contemptuous envy because you have the option to "ink" (or "lines" as Incognitymous referes to it) the image you are creating in real time as you sketch it, then when the black and white "lines" are satisfactory, you move on to coloring? Or is your process half old school/half new school and you do actually have a real physical pencil and sketch the rough layout in graphite or charcoal (though I doubt you would get those clean, super thin lines with charcoal) on a real sheet of paper? Do you do concept sketches where you cycle through several ideas for panel size and sequence and finally decide on the one which works the best? I know that unlike me you have a life so I will consider it a victory that you read
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I'll get back to you with an answer shortly
 
NAB said:
Well Hung Willard #1 Page 19

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I'm posting this completely random image because I thought it fitted in with the IR vibe of WHW. I saw this Holly G sketch of her version of Melody and fell in love with her face. So I've spent all my art time today working on this image. Let's call it the United Colours of Melody. So this is another bonus due to my short attention span and the fact just about anything involving Melody and Betty tends to divert me down rabbit holes :-)
 
NAB said:
I'm posting this completely random image because I thought it fitted in with the IR vibe of WHW. I saw this Holly G sketch of her version of Melody and fell in love with her face. So I've spent all my art time today working on this image. Let's call it the United Colours of Melody. So this is another bonus due to my short attention span and the fact just about anything involving Melody and Betty tends to divert me down rabbit holes :-)
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The United Colors of Melody and their authentic placement on the Perv Spectrum😜
 
WayRadSteve666 said:
So I wanted to ask about your "process" (it sounds like a pretentious question but it's more efficient and dignified than "how do you draw the comics" or it would have been had I not been compelled to explain it like a total spazz) . I assume you are using a stylus on a digital pad and while you are indeed responsible for rendering each visible line through bodily physical hand motions, all of it takes place in the digital realm and there is no analog artifact containing the initial rough sketch at all? This gives you the ability the old school guys would view with contemptuous envy because you have the option to "ink" (or "lines" as Incognitymous referes to it) the image you are creating in real time as you sketch it, then when the black and white "lines" are satisfactory, you move on to coloring? Or is your process half old school/half new school and you do actually have a real physical pencil and sketch the rough layout in graphite or charcoal (though I doubt you would get those clean, super thin lines with charcoal) on a real sheet of paper? Do you do concept sketches where you cycle through several ideas for panel size and sequence and finally decide on the one which works the best? I know that unlike me you have a life so I will consider it a victory that you read this all the way through and will appreciate any behind the scenes tid bit you throw me in response 🤘🤘🤘🤘🤘🤘
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My 'process' is fairly simple; I prepare my rough art from the art of the original comics I'm imitating and combine this with my own drawing/alterations/adjustments to create images I can ink in a program called Inkscape. I then colour these in Photoshop. This includes the backgrounds in most cases. Nothing magical or secret, I just do a couple of hours a day of tinkering and combine the results in a program called Comic Life. I've never charged a cent, it's a hobby and I'll do it for as long as it interests me.
 
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