No.1071731 [Last50 Posts]
Post your shit, get advice, talk about and possibly improve your own shitty OC creations. You gain nothing from posting here or you'll get a couple decent ideas, who knows but nothing will happen unless you're willing to leave your comfort zone.
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No.1071762
>>1071731
I've got a story I've had in my head for a while but it's not really gone anywhere beyond set up ideas. Even the characters, especially the MC, I have no idea what I visually want completely.
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No.1071765
I'm working on the Abraca spanish fansub. I've already finished the episodes two and three. It's not really hard, the thing is the uni takes all my time so I haven't made any progress in the last month.
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No.1071771
>>1071762
Are you any good at drawing?
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No.1071772
>>1071771
I can't give myself much credit but I've gotten to a more average level by sketching a bit last year. I'd hope to get more practice from drawthreads but good requests with good reference material are hard to come by.
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No.1071774
>>1071772
Have you been practicing the fundamentals?
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No.1071775
>>1071765
where do i get the english fansubs?
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No.1071776
>>1071774
Basic shapes & anatomy sure. Though it feels like learning one makes another lost to me. Like I get good at drawing eyes but can't draw hands. Then I learn hands but can't draw ears now. It's annoying.
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No.1071779
>>1071776
Hands are probably the most difficult compared to ear but daily practice should slowly help build muscle memory.
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No.1071780
>>1071779
I find feet are difficult to get a good angle that looks right. Shoes give a lot of leeway on what's acceptable there since it lacks detail.
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No.1071784
>>1071775
There aren't english subs so far. The original french subtitles were ripped out of the Okkoo original website. The thing is only 25 episodes out of 30 (or something) have subtitles. The first episode doesn't have french subs, for some reason so I can't translate it. Here's the show
https://mega.nz/#F!sVcXSa4D!HbYB4EZ_rOjExKkRgKBmYQ
I'm pretty sure there's also a mega for the french subs, but I can't find it right now.
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No.1071785
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No.1071832
>>1071775
You are doing a great job for everybody, anon.
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No.1071876
>>1071731
>Projects You're Working On
Getting out of bed in the morning.
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No.1071877
>>1071772
>Beta Ray Bill
You're never going to get anywhere until you achieve the mindset of ALPHA Ray Bill.
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No.1071885
I WAS working on a comic to the point I finished all the thumbnails, but due to needing to stop drinking coffee for medical reasons I had to throw the entire thing away. It's impossible to really give an honest opinion with my brain all over the place from this.
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No.1071929
>>1071731
What's that image from?
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No.1071931
>>1071929
Its an oc from one of the old Share Your Shit Threads. The Anon that made it went mia a long time ago.
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No.1071939
Building a world around a sci fi authoritarian cop lady. I was able to push it as class assignment (I'm an art student) so it's kinda arranged as concept art portfolio but I have few sketches here for comic ideas
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No.1071941
>>1071939
Pretty interesting, anon.
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No.1071942
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No.1071943
>>1071939
You have talent, skill, professionalism, innovation, experience, and imagination to spare.
Do you have an ArtStation?
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No.1071944
>>1071941
>>1071942
Thank you
>>1071943
Thanks. Hard to spare any of them these days. I barely have any time to spend working on personal stuff.
I have. Google "Daandric" or just googlesearch the image in the first post.
______
World:
The idea itself revolves around a city on a colony planet that was once tucked under a dome while the planet was slowly terraformed. But once the planet's atmosphere has been stabilized, the dome shields were deactivated and the wall was slowly converted to an industrial belt and stripped off to an extent while the city extended much beyond the original wall.
The inner dome area (Ground Zero - G0) stagnated while the rest of the city and the planet developed, leaving it behind with a rising socio-economic crisis.
The wall is a central feature of the city, always visible and marking a clear separation of the older part, now a ghetto and the newer, larger parts of the city.
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No.1071945
>>1071944
Setting and characters:
The story picks during the peak of the G0 crisis and with the huge spike in crime, the system's government enabled Enforcer units. Enforcers unlike the regular police force outside of G0 possess a privilege to be exempt from many legal restrictions and therefore enjoy more freedom to assess, react and prosecute without the strict and complicated procedures of the common law. Most Enforcers embrace this and commit to stretching the limits of the law, being on the edge between an officer of peace and a vigilante.
Main character is Enforcer Astrid "Triddy" Thomason, an older, experienced officer stationed at Dome City 01 PD. As any other Enforcer, she is limited to the Ground Zero ( G0 - zone inside walls of the original colony Dome), once a symbol of protection and triumph of humanity on a new planet, now an overcrowded ghetto filled with old buildings, tight streets and decadent infrastructure, caged in by the very shield dome wall that was there to protect it from once-hostile planet. Sadly, working over thirty years in the ghetto has taken it’s toll on officer Astrid. She has become neurotic, cynic, ill-tempered and even hostile to the everyday otherwise peaceful man. She and many other Enforcers share a reputation of being brutes, spreading fear through extreme violence rather than propper application of law.
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No.1071946
>>1071945
2nd major character is her partner Cabbage (Carl Brisby Aligreen). An off-world immigrant ex-military grunt who finds the Enforcer life a perfect gray zone between not being sent into the interstellar slaughter and just enough violence to remind himself of the pleasant joys of army life and small urban warfare..
Their relationship:
Officer Cabbage is just fine with her superior Astrid being in charge and barking orders to commit various degrees of power abuse, from simple unprovoked beatdowns to shootouts resembling extrajudicial executions, touching a very thin line of gross human rights violations.
Sgt. Thomason, while usually working alone, was forced by her Captain to pick a partner due to her size and no physical body augmentations means she is very fragile even though she has outlived her previous 7 partners. She chose Cabbage as he doesn't look as the type to die from a few gunshot wounds, be prone to panic, or express criticism on straying away from textbook protocol.
The points of the story is to illustrate and hopefully show a very gray moral code and M.O. needed for police officers to work efficiently in high crime/low poverty area, inspired by police forces in my own country and how it worked in ghettos and '90s american police behavior.
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No.1071950
>>1071946
Very engaging, anon. Do you happen to have any rough panels of your story so far?
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No.1071952
I actually have an idea for a Hilda comic. It's fairly short and simple (potentially 5-6 pages) to the point there might even be little to no dialogue. But let's just say I can't make comics like I used to anymore (I probably won't even be able to make more than one a year from now on). Would anyone like it?
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No.1071953
>>1071952
Go nuts but chop off that damn thing you call a nose first.
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No.1071955
>>1071953
I think that's the original comic art.
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No.1071956
>>1071952
New Hilda fanart is always welcomed. Try your best.
>>1071953
That's the original art, anon. But her nose trend to be cuter as far the comic goes.
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No.1071960
>>1071950
Nah, only individual scenes here and there to establish the mood/atmosphere and concept art
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No.1071965
>>1071953
All right, here ya go.
>>1071956
Thank you, but the bad news is I'm this same guy: >>1071885 meaning I had to sacrifice 20 finished pages for personal reasons. Good news is…the idea of the comic, despite aimed to be sweet, was at an oxymoronic cost it was lewd.
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No.1071966
>>1071960
I see. Pretty fucking cool so far. I wish you the best on your endeavours
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No.1071969
>>1071965
Btw it was originally spelled "favourite", but my autocorrect didn't take no for an answer at the last second.
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No.1071979
>>1071965
Just read it. This is cute. I think the show needs episodes placed in different times. There are plenty stuff we don't know, like the other old giants of Johanna background. I mean, she said she spent her childhood in trollberg, but it doesn't look she has any familiars, friends or even neighbors there.
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No.1071991
>>1071979
Thank you. Huh, I guess you're right. I heard the series takes place during the late 20th Century, and cassettes were only introduced in the early 60s, so it felt suitable.
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No.1072001
>>1071776
Don't just get fixated on practice like some people. Make sure to draw for fun too, and to incorporate what you leaned into it. It will help you retain those skills and tech you to blend them all together into a cohesive whole.
>>1071939
>>1071944
>>1071945
>>1071946
>>1071960
That sounds and looks pretty great. Especially that fish-eye lens, car, and from above images.
Triddy has a nice ass, especially for someone her age.
>>1071731
I have multiple ideas, but I am focusing on my practice comic. It is supposed to be something that would allow me to experiment with some concepts for other stories, and be a dumping ground for references, excess cheesecake, dumb jokes, parodies, and other crap that does not belong in a proper story. I am not sure how to start, so instead I ended up researching things, world building, and constantly revising characters and designs.
The biggest hurdle so far is getting the beginning down. The story is about a runaway with a lot of debt. She is an arrogant young woman with almost no useful skills. She can barely get by on her own, but is stronger and more durable than most humans - think Aisha Clan-Clan but less naive and more opportunistic. The story was supposed to be about her joining a group of mercenaries/space-pirates, discovering that they are actually good people, getting knocked down a peg, and slowly learning how to be a valuable member of the crew and a better person. An antithesis of many female characters in fiction today. I just do not have any solid ideas on how to make her join the crew in a way that feels satisfying and earned. All I have so far is:
>The fugitive's luck runs out. She is captured and put in a prisoner transport
>The crew is trying to free one of their comrades from the same prisoner transport
<The fugitive ends up helping them somehow
>Noticing an opportunity for free room, board, and transport, the fugitive requests to join the crew
>She is reluctantly allowed in, but as the lowest ranked member of the crew
'Helping' part is the issue. I do not want to make the runaway look to competent, but her contribution should be big enough to warrant being let in. My ideas so far:
>The runaway knocking out or otherwise stopping a guard the crew did not account for/notice, thus saving the operation
>Sharing some vital piece of information with the crew
Both of them feel cheap and overdone. Does anyone have any suggestions?
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No.1072008
>>1072001
>Runaway girl
So basically Faye Valentine. I suggest you watch the show (Cowboy Bebop) since her plot points, world setting and character stuff might help you, but she doesn't really develop, just stays the same roughly.
Depends on what you mean by join the crew. You can have a crew member that is basically treated as cargo. She can start like that and earn her place among the crew. A lot of it depends on which actual skills does she have.You can start with that.
There are many different ways you can go. Some ideas involve:
>Runaway Girl (RG) wants to steal something from the ship
>The crew catch her
>They somewhat keep her as a slave for simple jobs (cleaning/fixing the ship)
>she eventually helps with some aspect/part of the ship/job/crew member
>the crew is paid to transport RG to a prison/bounty sherrif
>she lies her way around for the crew to not deliver her OR something happens to the B location (blows up/gets raided)
>she stays on the ship and does basic stuff
>The girl is actually caught in the middle of scuffle between two or more mercenary groups
>is kidnapped by mistake
>crew realizing they can't just let her go (because she might say they kidnapped her) decide to keep her and since she's broke/wanted she doesn't want to leave
Helping part:
>impersonating the crew (if the real crew is wanted or known for something)
>being at the right place at the right time - one in milion chance of being useful in given situation (This one would need heavy worldbuilding to justify that moment)
Vital information can be done it hundred different ways it really depend in which direction you want to go.
>objective/general information (places, people, events, directions)
>personal information information (for example: about the ship of the crew (if she spots some small part missing needed for the ship to function))
>stopping info (LOOK OUT, COPS), etc
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No.1072206
I WAS working on a short Harry Potter/Hilda crossover comic, but let's just say my phobia of appropriating English culture (especially with Harry's lines) got the best of me, so yeah, read at your own risk (Here are the first 3 panels and references).
It was really just a parody of this: https://youtu.be/-dJtCKUHMQg?t=1145 but just to be safe.
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No.1072559
I did this in 20 minutes on a bus ride. What would you change, and what do I have to work on most?
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No.1072562
>>1072008
Thanks for the ides and feedback.
>So basically Faye Valentine.
Pretty much. Personality is different and bulk of her problems are not due to bad luck but rather because she is a cocky hothead.
She would start from the bottom just doing things like cleaning, but slowly being trained in new things and given new opportunities as she learned. Some of the initial 'opportunities' would be roles in jobs that no other crew member wants to do, like being a bait. Eventually she would grow into jack of all trades role, making her very versatile and convenient to have around.
>>1072559
To start with, work on your line control. First, learn to draw relatively straight lines without ruler and other aids. One long line in a single stroke. Next, learn to draw groups of parallel lines, and then move onto different geometrical shapes. You need to develop muscle memory for these and there is no way around it. Don't beat yourself up too much over circles and ellipses. They are notoriously difficult even for people who have years of experience.
Perspective, construction, and anatomy are next. Do not forget to draw purely for fun as you train, but make sure to incorporate as much what you learned into it as you can. Too many people make the mistake of just grinding through books and videos without trying to put their news skills into practice.
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No.1072599
>>1072559
overall you need to work on constructive drawing
draw light, basic shapes and guide lines to get the general form and draw detail over it; you should even be able to manage this on a bus ride
/loomis/ can help you more
if you have trouble controlling the pressure on your pencil, buy an art pencil set; they come with a variety of hard (H) and soft (B) leaded pencils. Hard leads draw light while soft leads just lay it on. HB is the equivalent of a no.2 pencil
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No.1072740
>>1072562
I tried again on a longer bus ride, any improvement or meh?
I can't get the arms right.
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No.1072753
>>1072740
More arm and less wrist, also consider learning the fundamentals of where each part of the human body goes. Start with boxes and later expand upon that.
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No.1072756
>>1072740
Consider the pose. It seems like you have something clear in mind as you've drawn it twice so let's go with that. It looks like someone try to lift something above her head with one arm, in a sort of passive pose with an arm on her hip.
Ok, so which way is she facing?
Your use of relative scale to indicate depth is naive. At the moment, as far as the viewer is concerned, she is looking right with her head, her torso is directed left and her legs are facing right. Is this what was intended?
If not, I would suggest thinking about the effect of perspective on subjects. Consider points of origin and how things are scaled relative to their distance from the viewer. I would suggest blocking out the general bits (torso, head, arms as blobs, ovals or squares) of a figure rather than drawing details until you come up with something that feels plausible. Doing this for a variety of poses so that you develop a feel for perspective may be instructive. Also consider playing with some sort of posable doll for reference if you're struggling.
If you intended this twisted pose, you probably want to think about what happens to the body when someone pivots 90 degrees like this. Think about the mechanics of the human skeleton and what this would allow your character to do. It may be useful to pencil in a skeleton over the body and workshop the parts until it seems plausible. You will want to be familiar with the relative sizing of the major bones in the body or use a reference image.
It's often useful to try and make the pose you've tried to draw too and observe what this does to your body when you do it.
Other than that, it's clear that there's not an understanding of musculature, which is fine at this stage and that comes with time, particularly if you're thinking about how the mechanics of humans work.
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No.1072788
>rip apocalypse anon
The fuck you mean, I'm still around.
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No.1072789
Hey there bois. These here are 2 characters I made for a comic I'm planning out (and, because I'm not fooling anybody, deciding if I actually have the skill to actually make). I'd like to hear what you guys have to say about them.
I'd also like some advice on faces. I feel like I can figure out how to make poses acceptably, but when it comes to faces, they come out super awkward and not at all appropriate to the level of hierarchy. Should I just nut up and do portraits for a bit? Should I try to construct them with a different method?
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No.1072794
>>1072788
>I'm still around.
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No.1072796
>>1072794
Did you miss the last quest or something?
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No.1072797
>>1072789
the left one looks webcomic tier, especially the heads
the right one looks passable and shows an understanding of form
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No.1072804
>>1072796
I just haven't seen you around /co/ very much.
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No.1072880
>>1072804
It's not my usual stomping grounds.
Not really working on anything though, but here's some slightly related images that have been made recently.
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No.1072881
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No.1072922
Hey guys so I got greenlit by my professor this year for turning my cop lady designs and concepts from previous year into proper comic with additional follow up illustrations. If you're up for it, I can periodically post my comic designs, wips, sketches, character and environment art and pretty much everything else here while it happens.
Currently making new designs based on previous experience and merging some Enforcer uniform design aspects so all Enforcers would look like they're from the same department.
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No.1072930
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No.1072934
>>1072930
As in give approval to further develop the thing. Since the previous year's work was just clothing, vehicle and environment designs, this year we have to do a proper comic with supplementary illustrations based on our own free choice. I pitched with my previous work and professor let me use the stuff for the new assignment.
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No.1072962
>>1072934
Do you really need to go to school for this?
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No.1072966
>>1072962
Depends. I'm a big supporter of art institutions. It's not about the degree, it's the quality of the learning experience. Unlike mutts, we in Europe don't waste thousands of dollars on education. European art academies, especially the older ones, are much more versatile and broaden your skills and have strong fundamentals backed up by proper art theory.
>The curriculum and programs are public
>The institutions and departments are open to visitors with special weeks being fully open to anyone interested to participate in regular studies like they are students
>Your would-be professors are open for dialogue/discussion before you try to enroll
>Academies have exhibition of their student's works, so it's easy to get a good grasp if it's worth it by how good the works of final year students are
>You can also track down some former students to get a direct advice on the academy in question
With all of these options, you can easily judge if a certain institution is for you and a good choice of education.
I personally think that you or your parents would be huge fucking retards not to access all these option and get informed before you decide if it's worth it. Some are good, some are bad and it's up to you to find out which one is worth the cost of your money and, more importantly, time.
Your alternative would be to enroll in a certain private art course, school or workshop. That option is popular in the US for obvious monetary reasons but here in Europe, they are mostly reserved for amateurs and hobby artists who want to upgrade their basic skill into something more intermediate. It really depends where you are in the world and how close to you are good, cheap institutions. In my experience, it was definitely worth it.
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No.1072973
>>1072966
>tfw the best option for learning art in America is at the community college level
I got crazy good over the course of just a few years. A revisit of basic drawing fundamentals and 3 life drawing classes and I'm on par with '80s illustrators
now if only my pen technique was better
probably helps that my life drawing teacher has been working in animation since the '80s. She got her start doing effects on Dragon's Lair
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No.1072978
>>1072973
>my life drawing teacher has been working in animation since the '80s
Nice. One of the first protips i give to my students is - when figuring out if the academy/art college is good is to check whether the professors working in there have been doing work in the area they are teaching. It's surprising how many bad schools or classes you can bust just by googling the professor's name or with simple question such as "Sooo…do you have any sold/published work in this field?"
Also 95% of awards and competitions don't count and definitely not today. Your local "small-town comic con's BEST ARTIST IN TOWN EVER" award and 27 of those in similar language don't say jack shit if you're a good artist. It might've been useful back in the '80 and '90 when a list of awards could've got you a good gig but now, people will just google down your portfolio and see if you're full of shit or not.
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No.1072985
>>1072922
Not bad, not bad at all.
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No.1073335
If anyone wants this/wants to add color to it now's the time because I'm deleting it afterwards.
Ttfn, tatafornow.
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No.1073336
>>1073335
Deleting posts is broken, its stuck there.
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No.1073337
>>1073336
I know, I meant from my computer.
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No.1073338
>>1073337
Why? Its a good drawing.
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No.1073385
>>1073338
Thanks, but it holds too many memories (I draw Lincoln once a year for personal reasons, so I really should've waited or something).
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No.1073399
>>1073335
I won't never let that disgusting incestous creep to stay near to my daughter.
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No.1073417
Update: I've been making a world map so it can help me plan events happening in the comic.
>>1073337
Never destroy your own work unless it's designed by concept of self-destruction. Never, no matter how bad you feel about it.
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No.1073428
>>1073417
K thanks.
These look fairly good.
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No.1073480
More car designs and some paramedics
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No.1073517
>>1073417
That maps really impressive. How much detail do you go into when planning out a world like this?
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No.1073525
>>1073517
Depends on what you mean. By world you mean like visual concepts and physical parts of the world (the big wall, different zones, areas around g0, space shipyard) or do you mean some more complex things like local cultures, social quirks and habits?
My usual process is to make a basic layout, just to figure out where exactly would the story take place then when I narrow it down, I can go into high detail. Compartmentalization is one of the best trick in writing/developing a story, because you can isolate certain chunks of the world and not be forced to think of the whole (for example, the whole thing happening in one walled in ghetto) but focus on stuff related to the story. Skillful hiding of details is as important as revealing.
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No.1073562
>>1073525
That's pretty good advice. I was thinking of cultures and things like that but that compartmentalization seems pretty helpful.
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No.1073592
>>1073480
>>1073525
Not bad, got any more art?
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No.1073687
>>1073417
>unless it's designed by concept of self-destruction.
what the heck does that suppose to mean?
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No.1073755
>>1073562
As for cultural quirks, I focused on visual ones, ones that you could actually see people doing it in the comic. The first step I had is to settle for the amount of augments people would have in their body, since I'm doing a scifi/cyberpunk thing and decided that augmented people are very rare and it's not a very regular/popular thing, especially doing it for looks.
Once I figured that out, I've came up with some additional specific visual quirks like the question "Where is Home?" - Which should be a common knowledge for a person to point at the sky (or ground in some cases) and show pretty accurately in which direction Earth is in any time of the day or night and in any situation. Not knowing "where home is" is considered to be a sign of a lack of basic education and/or orientation and can be even used as an insult like "This dumbass probably wouldn't even know how to point home". I'm designing cultural quirks as tools to set up character interaction.
>>1073592
Yup. Right now developing rough panels and various scenes
>>1073687
pic 4 related - Sometimes sending a message has more value than the artwork itself. For example Banksy wanted to send a message of galleries earning much more money from artworks than what artists made so in a way to give a huge finger to galleries, once the painting was sold at an auction, it self destroyed.
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No.1073905
>>1073755
Hey, would you mind if I uploaded your concept art onto the booru?
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No.1074021
>>1073905
Yeah why not I guess..
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No.1074103
Here's a shitty comic I was going to post on an art thread in another site before said thread got taken down. Enjoy, or not. I don't care anymore.
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No.1074104
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No.1074105
>>1074103
It's readable and that's good.
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No.1074111
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No.1074207
Well, I'm back. This time with a horribly off-model sketch of my OC Opening. He's supposed to be 5'7"
I had hoped to make more progress with my art but then I got swamped with pandemic stuff. Maybe June will be better?
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No.1074208
>>1074207
How much do you draw daily?
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No.1074213
Um, here’s this idea that I want to turn into an animated thing. I’m thinking of crowdfunding it and then releasing at my own pace on Patreon. Maybe one episode a month.
https://docs.google.com/document/d/1-Z0jPv8O3rVM_0JTUUrnL3o1x2ELW93FM_Wws1JETgc
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No.1074215
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No.1074216
>>1074215
Promise you won’t edit it? Thanks.
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No.1074217
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No.1074220
>>1074213
If you're going to crowdfund this thing be prepared to have a preview or something to give people and idea what your project will be. I've seen too many times kickstarter projects with lofty ideas so you need some solid stuff to sell it. Anyway in all seriousness I hope your project succeeds dude.
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No.1074222
>>1074216
>>1074217
This is some heavy autism…Is this bait? Fuck it…I'll bite.
My main critique on all of this is that you're scattering the setting too wide. From a writing perspective you're forcing way too much different stuff together. Just looking at what influences the whole thing is a collection of elements so vastly different. What exactly are you going for? Comedy? Horror? Drama? You listed teen-adult as your core audience but are referencing some deeper, more serious dystopian world setting. Do you have a written plot for each episode? Is there a character development throughout 18 episodes? An overarching story?
As an artist, this would be hell to design and animate unless you want an ADD show like "Super robot monkey team hyperforce go!" which tries to be many things at once or something short like "Space patrol Luluco". Imagine you had a team under you and you gave them these instructions - high chance they wouldn't even know where to begin. You might think that you're giving them options by painting with a wide brush but you actually have to find and check very specialized artists. Artists that have a very specific style and if your concept or style in mind is not specific, you'll have trouble finding proper talent and end up having to hire shit jack-of-all trade dudes. You have to think about this visually. Fantasy magic, interdimensional planes, demons, mechs, space and robots might sound cool to you in written world but putting all that together visually rarely works.
In general you focused on adding in too much stuff instead of reducing and simplifying it to benefit the message. Start with the main plot and then filter the assets and the world to make it's delivery most efficient.
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No.1074223
>>1074222
It’s just a proof of concept. I already know how I want the show to look and what kind of aesthetic I want it to have. Also, it’s going to be a VERY small production (only around 30 people), and animated by a team of six to eight people. Plus awhile back I made another doc that pretty much addresses all of the issues (plot, etc) you pointed out. I keep it a mystery, though, because I don’t really care if people know all of details about the show. Like I said, the doc I posted here is just a collection of “what ifs?” that don’t entirely reflect what the series is about.
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No.1074224
>>1074220
I’m going to pull my own team together to make some concept art and other shit. No need to worry about the plot because it’ll will already be fully written out. I have no interest in partnering with a major studio to make this because fuck that, they will try to alter my story. It’s supposed to be up for interpretation and I don’t want someone to fuck with my story.
I’m going to reach out to a independent producer to help me make ONE episode, which is the pilot. It’ll be like a mini movie to help introduce you to the world and characters. After that, I’ll make the rest of the series on my own. I’m hoping that the Kickstarter will help boost interest in the show and garner some kind of fanbase so people at least have some reason to fund it.
The rest of the series will be released on Patreon because fuck putting all that work in and getting nothing out of it. Also I can release the episodes at my own pace.
It won’t be on Youtube because hate YT’s algorithm. :)
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No.1074225
>>1074222
Also, most of my team will be working through a shared but private Discord. If it’s possible, I’ll try to do the recording sessions via the help of Craig.
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No.1074238
>>1074224
Ok then as long as you have this well planned out then I got no complaints.
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No.1074240
>>1074224
>>1074223
So you're here as a writer and organizer, not as an artist? Also do you have any experience in making animated shorts or series?
>>1074225
You're not willing to form a studio? That is a very, very bold move
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No.1074243
>>1074240
> You're not willing to form a studio? That is a very, very bold move
I don’t need to studio because it’s a waste of time. We already got the tech to help pay me directly, release it at my own pace, and communicate with those who I want to work on it.
>So you're here as a writer and organizer, not as an artist? Also do you have any experience in making animated shorts or series?
Nope. I’m a first timer. Like I said, this is an INDEPENDENT work done mostly by me. Just as a way to sort of break into storytelling. It’s something I made a long time ago, and this is just the way I prefer to tell it. I don’t guarantee one of the best stories ever, or a completely original plot, but it’s something I WANT to tell. It’s not meant to be perfect.
So you can at least some parts of it to be enjoyable. Whether it’s the Mad Max world where people with crazy ass powers run around, the personalities of the characters, or the music, I don’t really care. I just want it to be badass as hell.
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No.1074244
>>1074240
Also if I decide to continue making more films/stories, I hope that over time, themes from my first project will be apparent in my later work.
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No.1074265
>>1074243
>>1074244
That is terminally ambitious for a first time director.
I suggest you start with very short stuff. Do 5 minute or less shorts. Even a 10 minute pilot is too much in most cases.
>studio is a waste of time
Forming a studio is a complete opposite than waste of time. There are huge amount of work efficiency benefits coming from bunching up in a studio, even if it's temporary for short projects. In my experience, even quasi-studio with 5 dudes in a garage can double the speed of animation stuff done, especially if you want to supervise/art director on everything. You could save months per project, maybe even weeks per episode
>If I decide to continue making more films/stories, I hope that over time, themes from my first project will be apparent in my later work.
In theory it's a good plan, but in practice, you rarely use your previous stuff in later works, because your previous and especially your first material is usually complete garbage by the time you accumulate experience.
Do you have a working pipeline?
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No.1074276
>>1074265
>In theory it's a good plan, but in practice, you rarely use your previous stuff in later works, because your previous and especially your first material is usually complete garbage by the time you accumulate experience.
I write from my heart. I have many ideas for short films/short series that I want to tell, because there’s some things I want to get off my chest. That’s what I want my work to be defined by: releasing painful emotional experiences.
>Forming a studio is a complete opposite than waste of time. There are huge amount of work efficiency benefits coming from bunching up in a studio, even if it's temporary for short projects.
No. This project is going to be made without a studio. Period.
>Do you have a working pipeline?
Pay a few freelancers to make the rough scenes, pay the others patch it up. Etc.
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No.1074354
Been working on a shitty webcomic for awhile
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