/ic/ - Artwork/Critique

>>1732156
Do you frequent /gd/?

>>1732043
Similar interests, so followed.

joshuahoustonc.tumblr.com
My shit.

>>1729681
I originally set it up for personal use and thought someone here might find it useful.
It's basically just an online library for those that don't want to download every god damn thing, or only want to pick and choose a few they'd like to have saved, all in one place. Not a mass download directory.

Another anon suggested he would set something similar up later for /ic/ specifically with download links possibly included. Just keep an eye out for that, or download all the shit in this thread yourself. My dropbox account isn't large enough to accommodate that in the long run.

>>1729532
It would be a nice option to have. Easier to accomplish with a larger dropbox account too. I'll look forward to it.

>>1729159
That would be much better than my tiny 12gb account. I imagine this sort of thing would be useful for a majority here if they don't want to download everything. Being able to access it easily from anywhere would be convenient as well.

>>1716858
So I put this thing together for myself, but realized it might be useful to others and thought I'd share it. It's a little messy for now.

http://artcollection.sitedrop.com/

Password is "loomis"

I've taken most collections here and put them in my dropbox account, then used sitedrop to access them as website. Any category more specific than the artists name was done by the original uploader.

>>1707450
What does that have to do with anything I said? None of my examples work digitally, with the exception of Stewart.

Even so, digital or traditional has absolutely nothing to do with the layouts and compositions or how to Git Gud.

>>1708162
Haven't read or seen Daytripper but I've heard good things about it.

>>1705113
Times change. I get that, and your point is totally valid. But it takes all parties to warrant remembering something as a movement.

Artists can declare movements all they want. They only gain traction because of the audience or because historians decided it was worth remembering. Let's assume I'm a popular artist. I have other artists gather and we declare an art movement. We write up a manifesto and run with it. Will we be remembered because we do meaningful work or because our work is loved/hated by the art community and merits being recorded by some historians.

-

As for all this illustration is/isn't art bull shit, the previous statement applies here as well. Illustration can be "fine art". Not all illustration is "fine art". Illustration is a craft, similar to any other work of fine art. What qualifies an illustration piece as fine art varies based on the era in which is was done, among many other things. I myself consider something as fine art based on the amount of influence is has or will have on the rest of the art world (for better or worse). Or it takes something that came before it and goes in a different direction. Even then, it's not so black and white.

The same goes for graphic design, interior design, architecture, music, film, etc.

I'm sure we can all agree Instagram selfies aren't fine art, that doesn't change the impact they may or may not have and how people will view them looking back. Again, times change. People adapt.

>>1705640
Regardless of the what kind of comic you have in mind, there are plenty of great examples you can learn from, even in manga. Get over it.

Otomo Katsuhiro (Akira) is a great example, mentioned earlier. Very traditional page layouts, but he knows how and when to break the rules making for a much greater impact. Japanese.

Juanjo Guarnido (Blacksad) is another amazing artist in terms of pacing and composition/layout. Clarity is the first word that comes to mind. I never had any issue wondering what exactly was happening. Layouts are traditional as well. If I were to suggest a good place to start for layouts, it would be here. French.

Sean Murphy (Punk Rock Jesus) has really blown up in popularity lately and he tends to experiment with his page layouts. His most recent work is with Scott Snyder on The Wake. His style is pretty distinct and insists on working traditionally only. Sometimes things get muddied or a little too chaotic, but overall if you want to see something less traditional and a little more indie, go here. American.

Cameron Stewart (Sin Titulo) works completely digitally when doing comics with few exceptions, if any. Sin Titulo is a web comic that utilized 4x4 page layouts and manages to work rather well. He's currently doing work for DC like Batman form time to time. He started a personal series called Niro and posted the first 13 pages or so online. Not super traditional, but not super indie either. The fact that he works digitally may be more useful to you. I recall seeing a post of all the pages set up in Manga Studio which can help dissect layouts from page to page. American.

Declan Shalvey posts his thumbnail layouts every now and then. Just grabbed this one from his Tumblr. He's done a lot of random work for DC and Marvel as far as I know. Other than that, I haven't actually read anything he's done. I just keep up with his some of his work. If you didn't know, start with thumbnails for layouts. Pic related. Irish/American.

>>1702653
Beautiful line work. The legs on that horse. Mah dick.

>>1702957
Nice perspective and all that, but the building still looks too much like plain blocks to me. The tree looks a little too copy/paste too. Maybe add something else to the foreground for even better dpethdepth. Other than that, nice sense of space.

>>1702973
>>1703196
Reminds me of something jdawg did the other day, but I don't have much else to say about it. Really like the chick on the right in the One Piece paint over though.


Just felt like drawing Michelle Fairley after watching GoT earlier.

>>1703891
He's the reason I do all of my personal work with screen printing in mind. His process videos are pretty educational sometimes, at least in the context of screen. He seems like a cool dude too.

>>1703879
I'm not actually a fan of At the Drive-In, so I have no idea if the imagery relates to the lyrics at all. Kevin does a lot of gig posters and recently started doing a lot more shit for Mondo as well. That one just happens to be one of my favourites.

>>1703854
Kevin Tong.

I probably owe the most to the intro to Bebop. Seeing that intro when I was younger is what convinced me to go intro graphic design. It's also what lead me to great designers like Reid Miles and Saul Bass. Most recently, Kevin Tong and Olly Moss.

As far as illustration goes, Leyendecker has influenced me the most, hands down. Then I saw work from Sean Murphy and fell in love with ink. Obligatory Otomo and Waterson.

>>1541508
It feels a little disjointed. The parts seem greater than the whole causing it all to feel a little off within the space.

Other than that, some values are off a bit. That might be what is causing the disjointed feeling.

>>1540473
>very distracting as the emphasis on words is completely arbitrary, it serves little to no purpose, makes for a much slower reading experience, and the lettering itself is competing with the illustration.

Exactly. The typography here functions as intended, especially considering what >>1540537 stated. Just because it doesn't follow the basic principles of typography/graphic design doesn't mean it isn't serving a purpose.

It all comes back to contrast. This example is comparable to the sixth volume of Akira during the huge climax. There's a few pages where all the panels bleed off the page, misaligned, clusterfucked everywhere, in contrast to the perfectly aligned panels throughout the rest of the book. It breaks all the conventional rules and serves its purpose perfectly, all because of the contrast.

>>1540423
You're right, but the image is out of context here, so not entirely.

For the sake of the argument, assume that a majority of the pages use a fairly consistent and simple typeface. Now, in contrast, this section suddenly becomes extremely uneasy to the viewer. It works. And the image is a perfect example. Contrast is one of the most important things in comics.

Also, don't use a graphic design book to defend an opinion in comics. They don't exactly follow the same guidelines.

Winsor Newton Series 7 finest Sable #2, give or take. A quill pen. And if you want to keep things clean, use a Pentel Pocket Brush, or something similar.

And use waterproof ink.

>>1532609

>I use Manga Studio EX 4.

Personally, I'd do the layouts/rough drawings in Photoshop. After those are done, import them into Manga Studio to do most of the basic line art. Once that's done, I would bring it back into Photoshop and add any other special effects there, including colour.

It might seem like a hassle, but Manga Studio is the best option for digital inking in my opinion. The biggest advocates of Manga Studio that I know of are Cameron Stewart and Ray Frenden. Checking out their work might give you a better idea of what you can achieve. The only downside is if you aren't careful it will start to look far too mechanical and lifeless. It's something you have to be aware of while working.

(If you have the right brushes in Photoshop, you can achieve some good quality line work there as well though. Pic related. Quick inking playing around with some brushes. Kinda sloppy but you get the idea.)

That being said, I always side with Sean Murphy in that traditional brush and ink is superior.

>>1532710
Ben Frost, School of Emotional Engineering, Deaf Center Agalloch, Nest, Vali, Musk Ox, Syven, Tenhi, Rome, Empyrium, some Current 93 here and there, etc.

So generally just some neofolk/ambient/drone.

Bump because I'm always interested in new music as well.

>>1531822
>>1531823
Proportion and confidant lines, mostly. It looks like you're drawing figures made out of spaghetti. They need more stability and better form.

>>1531382
I wouldn't, but that's just me. I started looking into Squarespace and I'll probably end up using that. $8/month. Seems fair, no hassle with coding, somewhat basic, but for a portfolio that's all you need.

>>1531399
>>1531401
Colour is too flat for my liking. Not a fan of the rainbow shit either.

>suggestions?
Use more than one colour for an object.

>>1531424
There's no clear idea here. A guy with a box between some trucks standing on a black circle looking at us/to the sky. Feels more like imagery haphazardly thrown together. 2deep4me?

>>1531425
The background is useless here. A guy staring into a box. Done.

>>1531426
The background at least has a purpose here. The figure is looking back at the sky/moon/planet. Creates a connection between the two. It's too dark though, whatever it is.

Overall, these feel more like storyboards than t-shirt designs.

>>1529689
I apologize for any inconvenience.