Acting in Comics

A place to learn, for people who draw words and write images.

21 notes

Just Do It is the new Millennium Pull Yourself Up By Your Bootstraps


I’ve come to realize that Survivorship Bias, “Just Do it”, is a form of “Pull Yourself Up By Your Bootstraps”.

Pull Yourself Up By Your Bootstraps only works for people who have straps, boots, and can bend over and pull them up.

But there is no level playing field, especially in the art world.

I was raised to work hard and do the pull yourself up thing. It DOES work.

For the people for whom it CAN work.

But we don’t all have the same abilities, we don’t all have the same access, and we don’t all get treated the same way based on our race, creed, or ethnic background.

It is true that you will achieve nothing unless you try.

It is NOT true that you WILL achieve if you try.

Filed under art making advice queue

15,567 notes

Anonymous asked: I was wondering how you manage to make your faces actually look like the person they are meant to look like? Some of my facial features always end up looking the same, and yours are so perfect... *showers you with love* You are my art guru.


art guru!!!!



BUT NO in all seriousness, thank you! You’re a sweetheart! ;O; Proportions are pretty awful to get down when you’re just starting out, and while there are a bunch of ways you can start practicing with it, it’ll be difficult to be absolutely precise. I still struggle with proportions occasionally. Fun fact: I don’t post all of my work. I only post the work that turned out okay aHA. So basically don’t be frustrated when every single piece doesn’t turn out. Here are a few tips.

Let’s use this picture of Laurence and Hugh because why not.


They’ve both got eyes, a nose, and a mouth, so why do they look different?


These lines are the generic way of mapping out where to put things together. I used this when I was starting out and it’s a helpful way of getting your hand and wrist to work together. At this point they both nearly look the same. I say this a lot, but I think it’s important: shape is what puts a drawing together.

Compare features of the face to help you figure out placement.

For example:


The bottom of his ear lines up right to the middle of his nostril. His tear ducts line up right at the corners of his mouth. Then you can get super technical and say, oh, the outer corner of his eye lines up with that fold in his collar and then from there you can see other things like the approximate distance from the edge of his mouth to that connecting line from the eye to the collar. They don’t meet so his mouth is smaller than the width of his eyes, etc, etc. Whatever works, man.

This is a favorite technique of mine so lemme use another example:


Eventually you get to the point where most of your proportional accuracy will come from just looking. You will eventually adjust your eye to see what makes a person who they are by the shape of their features.


Laurence has narrow, oval shaped eyes, while Hugh has more of a diamond shape. Not everyone has perfect almond shaped eyes. You can capture an entire character personality through their eyes alone, so shaping them out is extremely important.

The way you draw your lines is also important. Sharp and smooth lines will give your drawing personality. Reveals the character, in a sense.


Other things to consider: the shape of the nose.


Mads’ is flat and goes down in a steady slope, while Hugh’s juts out in a smooth, almost concave curve.

SHAPES SHAPES SHAPES. Use shapes and structure to find proportion.


I did a lot more than I anticipated omg. Oh gosh and I have a feeling I kinda just rambled and didn’T MAKE ANY SENSE AH. Let me know if you need more help or if I was speaking gibberish I am so bad at putting my thoughts into words aHHHH. But gosh I hope this was at least vaguely helpful. You’re a darling and thank you for your kind words!

Good luck on your artistic endeavors! /hugs

Filed under proportions resemblances faces queue

32 notes

Very Bad Publishers Part I


The saga of the second worst publisher I ever worked for. Read and heed.

Contract tips, inside info, bizarre small press hijinks.

"This series of articles, written nearly ten years ago on my old message board, starts off a little slow. But stick with it for contract tips, insider info, and guest appearances from comics notables such as Frank Miller. And more than a few laughs, because at the end, it goes from supremely awful to sublimely ridiculous. The posts have been updated with more commentary about bad agents, bad book packagers, and, of course, other Very Bad Publishers.

The publisher I wrote about in the original series was the long defunct Starblaze. Initially, I avoided naming the company. However, some folks quickly recognized the culprit, and all is a matter of public record anyway, as you will see when you get to the legal papers, a suit which made state case law.

No matter how bad this series gets, keep in mind it’s the SECOND worst publisher I ever worked for. After these two disasters, every other publisher I have ever encountered seemed like a breeze, a fragrant lawn, and a tall glass of something cool.”

Filed under Very Bad Publishers queue