Why kids don’t get back-pain
Or how to use a chair and a book to experience virtual reality
I Made This:
About this comic:
My job requires me to be seated for long hours at a stretch, I’ve learned to vary my sitting position at work and at home, I hardly get back-pain anymore.
On Authoring
It’s now week 2 of me trying to develop a writing practice along to go alongside my illustration practice. I’m focusing on writing comics. If the goal is becoming an Author, with my particular set of skills, comics is my best bet.
Here’s what I’ve done:
I’ve joined a writing critique group where I feel so out of my depth, which is good.
I’m forming a study group to study the art form of comics using Jessica Abel’s “Mastering Comics” book as a guide. Currently, we’re waiting for everyone to clear the time in their schedules and agree on a start date, it’s a 15-week course, so making the time for that is quite an undertaking.
I’ve started re-reading Stephen King’s, “On Writing” which is both directly and demonstratively instructional.
And I’m spending time reading what’s currently ‘good’ for the particular audience I’m writing for, Kids who can read.
And I made the comic above
Writing with pictures
There are no words in the comic, but it still had to be written, or at least authored. It started out as writing, as did the last one. Not intentional writing of any kind. Just put whatever was in my mind at the time onto paper. Sometimes an idea hits you. A more reliable way to get an idea is to just write down everything in your mind.
And I wrote the title, which is the only thing most people read anyway. So that’s pretty important.
Creating Artefacts
Most American comics have typically been made in an assembly line fashion for companies like Marvel and DC. To operate the assembly line as vernacular needed to be created. The penciller is the guy who draws the comic. An inker is a guy who will inks the comic, and you have a lettered, and so on. And a Colorist, you guessed it, colors.
Since I’m not part of that assembly line. I’ll make my own terms.
The sketch is where I put down the idea
The wireframe is a cleaned up sketch that is about getting everything technically right without too much effort on artistic flair
The linework is the next step where I add artistic flair to the wireframe.
I’m experimenting with doing the wireframe on the computer and printing it out to do the linework on paper. Thereby creating a unique piece of art. An artifact. Something to put in a museum or to give to grandkids or to sell.
Then there are the artistic reasons.
I’m creating my own terms and workflow for my picturebook process too, that’s available to everyone who has a 🎟Backstage pass. If you’re not already signed up, you can do so here.
My 2 Cents:
1 . The full episode of Cristoph Niemann: Illustration is available on Youtube. If you’re interested in illustration this is required viewing! (it will be on the test.)
2 . If you need a reminder that not everything you make will be good, here it is.
I love your comic! I am coming at this craft from the opposite side (some writing under my belt but new to drawing) and I pretty much practice the same way! One book I want to recommend, if you're thinking about picture books at all, is Anne Whitford Paul's Writing Picture Books. It's a resource I turn to often when writing and revising!
The comic is adorable. I stared at something for a long time, after a long time. :) Would you have any suggestion for someone on the opposite end, someone who is starting a drawing practice to accompany their writing?