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VinceAndrews — Spacedogs4-pg18+19
#alien #andrews #boyo #comic #comicbook #mickey #scifi #vince #world #spacedogs #chenkai #art
Published: 2016-04-18 13:22:45 +0000 UTC; Views: 838; Favourites: 20; Downloads: 0
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Next page: Spacedogs4-pg-20+21Previous page: Spacedogs4-pg17
First page: Spacedogs4-pg1
If you're new to Spacedogs, here's a link to Chapter 1
© vince andrews 2014 - 2016
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Comments: 32
... 
the linework is magnificent
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thanks a lot! really nice to hear that from someone with your skill level
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Comics claim high level drawing skills and understandings of visual storytelling. Often I look at comics reverently, especially comics drawn in the style of ligne claire.
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Thanks! I love ligne claire, Moebius and Herge are huge influences, but people in the U.S. don't really get it a lot of the time. They think comics are supposed to look like Jim Lee drew them or something is wrong. It's an elegant style as opposed to a flashy style. One I still haven't mastered, but I keep trying
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... yes I can only agree. Moebius all time favourite, or Schuiten.
There is a coherence between the dynamic linework of Jim Lee and the action genre comics, and such way of stoytelling, I guess. The difference was shown in the Silver Surfer comics drawn by Moebius, the content of story changes with the linework.
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Yeah the Jim Lee approach works well in comics where people communicate by punching each other. Not so well for a comic like mine where the main characters are shifty cowards.
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it's the overpowered super hero dilemma I guess ... and there are no other stories to tell with a dynamic stroke. 
The comics of Schuiten and Peeters are visually and literally enlighting for me like different other comic artists from Belgium or France.
For me stories about shifty cowards are very intresting, often they are rich of challenges and conflicts the chracters have to struggle with and overcome their inner and outer conflicts to change and grow with personality.
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Yeah characters who are all good or bad are just boring. I have been kicking around an idea for a story in Jim Lees style though. I was thinking a comic about someone grocery shopping, with all the over the top posing and action and unnecessary muscles would be awesome
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The alien understands sarcasm... I don't think that's ever a good sign.
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Linear detail creates tone. Tonal scheme determines reading structure. It's a critical connection if the black and white art is to stand on its own. Of course, the colorist can take of it to some extent, but even so, the color will still be at odds with the line art, so it pays to work it out in black and white.
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LOL. Sorry if I made that sound obtuse. Best I can offer.
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Yeah you just have to keep in mind I have no formal education so you may have to dumb things down for me
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No formal education at all? or no formal art education? Either way, schooling is over rated. You're a pretty smart guy - the fact that you're a cartoonist/illustrator is more than enough proof of that.
If you write a letter you see the individual letters forming words, the words forming sentences, the sentences forming paragraphs and the whole page expressing some idea or ideas. But when you place the page on a table and step back you don't see any of that (unless you're a hawk). What you see is a white page with blocks of gray on it, because the strokes of the letters (details) make tone. Tone "reads" automatically, because our eyes and brains are wired to take lightness/darkness as the primary cue for everything we see. And long before that was scientifically established, artists figured it out and established the primacy of tonal structure in composition.
So, all I'm doing is stating the obvious (in many more words than I'd like to) that as you detail an area, say, a background, you are creating an area of tone. Unless those effects are controlled, they can oppose intended results: for example a background that jumps ahead of a foreground, or flattens out instead of receding, etc. If you want the black and white art to read true, instead of correcting the reading structure with color, then this is an area to study.
All good art instruction that covers composition explains the role of value and importance of tonal structure. Hogarth explains it, so does Loomis. The best coverage of the topic for me was in the official US NAVY Illustrator/Draftsman Course. That's a four volume course that covers everything you'd ever need to know about the field. Got mine years ago from Scribd.com. It's worth getting hands on it.
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I haven't taken an art class since my freshman year of highschool, I see what you're saying now that you've spelled it out for me though
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(You're confusing me with what you said about not having formal education. XD Don't know if you were pulling my leg, or what.)
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Don't mean to confuse or pull legs. After my freshman year of highschool I was passed over for advanced art classes. Since the only thing in school that didn't bore the fuck out of me was art I left public school and went to a very small private school. My family doesn't have any money so I taught younger students to pay my way and graduated as soon as I was old enough to take the GED. So yeah, I have very little actual formal education but I also rate genius on IQ tests, can read 100+ pages an hour, and try to always be curious and open minded. Sometimes there are blanks where I don't know things everyone should know, most of the time it's bullshit, but I'm still interested in other peoples thoughts because there are things you miss when you set your own priorities and sometimes the things you miss are world changing.
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Interesting account.
There is nothing special about formal education, IMO, except the record of it that serves as validation for entry into the job market, though it's useless thereafter, and possibly meaningless, too, unless one continues with an interest in the same thing decade after decade - in which case it's probably a testament to narrow mindedness. It used to be that it set a framework, the content of which would take a lifetime to fill. Now, it's only content that matters and the framework doesn't. Graduate with a liberal arts education and, unless you're rich to begin with, you'll starve. But get a degree in some narrow technical field that's born today and dies tomorrow, and is completely unrelated to the Humanities, and companies and government will snatch you up at commencement. "Intelligence" has been re-defined by social science and statisticians to mean financially successful. They've perverted it. And they're trying to do the same to "creative." Luckily, one has very little to do with the other. In some ways the two conflict.
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The thing about formal education is you have a history of people seeing what works and what doesn't, how to pass vital information on in the most efficient manner. When you miss out on that loop there are things you miss. However the flip side is you have a lot of public servants making time until their retirement kicks in, finding ways to fill the void with meaningless exercises that consume time. So yes formal education is largely a waste of time, which is a part of why I walked away from it, but it shouldn't be. I had a handful of good teachers in public school, my Algebra teacher would pass me if I showed him I was working on my art because he realized that was why I was there. My art teacher was an arrogant piece of shit who never accomplished anything but would judge you for not conforming to his standards that were obviously a failure since he was teaching highschool art instead of living his dream no matter how broke it left him. I would dearly love to live in a world where women throw their panties at Bill Nye, and I would never tell anyone to walk away from the system the way I did. That being said, for me personally, I'm good with the path I've chosen. While I don't think I qualify for the label of outsider art, it is what I strive for. I'm trying to find my own path, I want my work to be instantly recognizable, unique. If I fail to fit into a pattern of what is right I don't consider that a failure, my work may be a failure in other ways, that's okay too. You can't make an omelette without breaking eggs, and if you're going to blaze a trail you're gonna have to cut down some trees. Do I make a mess sometimes? Damn skippy. Do I give a rat fuck limp dick shit balls fuck? Fuck no. I appreciate people like you most of all because you'll kick me when I'm down and I want that. And when I say people like you I mean you because most people won't tell me when they think I'm sucking. It's like diamonds even when I don't agree with you. That's what good education is, at it's best, the reminder to doubt yourself. I don't always conform to your critiques, because I have my own ideas about what I want to do, but I always pay attention to them. I listen and it makes me think and I get better, maybe not in the way you were trying to point me, but it doesn't change the end result. So thank you, and kick away. (You're gonna hate the page I post next Monday, I'm super proud of it)
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In karate training the best thing one can do for a friend is to knock him out, or knock him out. It's done exactly the same way to enemies. The difference is the context. In the first instance it's for mutual benefit. In the second, it's to defeat the enemy. it's very strange, perhaps even beautiful, how that difference evolves and how those who are dedicated and those who are well-trained instinctively cherish it.
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The play with the different vantage points is great. Drawings are becoming more and more detailed and I, for one, love it!
Btw, how was the holiday?
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Thanks a lot! I wasn't on holiday just really busy.
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