(no subject)

[lunabuna]

Holy shit, this comic is so frickin' awesome.

And the artist never took art classes. Jealous, much? Holy hell.

I hope she's making money off of it.  Talent like that deserves to be recognized.

Also, ... something about the 20s and 30s makes me real melancholy and nostalgic.  It... makes me miss my grandparents, though one is... you know, STILL ALIVE.  Makes me want to ask her about her childhood, though she grew up in the 30s, not the 20s, so it wouldn't be entirely related, but still.  If the comic was in color, I probably wouldn't get so misty about it.  That sepia tone has a very odd authenticity to it.

Sheesh, I've taken many art classes and STILL don't understand comic paneling like I probably should.  How does one know how to box things in properly? I don't get it.  This is why I can never be a graphic artist.  I don't. Get. BOXES.

Also... Mordecai reminds me of my old cat. Sniff... God, I miss him so.  At least I still have my Elwyn. <3

EDIT: I always thought her style looked an awful lot like Candy Palmer's, and it turns out they're friends IRL, so I guess it makes sense. God, they're both so talented.

Comments

[runawayblue.livejournal.com]

She's been one of my favourite artists for years, and you're telling me she's never had any classes? Oh my goodness, that's amazing.

I love that comic. And I love so few comics.

[lunayoshi.livejournal.com]

According to her FAQs, she never did, and I never would've guessed it.

The envy... tis massive.

[silvercoindrive.livejournal.com]

You have to look at comic panelling like you look at directing a film. When you want somehting to happen, you'll get a good feel of what kind of shot you want, and what comes after. It usually helps to have a main idea of how you want a page to start and how you want it to end- those you be your first and last panels for that page. Then it's just filling the gap from point A to point B. Use a series of small closeup shots when something is being studied, use small expressional shots when you want to get characters' immediate facial reactions right before they make their next move, which should be a bigger panel, and always use a different zoom or camera angle each panel when focusing on the same thing for a while, and that'll keep things from looking like old Beavis and Butthead scenes where they're just snickering on their couch until sunrise.

[rkotaku.livejournal.com]

I've been watching her for years, before she started Lackadaisy. She had another comic. I absolutely adore her work.

Also, if you want to improve, I'd highly suggest ConceptArt.org...I was just reading some posts last night, and they highly favor critique, but they don't view it as being mean, they view it as helpful and even the best pieces get lots of critiques. If you want to get into animation [obviously, lol!], go out and do some life drawing. Draw people in cafes, at the park, etc. It helps you to get a good grasp of anatomy, and also the more 'fluid' motions...I learned a lot of this just from the forums, they're amazing. I'd post up some WIPs of work you are working on and see what they have to say. I'm actually hoping to do the same myself...