My parents got me this Trump doll as a gag gift over a decade ago when we were fans of the Apprentice.
Fun Super Tuesday activity: For every ten notes I’ll stick a pin in him until I’m out of pins. Don’t let me down America
Seems like Donald will wake up tomorrow with “stabbing” shoulder pains…
Right in the heart. That one went in easy. Like there was already a hollow space there.
Now in the stomach, like how I can’t stomach his fuckin bullshit
Let’s see you try to “pin” this on Mexican kidney thieves
Hearing no evil is hard when you’re Donald Trump and your mouth is a direct spigot from Hell’s pipeline of villainy
I believe we’ve pinpointed the source of his hot air.
Donald Trump is the arch-nemesis of liberty.
Woops, sorry about that D, looks as though I cut off your freedom of choice over your reproductive decisions
OK - I can’t keep up with the demand, and I’m running out of jokes and pins, so let’s skip to the good stuff. The inevitable conclusion where he’s just absolutely covered in pins.
This Donald is sure not having a Super Tuesday! :)
~~ Stretch goals ~~
800 notes - attacked by vicious alligator
1,500 notes - confronted with flagrant multiculturalism
2,000 notes - sent directly back to hell
Reached our first stretch goal… attacked by not one, but six vicious alligators. Don’t say I never gave you anything nice.
We’re very excited to share with you some sneak peek art from Jen Wang’s new graphic novel, The Prince and the Dressmaker, out with First Second Books in 2017!
The Prince and the Dressmaker is about a young 19th Century prince named Sebastian who secretly loves to wear dresses. He hires an ambitious young seamstress named Frances to make dresses for him and as their collaboration grows, so do their feelings for one another. Sebastian and Frances must find a way to balance their inner desires with the strict expectations of the royal family – or risk exposing Sebastian’s secret to the world.
“This book is really special to me because I basically wrote it for my teenage self, which is something I haven’t done before. I wanted a story that explored questions about gender and self-identity in a way that was also really colorful and fun and positive. The personal themes are there, but also lots of dresses and princesses. The idea was to create my ideal Disney movie, and writing this has genuinely been one of the most fun, liberating, experiences I’ve had making comics. My awkward confused fourteen year-old self would’ve really connected with this book and I hope it does the same for other young readers,” says Jen Wang.
Jen Wang is a cartoonist, writer and illustrator living in Los Angeles. Her young adult graphic novels Koko Be Good and In Real Life (co-written by Cory Doctorow) are published by First Second Books. She recently wrote the mini-series Adventure Time: Fionna and Cake Card Wars for BOOM Comics, illustrated by Britt Wilson. Her upcoming graphic novel The Prince and the Dressmaker will be published by First Second Books in 2017.
Super excited to be sharing this announcement about my next book! Getting it out there has been a labor of love and I’m really happy to have the opportunity to work on this. Yes, it’s coming out in 2017 but in the meantime the publisher’s given me permission to share little sneaks with you as I work. I’ll probably be posting those on my Twitter and Instagram since I’m pretty neglectful of Tumblr.
Thank you SO much everyone who’s already reblogged, retweeted, liked, and faved this. I’m pretty bowled over! <3
A bunch of screenshots/backgrounds from my film this year. Some have little thumbnails showing the basic layouts and thumbnails from my color script that I used to construct the basic color scheme. I’m basing most color choices based on mood, and trying to produce a forest which has little green in it.
I’m using Iben Krutt’s brush set for pretty much everything but the characters, it is pretty handy.
My number one advice to new artists, or those going into art school/self study after high school: TAKE YOUR FUNDAMENTALS FUCKING SERIOUSLY.
I know it’s very easy to want to jump right into your desired field of study (game art, animation, etc.) but without your foundations your work will always be fundamentally weak.
Never think you’re above fundamental classes, or studies.
I’ve taken roughly 2+ years of fundamental classes and even then I don’t feel like they were enough for me.
I’m actually taking two online fundamental classes right now (dynamic sketching 1 and the art of color and light at CGMA), and even though I went to art school for 2.5 years, took more advanced cgma classes in between transferring, these classes are still fucking kicking my ass and I realize how much I need to work on the basics in order to improve my art overall.
It’s hard to see artwork that’s “better than yours” lacking fundamentals when your eye is untrained, but believe me, there’s a lot of artists who struggle because they forgo taking fundamentals seriously.
And just as an idea of what your fundamentals are:
Perspective
Color & Light
Composition
Figure Drawing (ANATOMY!!!)
Principles of Design
Drawing (line weight, line control, forms, breaking things down into simple shapes - BASICALLY being able to use your pencil/tablet to do what you want it to do lol)
Also use reference, it helps, study anatomy, study materials, study forms, don’t think you’re above the basics.
the-littlest-jam: Hey Tony! I love Delilah Dirk, I can't wait to see you at Lucky's in March :D I'm in a comic book class at university and for some reason editing comics is waaaayyy harder than editing screenplays or verse or prose. What is your process for editing comics? Do you do multiple drafts of a comic script or different drafts of pencils or a back and forth sort of thing? Thank you :)
I will tell you what works for me but know that, IMHO, it might not work for you and/or I might misinterpret your question or misinterpret what you mean by “editing.” :D Anyway, buckle up - this response turned out longer than I thought it would.
Every time I’ve made a comic, I’ve used a “lap” approach. That is, if you imagine the story taking place on a race track, I do multiple laps around that track, and each time the story looks a little different.
The first laps take place in point form, very rough, written down on loose sheets of paper. Rarely any drawings, just story ideas. I generally know what I want to do IN the story (e.g. let’s have a carriage chase through London), but I may not know what the story is ABOUT yet (e.g. “revenge and its rewards and costs” or “trust between parents and their children”). I don’t throw out much at this point - just accumulating.
Then I do a few laps with writing software, basically making a prose manuscript. It reads like a novel. Now I start throwing out stuff that doesn’t work (most often this is picking between multiple solutions to the same problem) and I think I have a pretty decent idea about what the story is about. Sometimes I am right. (I recommend finding out what your story is about BEFORE throwing pieces away, because knowing the former is the best way to inform the latter.)
Eventually I add dialogue and finesse the details and whammo, hey, we’ve got something that reads like a proper story. Depending on how long I am allowed to think about this manuscript, I may write another “lap.” If I am very disciplined, this is where I throw out my beautiful clever sequence that is very beautiful and very clever but is not thematically consistent or useful.
(ABOVE: the manuscript for DD3. Printed out for easy reading and note-making. Based on the number of notes I have added, this one will need another lap (draft).)
Everything after this point changes very little, story-wise. I like to have the story stuff all sorted out here so I can focus on the pile of drawings that need to get done without second-guessing myself about the plot. I try to keep the back-and-forth to a minimum once drawing starts.
Maybe-important point: at no point in the writing do I divide imagery into panels or dialogue into balloons. That’s the artist’s job. Fortunately the artist is me.
I make some story changes during thumbnailing, then maybe a couple more during rough pages, and once we’re on final art and colours, I am not thinking about the story at all, really. I try to be critical again at the end, and I get other peoples’ input and revise accordingly, but those changes are not structural.
Fun fact: making DELILAH DIRK AND THE TURKISH LIEUTENANT, I roughed out two entirely different fourth chapters. One got binned.
Mostly I have been talking about revising words and story. Art gets revised if it is hampering readability, pace, jokes, or important plot details, but I try to plan for those things well enough in the manuscript that they don’t get missed. Again, I’m lucky that I’m writing for myself, so I know what I need to remind myself about.
So, if you’re having trouble editing comics, why not write your comics in a way that you ARE comfortable editing? Just keep in mind to plan for the specifics of representing a comic on the page (i.e. page turns, visual flow, “too many words,” how much space certain actions will take to describe).
<RECORD SCRATCH> wait, are you asking about performing the duties of someone who holds an “Editor” title? I assumed not; feel free to correct me.
In the history of the Oscars, 10 black women have been nominated for best-actress, and nine of them played characters who are homeless or might soon become so.
All 10 performances for which black women have received best-actress nominations involve poor or lower-income characters, and half of those are penniless mothers.
Black men have been up for best actor Oscars only 20 times. 13 of those characters were arrested. 15 were violent.
I shared these numbers with Dr. Todd Boyd, the author and professor of critical studies at the University of Southern California School of Cinematic Arts. He wasn’t impressed, but he also said the focus on the Oscars was misplaced. “The Oscars are a symptom,” he said, and not the illness itself.
Hi, I'm Tim Lai! I'm a cartoonist living in Ontario, Canada. I like drawing cute and colourful things. This blog is a hub where you can find all of my Tumblr, DeviantArt, Flickr, Blogspot, and other posts in one place.
About My Work
I write and draw Lemon Inc., a comic about a seven-year-old who wants to be a business tycoon when he grows up. Until then, he runs a lemonade stand. You can read it at www.lemon-inc.com.
I have done some professional web and graphic design work, including designing the website for the webcomic, Just Joel. I'm also a member of the webcomic collective, Ink Bomb Comics.
March 7, 2016 00:24
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