Joe Kubert's World of Cartooning Story Graphics
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- เผยแพร่เมื่อ 21 ส.ค. 2024
- Behind every great Superhero there is a great story, STORY-GRAPHICS
is the heart of comic books! To tell a story with your art!
In the Story-Graphics Course Book you will learn:
- Storytelling
- Following a Script
- Characterizations
- Backgrounds & Environment
- Time and Costume
All while improving your drawing skills and, of course, telling a great story with great responsibility!
This spiral bound, hard cover book includes 5 lessons, with inserted worksheets, in an impressive 11x17 page size
To add critiques to your 5 assignments by our group of professional comic artists, click here:
www.kubertartst...
Learn Cartooning at Your Home on Your Own Time!
For those of you looking to grow your art into a career, The Kubert School offers a 3-year residential program in Cartoon-Graphics.
Taught by professionals for aspiring professionals!
We are accepting applications now for our upcoming school year.
Visit www.kubertschool.edu to apply today!
Email info@kubertschool.edu for more information!
Joe Kubert and his sons Adam and Andy were a powerhouse trio. Every word that Joe is saying about learning how to cartoon is a gem. What a fine art school.
Note(Illustration Studies):
Draw studies (samples) and use references of details of weapons, vehicles, machines, accessories, props, clothing, hairstyles, fashion, decoration, objects and utensils of the time or decade.
Draw with the tip of the pencil lying down because it creates minimal (narrow and thin) shadows (own, self-projected or projected).
Contrast light with dark:
Light is represented by lines while dark is represented by dashes.
Here's an example: dark eyebrows seen from afar look like lines, so I represent them (draw them) using pencil lines.
While the edges of the eyelids I represent (draw) with mechanical pencil lines.
It is the contrast between pen lines, the light, and brush strokes, the dark.
Draw the game of light (thin) lines with dark (thick) strokes.
Writing
Write the lines: the lines are equivalent to the staves and the strokes are equivalent to the letters.
The lines drawn between the lines on the drawing sheet are equivalent to the words written between the lines on the writing sheet.
Draw the parts of the figures and background.
Sketch the shapes of the figures and background.
Sketch the details of the figures and background.
Paint the details in graphite.
Ink the graphite shapes under inked details.
Ink the graphite figures in inked shapes.
Deepen the graphite under inked figures.
Where I put my own shadow I leave it without lines, where I don't put my own shadow I leave it without lines.
Strokes must be drawn between the drawn lines.
Shadows must cover the lines and strokes drawn.
Why in comics the shadows themselves are black (brush strokes).
In other words, in areas to be covered with shadows you do not need to draw lines and strokes.
Because when you brush, the black shadows will end up covering the lines and strokes drawn.
Soon there would be unnecessary lines and dashes.
The halftones are gray (hatched).
Inspiration lines:
An external line created is inspiration for creating the next or distant contour line.
An internal line created is inspiration for creating the next or distant inspired line.
Inspiration trait:
A contour line created is inspiration for creating the next contour line.
A created inner line is inspiration for creating the next or distant inner line.
Trace by touching the tip on drawing paper:
The effect is soft strokes.
Trace by tapping the tip on drawing paper:
The effect is hard strokes.
Trace by dropping the tip onto drawing paper:
The effect is soft strokes.
Character design-style:
Edges are not lines.
Edges are construction lines for the contour and internal lines of shapes, figures, and drawing backgrounds.
Find the "X" (cross diagonals), cross (cross bisectors) and diagonals (bisectors) are the construction lines for the edges (geometric solids).
Draw applying the 11th principle of animation (Solid Drawing) imported into the illustration design-style:
Avoid drawing symmetrical lines and strokes of details, shapes, figures and drawing backgrounds.
Break the symmetry of contours and internal drawing lines:
Contrast concave curves with convex curves.
Accentuate and soften concave and convex curves.
Contrast(contrast) arcs with windings.
Accentuate and soften arches and windings.
Contrast(contrast) straight lines with curves.
Accentuate and soften curves and straight lines.
Contrast(contrast) angles(openings) with gaps(gaps).
Accentuate and soften angles and gaps.
Contrast folds with corners.
Accentuate and soften folds and corners.
Draw overlapping (depth) lines and strokes of details, shapes, figures and drawing backgrounds.
Draw insertion lines (connection) and connection lines (overlap) of details, shapes, figures and drawing backgrounds.
I just ordered all 6 correspondent courses from the Kubert school. There on sale 6 for 100.00 and 20.00 shipping. It's time to pass my knowledge of drawing superheroes to others.
About conceptual design project(1 Chronicles 28:11-13)
1 Trait: 1 drawing construct.
Dash design-style: sinuous, curved, elliptical arc or serpentine.
Draw curves (dashes) on a line (contour or internal)
Draw sinuous Sierpinski "S" shapes over curves (dashes) in a line (contour or internal).
Draw sierpinski curved serpentine over curvilinear sinuous in line(contour or intena).
1 Trait: 1 drawing construct.
Stroke design-style: straight, angle (corner), fold (corner) or straight serpentine.
Draw straight lines (strokes) on a line (contour or internal)
Draw Sierpinski angles (corners) on straight lines (dashes) in a line (contour or internal).
Draw sierpinski folds (corners) over rectilinear sinuous lines (contour or inner).
Creation of conceptual (idealistic) drawings of composition in project (design) and style (art) graceful and mild or bold and aggressive: (Exodus 35:31-35)
Detailed or hyper-realistic line:
The line follows its function in the conceptual (idealistic) design project.
Line detailing following your design style.
Detailed or realistic and naturalistic stroke:
The line follows its function in the conceptual (idealistic) design project.
Detailing of lines following your design style.
For example:
"Spaghetti" web and "cirrus spissatus" web, sweeping and dredging net of the Spider (the True Prophet).(Habakkuk 1:15-16)
The texture and shape of the cloud has a flocular (cotton) appearance.
The entire cirrus spissatus cloud is a colloidal system (complex, structure) (ice ridges).
The cirrus spissatus cloud structure is an opaque (coiled) fractal.
The cirrus spissatus cloud chunks are a translucent(impasto) fractal with semi-transparent edges in sierpinski curves(contours).
The cloud chunks are a transparent(flat) fractal with transparent edges in sierpinski curves(contours).
The cloud body is the opaque(folded) structure of the cirrus spissatus cloud that divides(fractalizes) into larger translucent(pasted) structures with spatial gaps(three-dimensional) between them.
The transparent structures are divided (fractalized) into transparent (flattened) cirrus spissatus cloud structures with spatial gaps (three-dimensional) between them.
Web "spissatus" of the Spider (the True Prophet): the carded threads are opaque (white), the filaments are translucent (semi-transparent white) and twisted (entangled) cables (web ropes) are transparent (transparent white). (Job 7 :6; Psalms 16:6)
The diffracted light takes(illuminates) the place(shadowed surface) of the shadow of the "spissatus" web, at the same time that the diffracted shadow takes(shadows) the place(illuminated surface) of direct(diffuse) light in the "spissatus" web .
Format is volume (framework) of shape.
For example: a huge Tyrannus Rex dinosaur head with the shape of an ark measuring one and a half meters.
Figurato is the volume (framework) of a figure.
For example: the body of a Tirano Rex dinosaur with a lifeboat figure for a ship measuring more than seven and a half meters high, 12 meters long, from nose to tail.
Detail is volume (framework) of detail.
For example: Tyrant Rex's scaly scalp with hood detail (protective cape) joined to the scaly superciliary orbicularis above the bulged bottoms of the eyes.
The strategy of Outline and Ink. (1 Chronicles 28:11)
By scribbling and outlining a sketch, we are busy characterizing (creating or defining) what each detail of the figures (characters design) and background are.
Inked detailing, we are concerned with characterizing (creating or defining) each detail of the figures (character design-style) and background (background design-style).
In the sketch, scribble and scratch because lines represent the details of shapes (mechanical design-style), figures (character design-style) and background (background design-style).
The lines are exclusive to the sketch (scribbled in pencil and outlined with a mechanical pencil).
Soft lines due to using pencils.
Hard lines due to using a mechanical pencil.
When inking, use strokes for
which through the lines represent the details of the shapes (mechanical design-style), figures (character design-style) and background (background design-style).
Schema (wireframe and layout) defines the gesture of the drawn figures and backgrounds.
"Volumes" defines the building blocks (geometric figures) of the details, shapes (mechanical design-style), figures (character design-style), backgrounds (background design-style) and images (underground design-style) drawn.
Sketching is scribbling and outlining the shapes (mechanical design-style), figures (character design-style) and backgrounds (background design-style) drawn.
Inking is drawing detailed ink of shapes (mechanical design-style), figures (character design-style) and backgrounds (background design-style) drawn with a brush pen, paintbrush, feather, technical pen or copic marker.
Takehiko Inoue design-style ink:
It starts with the shadow patches (own and self-designed) inked freehand with a brush №0 (Natural Bristle), moves on to the hatches inked freehand with a brush №0 (Natural Bristle) and ends with the hand-inked strokes -free with brush №0(Natural Bristle).
First comes the stains painted with imported brush № 0(Natural Bristle).
Second, comes the hatches inked with imported brushes № 0 (Natural Bristle).
Third, comes the strokes inked with a set of imported brushes № 0 (Natural Wax).
The indirect order: the steps can be interchanged. (Ezekiel 43:10-11)
Strokes are short contour and internal lines, contours and surroundings, to details of shapes (mechanical design-style) and figures (character design-style) and background (background design-style).
Dip only 1/3 of the brush bristles under the India ink surface in Pilot Black 30ml Fountain Pen Ink.
When the ink drops 1/3 into the bristles, dip, refilling the 30ml Black Pilot Fountain Pen Ink up to 1/3.
Kentaru Miura Design-Style:(Isaiah 55:9)
Exact lines and strokes.
Replace internal lines with seamstress and criss-cross hatches.
Drawing action scenes:
Contour lines become hatches of movements.
Motion hatches turn into motion lines.
How do I turn lines and hatches into motion lines?
Through redesign, the drawing was retraced.
1) Take an A3 tracing paper with your fingers, overlap it on the drawing paper with your drawn design.
2) Fasten with a clip between both papers.
3) Redraw on tracing paper in order to replace the contoured and internal lines and strokes of details, shapes (mechanical design-style) and figures (character design-style) drawn with contoured and internal lines and strokes of movement.
4) Retrace all the details, shapes (mechanical design-style), figures (character design-style) and backgrounds (character design-style) using lines and strokes of contours and internal movements.
Kim Jung Gi design-style:(Amos 3:7)
Draw lines without removing the tip of the brush pen from the ink drawing paper.
Joe Kubert design-style:(Proverbs 15:22)
Brush №0 for drawing shapes and patches of own and self-designed shadows of figures (character design-style) and backgrounds (background design-style).
G pen for drawing details, figures (character design-style) and backgrounds (background design-style).
Snake pen for drawing hatches of figures (character design-style) and backgrounds (background design-style).
Training (strengthening) drawing from memory using photographic references.
Take an A3 tracing paper, take 2 or 3 photographic references.
Place A3 tracing paper over the photographic reference.
Transfer the photographic reference onto A3 tracing paper.
Photographic Documentation:
Use photographs of real and historical locations and places as references to draw the illustration of shapes (mechanical design-style), figures (character design-style), backgrounds (backgrounds design-style), images (undergrounds design-style) and maintain the verisimilitude with the real world.
Get details from illustrated encyclopedia photographs: you can't fake details.
Always go to your photo reference files to get real examples of what you want to draw because you know that backgrounds (background design-style) and objects (mechanical design-style) don't look real when you try to make them up.
Rational Outline(1 Chronicles 28:11)
Reference sketch lines work as exact markers of where to draw lines using drawing reference.
Ibid, with all the sketch strokes taken as a basis to draw all the strokes yourself using drawing reference.
Rational Sketch of Drawing Composition (Exodus 35:31)
Reference sketch lines act as exact markers for where you plan to create lines using drawing reference.
Ibidem, with the sketch strokes taken as a basis to create all the strokes yourself using drawing reference.
Where do I start and end when drawing a rational drawing or using a drawing reference.
Start by drawing from the inside (inner lines) to the outside (outer lines) a rational drawing or using a drawing reference.
Start by drawing with the details (strokes of details and textures) of your drawing and ending with the larger ones (lines of shapes, hatches and movement) of your rational drawing or using a drawing reference.
The Four Mechanical Design-Style(2 Chronicles 26:15)
Mechanical Design-Style of backgrounds(background design-style): kinetic architectures(with mechanically articulated architectural elements) with forms of technological devices and functions of social, educational, political, religious or economic devices(commercial, industrial or extractive).(2) Chronicles 26:15)
Mechanical Design-Style of figures (character design-style): social robots (communicative and interactive) and claytronic human-machine interfaces. (2 Chronicles 26:15)
Mechanical Design-Style of forms(creature design-style): automotive, aerospace and naval claytronic vehicles(means of transport and locomotion).(2 Chronicles 26:15)
Mechanical Design-Style of details (custom design-style): fashionable clothes, costumes, hairstyles, footwear and cybernetic utensils. (2 Chronicles 26:15)
Thank you so much for providing this wonderful resource. Joe was the best.
Either pencil leads were better made back then or paper was, never seen pencils just gliding and making solid smooth lines without any effort like in these videos.
It's been relatively the same for the most part. Depends on the brand and the how they made their pencils. What it really comes down to is Kubert's sense of draftsmanship. He is easily of the greatest draftsmen of all time.
Thanks so much for sharing this priceless lesson! 😎
Simply Masterful!
Absolutely wonderful tutorials. 🥰
Super Awesome your putting these out man. I love Joe. Wish I could’ve met him. These videos are great, helpful, and Fantastic✌️
Wow! I bought all 6 correspondent courses! That is a potroat of 🎥 actor Jermonay Irons! Right now im studying the Penciling one! Joe's an amazing teacher and his instructions books are spectacular!
I ordered a coffee mug
The Untimely Light-Dark:(1 Chronicles 28:11; Exodus 35:31)
About shapes(mechanical design and custom), figures(character and creature design) and backgrounds(background design)
№1 Gray (grisaille) on linear drawing sheet.
№ 2 Separate the areas of lights (direct, reflected and re-reflected) and shadows (own and projected) on the linear drawing.
№ 3Map gray areas of tones onto linear drawing.
№ 4 Cutouts of backgrounds, figures and shapes on a linear drawing.
№ 5 Detail plans on linear drawing.
№ 6 Dissolving (gradient or gradient) of gray areas of tones on the drawing.
№ 7 Texture stains on linear drawing.
№ 8 High-gloss lights on a linear design.
The most terrible and wonderful design. (Judges 13:6,18)
Thank you! It was great!
This is Awesome!
Cant thank you enough!
12:00 Elastic Man:🖕
Does anyone know if they still accept artwork from these books for critiques?
what was the process back n the day to go from small rough layouts to final page , was it the lightboxing or redrawing afresh on the final page ? I would be interested to know hw buscema , jack kirby or the great Kubert did. becasuse in this videa the transfer method from rughs to final is not shown
I was here gremlin Comics
The Model Evolution Simulation:
(Psalms 104)
A specialized form evolves (derives) from another specialized form and henceforth.
Just as a specialized detail must evolve (derive) from other specialized details and consequently result in complex specialized details.
Just as a specialized texture must evolve (derive) from other specialized textures and consequently result in a complex specialized texture.
Just as a specialized figure must evolve (derive) from other specialized figures and consequently result in complex specialized figures.
Just as a specialized movement(behavior: state machine) must evolve(derive) from other specialized movements(behavior: state machine) and consequently result in complex movements(behaviors: specialized state machine), .
Considering(taking into account) the parameters(criteria and environmental factors) that will influence the evolution(biodesign phenomenon) of our model(detail, shape, figure, texture or background) 2D(image or drawing and video or cartoon) or 3D (hologram or holographic sculpture and claytronic or digital sculpture)
Evolutionary Stage I-When evolution originating at the base of the environment(biome: depths and abysmal trenches) environment(of the ocean) reaches the top(surface) of the environment(ocean liquid) environment(biotope) then the life form(biotype) evolves up to the next level of environment (terrestrial biome) environment (lithosphere).
Because when (millions of years of evolution) the trophic level (biomass) of the food chain of this life form (biotype) reaches its peak, then this evolutionary life form (biotype) has no way to nourish itself from its environment.
Why the food chain has become unsustainable for this evolving form of life (biotype) that "pushes" it towards the next level environment (biome: earth) environment (biotope).
Evolutionary Stage II-When evolution originating at the base of the environment(biome: valleys and depressions) environment(terrain) reaches the top(mountains and hills) of the environment(lithosphere) environment(biotope) then the life form(biotype) evolves up to the next level of environment (air biome) environment (atmosphere).
Because when (millions of years of evolution) the trophic level (biomass) of the food chain of this life form (biotype) reaches its peak (evolutionary apex) then this evolutionary life form (biotype) has no way to nourish itself ( biomass) from its environment.
Why has the food chain become unsustainable for this evolving form of life (biotype) that "pushes" it towards the next level of environment (biome: outer space) environment (biotope).
Evolutionary Stage III-When evolution originating at the base of the environment(biome: moons and sidereal rings), environment(of outer space) reaches the top(comets and asteroids) of the environment(siderosphere), environment(biotope), then the life form(biotype ) evolves to the next level of environment (sidereal biome) environment (siderosphere).
Because when (millions of years of evolution) the trophic level (biomass) of the food chain of this life form (biotype) reaches its peak (evolutionary apex) then this evolutionary life form (biotype) has no way to nourish itself ( biomass) of its environment(biome: moons and sidereal rings) environment(biocenosis: siderosphere).
Why has the food chain become unsustainable for this evolving form of life (extremophile biotype) that "pushes" it towards the next level of environment (biome: space or alien invasion) environment (alien abiocenosis: xenoplanet).
Model Involution Simulation:
Panspermia (Exogenesis)
Involutional Stage I-When evolution originating at the top(planetoids: comets and asteroids) of the middle(siderosphere) environment(of outer space) reaches the base(abiome: moons and asteroid rings) of the middle(siderosphere) environment(abiotope) then the life form (extremophile biotype) evolves to the previous level of environment (sidereal biome) environment (siderosphere).
Because when(millions of years of involution) the trophic level(abiomass) of the food chain of this life form(extremophile abiotype) reaches its foot(involutional root), then this involutional life form(extremophile abiotype) has no way of nourishing- se(abiomass) of its environment(planetoids: comets and asteroids) environment(abiocenosis: siderosphere).
Why has the food chain become unsustainable for this form of life(extremophile abiotype) in involution that "pulls" it towards the previous level of environment(biome: moons and planetary rings) environment(abiocenosis: outer space)
Involutionary Stage II-When the involution originating at the top(mountains and hills) of the environment(lithosphere) environment(biotope) reaches the base of the environment(biome: valleys and depressions) environment(terrain) then the life form(extremophile abiotype) it evolves towards the previous level of environment(terrestrial biome) environment(biocenosis: lithosphere).
Why when(millions of years of involution) the trophic level(biomass) of the chain feeding of this form of life(extremophile abiotype) reaches its foothills(involutionary root), then this involutive form of life(extremophile abiotype) has no way of nourishing itself(abiomass) from its environment(biome: atmospheric layer) environment(abiocenosis: atmosphere ).
Why has the food chain become unsustainable for this form of life (extremophile abiotype) in involution that "pulls" it towards the previous level of the environment (abiome: terrestrial) environment (abiotope: lithosphere).
Involutional Stage I-When involution originates at the top(surface) of the environment(ocean liquid) environment(biotope)
reach the base of the environment(biome: depths and abysmal trenches), environment(of the ocean)
then the life form (abiotype) evolves to the previous level of environment (ocean biome) environment (hydrosphere).
Because when(millions of years of involution) the trophic level(abiomass) of the food chain of this life form(extremophile abiotype) reaches its base, then this involutionary life form(biotype) has no way of nourishing itself from its environment, .
Why has the food chain become unsustainable for this form of life (abiotype) in evolution that "pulls" it towards the previous environment level (biome: depths of the ocean) environment (biotope: valleys, trenches and hydrothermal vents).
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