Something I was thinking since I saw the "Art School Confidential" vid is that the problem with many of the artistic classes is that they're approached both by the teachers and students as "how to" classes, when they're just meant to be giving you tools so you can get started. It's like training for a sport. You don't learn how to win, you just train your body and then it's up to you to go out there and use it properly. And that's what's cool when these talks are given by honest people: they make clear you're not gonna walk out being a writer/artist, 'cause you only make it through actually doing it. Unfortunately, there's still too many people taking advantage of misguided students just to take their money (and sometimes even to vent their own professional frustrations while theyr'e at it).
In this page, Hawkeye jumps off the window while he shoots an arrow which flies over the crowd to embed itself in the eye of the robot, exploding. Hawkeye lands safely, with his back to the explosion. Then in panel 2...
Excellent, excellent stuff, guys. "Don't get addicted to How-To Books!" That should be in bold. Just make the books. Write/Draw out all the junk while you work. Clean it up later - is something I try to tell new guys who ask for advice. Just keep moving. You can get bogged down polishing a turd but you won't know it until it's too late. I used to hate that folks would quote the "Ten thousand hours to professionalism" as if it's literally ten thousand hours, or ten thousand words, or ten thousand drawings and then they're a PROFESSIONAL. If you're focused on the number and not the Work you're going about it all wrong. Ed, Jim, I just did a Kayfabe binge and this one is the icing on the Kayfabe-cake. Thanks for entertaining me this afternoon while I ink.
I've read most of Gaiman's output, from the comics to the novels, but found the masterclass rather boring and uninspiring. Moore's BBC course on the other hand was pretty great. He's also the better writer in my opinion. You guys should check out his short-story "What We Can Know About Thunderman" in his latest book "Illuminations". It's a gripping story about comic fans, creators, the "scene", and meta-fictional characters that spans from the 1950's 'til today. He parodies Marvel, DC Comics, and certain historical key figures from the U.S. scene in such a great nd hilarious way. I certainly got some of the references only thanks to you guys.
As a budding writer (and definitely not an artist), I always do thumbnails to understand content (art and balloons), pacing and page turns. I also tell the artist to feel free to come up with better layouts than the script suggestion, if they can, to make me look better than I am.
I personally found his class really sobering and down to earth. giving you tools and ways to think about narrative instead of a really structured method or formula, his examples on how he writes short stories and comics are also useful. Keep up the good work kayfabe
Have either of you ever read The Amazing Adventures of Kavalier and Clay by Michael Chabon? It won the pulitzer for fiction in 2003(4?) and is about two comic book men who create a golden age icon. Lots of very interesting insights on the history there and the evolution of the medium. It's a bit of a long novel but it's exceptional and I would love to see you guys cover it some day!
I've had a couple of friends that have worked on Moore scripts where at times one does feel more like a hand than a collaborator. Most of the writers I've worked with will ask me how I like the script before the final draft. It's somewhere between a Marvel style script to a DC script. With a little room in case the writer's stuck and needs help. That's the ideal situation, in my case.
"Don't get addicted to the how-to books" 100% agree.
As someone in recovery from that addiction, I concur.
Something I was thinking since I saw the "Art School Confidential" vid is that the problem with many of the artistic classes is that they're approached both by the teachers and students as "how to" classes, when they're just meant to be giving you tools so you can get started. It's like training for a sport. You don't learn how to win, you just train your body and then it's up to you to go out there and use it properly.
And that's what's cool when these talks are given by honest people: they make clear you're not gonna walk out being a writer/artist, 'cause you only make it through actually doing it. Unfortunately, there's still too many people taking advantage of misguided students just to take their money (and sometimes even to vent their own professional frustrations while theyr'e at it).
In this page, Hawkeye jumps off the window while he shoots an arrow which flies over the crowd to embed itself in the eye of the robot, exploding. Hawkeye lands safely, with his back to the explosion. Then in panel 2...
You guys ARE my masterclass for comics. I wouldn't be working on my own floppies without your channel.
Are you on instagram? I am also an aspiring cartoonist :)
You guys always give great and sound advice. Love your channel and am learning a lot. Thanks for what you do.
Yet another brilliant video, absolutely the best
Thank you, Gents for this episode! Absolutely invaluable advice!!
Happy birthday, Neil Gaiman!
Excellent, excellent stuff, guys. "Don't get addicted to How-To Books!" That should be in bold. Just make the books.
Write/Draw out all the junk while you work. Clean it up later - is something I try to tell new guys who ask for advice. Just keep moving. You can get bogged down polishing a turd but you won't know it until it's too late.
I used to hate that folks would quote the "Ten thousand hours to professionalism" as if it's literally ten thousand hours, or ten thousand words, or ten thousand drawings and then they're a PROFESSIONAL. If you're focused on the number and not the Work you're going about it all wrong.
Ed, Jim, I just did a Kayfabe binge and this one is the icing on the Kayfabe-cake. Thanks for entertaining me this afternoon while I ink.
As always, insightful exchange, thanks for sharing
I've read most of Gaiman's output, from the comics to the novels, but found the masterclass rather boring and uninspiring. Moore's BBC course on the other hand was pretty great. He's also the better writer in my opinion. You guys should check out his short-story "What We Can Know About Thunderman" in his latest book "Illuminations". It's a gripping story about comic fans, creators, the "scene", and meta-fictional characters that spans from the 1950's 'til today. He parodies Marvel, DC Comics, and certain historical key figures from the U.S. scene in such a great nd hilarious way. I certainly got some of the references only thanks to you guys.
As a budding writer (and definitely not an artist), I always do thumbnails to understand content (art and balloons), pacing and page turns. I also tell the artist to feel free to come up with better layouts than the script suggestion, if they can, to make me look better than I am.
I personally found his class really sobering and down to earth. giving you tools and ways to think about narrative instead of a really structured method or formula, his examples on how he writes short stories and comics are also useful. Keep up the good work kayfabe
Have either of you ever read The Amazing Adventures of Kavalier and Clay by Michael Chabon? It won the pulitzer for fiction in 2003(4?) and is about two comic book men who create a golden age icon. Lots of very interesting insights on the history there and the evolution of the medium. It's a bit of a long novel but it's exceptional and I would love to see you guys cover it some day!
I love neil gaiman and was excited to watch his master class but it wasnt great imo
I loved Neil's class
I've had a couple of friends that have worked on Moore scripts where at times one does feel more like a hand than a collaborator. Most of the writers I've worked with will ask me how I like the script before the final draft. It's somewhere between a Marvel style script to a DC script. With a little room in case the writer's stuck and needs help. That's the ideal situation, in my case.
Great talk.