The Comics Workshop

These are the enemy. These are the people who like the comics culture just the way it is; stunted, marginalised, dying in the dark. These are the people who don’t want art from their comics. These are people who can barely stand intelligent entertainment from their comics… and there’s a hundred thousand of the bastards. They are the dominating population.

This is why my sermons occasionally become hate rants. Because I’ve seen this kind of person up close. And there are more of them than you think. And make no mistake, they are the enemy. They are the people who like things just the way they are. They want comics to remain defined by sick little family-surrogates with spandex fetishes. To them, this is all the medium needs to be, and anyone who says otherwise is evil and to be shunned. Comics must remain the small world that they hide within.

And if you don’t act, they win.

I wrote The Old Bastard’s Manifesto for a reason. I’ve written columns on activism here for a reason. Damnit, I wrote the Counter-X books as contemporary no-baggage jumping-on-point comics for a reason. Because of people like this. Because if they win, everyone loses. If they get to continue to dominate the comics culture, then we’re fucked. Tolerance is no longer an option.

Every time someone talks about how geekdom is in danger of being diluted, I remember Warren Ellis, and these words.

The end-game for geekdom is either we accept everyone, or we’re fucked. That is all.

(via tariqk)

Reposting this in light of the previous link on Zoe Quinn.

The Relative Color and the Absolute Color


Since the colors are never what they look like, It’s useful to understand the color in two ways : the RELATIVE color and the ABSOLUTE color.

The Relative color is the color as it is seen, according to the perception of the eye and the translation from the brain to the mind.
The Absolute color is the color as it is, in reality.

This is part of the colors relationship, and the contrast of the colors.

To be able to get the right relative color (meaning without any false notes), it’s crucial to know what its absolute color really is.

For example, the absolute color of grey is very often the relative complementary color of its surrounding color.


Depending of the kind of picture and depending of your color’s intentions (that is off special effect or narrative effect),
using an absolute complementary (that is, for the previous e.g, a true blue) in direct contact to its surrounding colors may easily create
a so much strong contrast that the mind will perceive it as a false note, then causing a global unbalance on all other colors in the image.

E.g, here is the page 05 from “Detectives” vol.02 (Hanna/Sure/Lou, ©Delcourt editions)

The “grey” panels 05 and 09 have a cold vibration, almost blue, because they are in a direct relationship within a yellow hot tan.
This two panels, in minority, are also secondary in the narration of the page.

Using a true absolute blue would reverse this narrative order because the color contrast would became so much strong that they would became the primary focal point of the page.

Let us look a little closer at the 3rd strip.
The mind read the left panel as cold, in a subtle blue. The shirts are read as white, and the bottles of champagne as greenish…

…but by isolating the absolute colors, in comparison with a Titanium white, none of this previously mentioned relatives colors exist in this picture.

…And if they were, the balance of the colors would be broken, and the falses notes would be made.
Notice how the eye now read differently the picture, it can’t stop looking at those white shirts and then those bottles.
It almost forget to look at the balloons and the characters. ( i’ll talk about the narration through the contrast of colors later, in another post)

It is the same for the values.
A relative value defines itself compared with its surrounding values.



Let’s look back at our 3rd strip.
Watch the contrast between the shirts, and the light jacket in the front, how they seem to be so much lighter in comparison with the other clothes.

When in reality, if we compare them to each other, the difference became a lot more subtle than it seemed to be.

This is a side effect of the relative color.
The mind analyzes et translates a color based on its database stocked in its memory, trying to identify the color in the most simple and efficient way possible.

The shirt itself is light indeed, and white. But it’s simply its “name”. Its “classification”, its “identity” (see the flat step of my quick step by step).
What we’ll ask in a store.

In reality, this shirt is not white, and not much lighter than the light face of the grey jacket or the blue shirt.
But for our mind, white means light. Lighter than everything.
However, a white shirt in shadow is often darker than a back shirt in the light, whatever the mind is saying.

So, compare, isolate, compare, isolate, compare, always.

You can change your “mind database” with some practice.
By using a paper sheet with holes to isolate outside colors. ( grey paper is best)
Or by opening some pictures in a software and use the color-picker to learn what is going on with the color relationship.
Testing yourself to find out the absolute color of your surrounding whenever you can.

Then, colorisation will become much easier, and like a musician able to reproduce a song he heard a the first try,
you’ll develop the Golden eye.




It’s a two-fer! Courtesy of @dcwomenkickingass, and specifically this post, I had to do an edit of these, while my storyboards wait. 

I’m not going to go into long explanations here, I hope the drawings do speak for themselves. In the first case, it’s a Land being Land, although I do have to say that he did give a butt to Silk, as opposed to his usual ablation of hips and gluteus maximi. However, he unfortunately did it wrong. 

Artistic anatomy is all about drawing structure, from the inside out. Your muscles by themselves can’t look right if they aren’t placed on top of a properly proportioned skeleton.  Boobs won’t look right if they aren’t drawn as following the curve of the ribcage, its center line, or the movement of the arms which either pull or push on the pectorals on which the breasts hang. The arms back mean the shoulders are lowered, and the angle of the hands will be different since there’s a 3/4 turn on the torso. It shows that Land is drawing by guessed shapes, copied contours and practiced repeated motions. There’s no real structure underneath his shapes.

And if we look at the legs, I can only picture Kitty Pride phasing out of a wall: the legs look like they got mangled up to look like stumps. But even structure-wise, there is no thought put into whether the pose actually works, which is why it looks so clumsy. The legs should be reversed due to the line of action that’s in the torso but not followed through into the pelvis and legs. And I’ve been using the coil technique a lot in order to make my volumes work - it should be obvious by the roughs above - which help me figure out things like foreshortening. 

Silk too was a problem of lack of structure, proportions all over the place, and lack of weight and purpose, but it felt moreso than Spiderwoman. I used the same pose Land did but worked out the skeleton first, using rotation arcs in order to properly proportion the length of the various limbs. I don’t know these characters and I might not have used these poses, but Silk here definitely looks like she’s dancing.

The variant cover by Manara looks like a pose right out of porn, pelvis up and cheeks spread, costume looking like body paint, and it makes me very uncomfortable. She doesn’t look like a superhero about to strike, she looks like she’s about to get… well, it’s a porn pose. This is sexualisation. It also reminds me of the Dog Bone sexy shape. 

So I turned the pose sideways to figure it out, and to see what would work better. The sideways pose as is, as you can see, is angled to do quite the opposite of ass-kicking. Were she to try to leap from that pose, she’d fall flat on her face. The second pose is the “coiled like a spring”, but in the camera angle of the cover, it’s an ugly, ugly pose. So I tried to do something in-between, and just by making the pelvis horizontal and lifting the torso off the ground, I’ve managed to move the center of gravity so her weight is on her feet instead of her knees, she can use her arms to maneuver in most directions, and you still get an interesting body shape to look at. I think this works better, and much more ready to spring into motion.

Wanted also to say thanks for all the reblogs, likes and recent follows! I appreciate each one of them, and it’s because you’re still sharing and commenting that I came back to do this. However I’m still really busy! I won’t be posting a lot, but I do plan on posting more than I have. Back to storyboards for me! 

Great breakdown of both Spider-Woman covers by Kanthara from Less Tits n’ Ass, More Kickin’ Ass (which I strongly recommend as a follow for people who like redlines/redraws/fixes). :D

tbh what were they expecting when they hired him, milo manara is literally the human embodiment of that WHORES WHORES WHORES comic, and for that extra special creepy touch he always draws all female characters with the exact same face so they’re all 100% interchangeable fuck units.

Cartoonists of Color Database



Cartoonists of Color Database
Pre-Launch FAQ

What is a Cartoonist of Color?
Cartoonists of Color (COC) is a play off of the acronym “POC.” POC stands for “person of color.” A POC is anyone who identifies as non-Caucasian (non-white). In these forthcoming pages, you’ll find comics creators of various ethnicities: African American, Korean Canadian, Indian Singaporian, Turkish American, Iranian British, Japanese American and so many more. 

Why a Cartoonists of Color Database? 
For visibility. For academia. For inspiration. For community building.

How can I submit my info to this database?
To submit a creator (yourself or anyone), please fill out this form.

When will you share this list with the public?
I’m hoping for the site to go live by Winter 2014 (but no promises!).

Who are you and what are you getting out of this? 
My name is MariNaomi and I’m a half-Japanese indie comics creator. I’ve been makingautobiographical comics since the nineties. I started this list for my own purposes, intending to reach out to other POC creators for an article I’m writing. As the list grew, I was amazed at how many of us there are. I knew of about thirty offhand, and was shocked as the numbers climbed into the hundreds (700+ at the moment!). I found this both inspiring and disparaging, having heard the sentence “What POC cartoonists?” so many times over the years.

What can I do to help?
If you’re a POC comic book creator, please fill out this form to submit your information to add to the database. If you’ve got experience doing data entry (and have access to Dreamweaver) and you want to volunteer your time to help update the database, please send me an email

This is a labor of necessity (I’m reluctant to call it a labor of love, since that’s what my comics are—this is important, but data entry is less fun than drawing), so forgive me if I’m unable to respond to your requests right away. My main prerogative is to create my comics, and help my publisher promote my new book. Even so, I’ve spent hours researching and compiling this list, and will continue to do so.

Thanks for reading, and I hope you’re as excited as I am about this list!

Spread like wildfire. 


… AND THAT IS THE WAY I MAKE FIRE! Simple and messy “how to gry”.
I will add quick smoke tutorial / step by step too Just wait. \o/

EDIT: Sorry for small images >8C I am not good with tumblr image sizes and I have never understood them. But by copying the image URL you can see bigger sized images!

Speaking of comics expertise, dude, congrats on being an Ignatz juror this year! What were some positives from the process? Any good takeaways from the experience?

— Asked by hipogram


The wildest takeaway is that I could do it all day. I read comics on the subway, carried them in my shoulder bag all day, read webcomics at my desk while eating meals, read anthology short stories in the bathroom. I could just read comics in an amphibious manner all day long, switching from format to format as the rest of the day goes by.

Practical lessons:

-webcomics can feel overwhelming but I just waded in and read them in a “grazing” fashion.
-read webcomics on the iPad, they feel way more comfortable than hunched over a desk computer.
-but also read webcomics on a desk computer while eating lunch/dinner.

-minicomics are easy: it’s always an ok time to read minicomics. Beware reading unknown minicomics on the subway. The person next to you might get a surprise!

-don’t read comic anthologies all at once. Treat them like coffee table books. Read one story and do something else. Use bookmarks in all comics anthologies. Read the stories on order but over a period of time. You do the individual stories no favors by trying to blaze through the entire book in one hungry sitting.

-graphic novels often have chapters but I preferred to read them in one sitting each. Just too many books to stop and start.

-become good at “weighing” books. Not literal “weight,” but learn to estimate a book’s comics density. You can tear through a 200-page graphic novel on a 30-minute train ride. Another 200-page graphic novel might take you 2 hours.

Big lessons:

-There’s a lot of work out there. It’s astonishing.

-A lot of people are working on the same things that you are personally interested in. Multiple people are working on similar projects at the same time. Learn not to see it as a competition or a threat and learn to embrace the fact that people are interested in similar subjects.

-Learn to appreciate the difference between what you, the cartoonist, would do and what this cartoonist who you are reading did do.

-There is value in the stuff that you don’t like.



— Answered by darrylayo



Pencil/Cosmetic Bags Preorder & Giveaway!

Recently, Emily was sweet enough to help us figure out how to make small bags! We’ve ordered a starting batch to test the waters with selling them, so here are preorders! 

Bags are 5 x 8 inches, printed on durable 600d polyester fabric with a zipper enclosure, and smaller zippered pouch inside.

Preorders: $12, will be open for 2 weeks, and include a random free charm! After preorders, the charm will no longer be included, and prices may rise to $13-15 depending on demand.

Giveaway Rules: reblog up to 2 times. Two winners will be picked at random all rebloggers on August the 31st, at 9:00pm EST. Winners will given one bag of their choice (without charm).

New items coming to the 13crowns shop!!!! 5x8 pencil bags. Kicking it off with a give away! or if you want to pre order that’s fine too <3 

Hi! I'm gonna be doing my first artist alley in october and I was wondering how many copies of each print you would suggest making? Its a 3-day con and the prints I'm drawing are from animes that are pretty popular so I wasn't sure how much is a good amount

— Asked by astrobank

Kiri: Personally, I wouldn’t make more than 5 of each thing, maybe 10 if you’re really confident in the piece. When in doubt, always lowball. It’s better to sell out and have to print more than to be stuck with 50 prints no one wants because you overestimated things. Once you’ve been to a few shows, you’ll have a better idea of what works for you and will be able to adjust initial print run numbers accordingly.

Nattosoup: I’m the odd one out of the three in that I really don’t do prints, haha.  I think that if you’re going to sell prints, you should probably have a variety, so that when people come to you, that’s what they’re coming to buy.  I agree with Heidi and Kiri that lowballing for a first con is probably a wise idea, and I’d definitely keep track of not only what sells for you, but what seems to sell for others.  Take note what demographic is doing the actual buying, not just the wanting, and what the demographic with the money wants.  Your first convention selling (heck, your first YEAR as an artist in the artist alley) is going to be a learning process, so don’t feel too discouraged if sales are low.

I also recommend that you have a few smaller items that you can mass produce and sell at a lower pricepoint to attract customers who might not buy prints (I’m one of those people, so I know they exist), or for people to cheap/broke to buy prints.

Goodluck at your first con!  I hope you do well, and I hope you learn a lot.

HeidiBlack: This is also going to depend on how many different print options you have.  if you have 10, 15, different images, then I would say 5 ish of each.  If you’ve got 20, 30 different images, maybe 3 or 4.  if you have just a few different images, then maybe 10.  So really, I guess I would limit the overall number to less than 100 prints total?  Its always easier to have too few I feel like, and just go home or even make reprints if you really want than to have leftover stock.  But it also depends on the price you’re getting them at and how far you have to travel.  Sorry if this isn’t helping at all.

— Answered by howtobeaconartist

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