[comic] Gabriel, pg.6 [02-08-'10]

[Turnsky]

I find people who judge an artists current ability based on something that was created more decade ago particularly ignorant. They get bonus points if they accuse others of being lazy.

only if it's not compared to their so-called "current ability" and the disparity of what they could do then and what they can do now, if there's little or no progression in a decade or so, then they, quite frankly, are the ignorant ones.

and then they deserve every little artistic withering bon mot thrown their way.

No offense to whitefox's efforts here, but i find a guide to "how to talk to artists" to be a tad pretentious, not to mention long winded. I can boil it down to one thing: if you want to talk to an artist, here's how you do it in one sentence:

TREAT THEM LIKE A NORMAL HUMAN BEING.

if they're normal back to you, that's all good and fine, if they're a douche, treat them as such, if they're thick as two short planks, or have their head shoved up their backside, treat them accordingly.

It's that simple.

[Inumo]

No offense to whitefox's efforts here, but i find a guide to "how to talk to artists" to be a tad pretentious, not to mention long winded. I can boil it down to one thing: if you want to talk to an artist, here's how you do it in one sentence:

TREAT THEM LIKE A NORMAL HUMAN BEING.

if they're normal back to you, that's all good and fine, if they're a douche, treat them as such, if they're thick as two short planks, or have their head shoved up their backside, treat them accordingly.

It's that simple.

"Simple" is not the word I would've used to describe this situation. As an artist, you doubtless have some level of background from which to make a critique from, and it seems like you also have some common sense. However, common sense is starting to disappear (in America, at least), so people can't just say "do this" and it'll get done as intended. To some degree, the long-winded-ness is necessary to get those that don't have the common sense to figure out how to be less mean-spirited in their commentary to understand how to comment properly.

[joshofspam]

This is about the new page for Gabriel.

I notice how Gabriel seems to be alone while walking around and working. Climbing up to get his schedule, walking down one way of the hall while the others face or walk the other way, working high up alone while others just walk by leaving him alone to do their own work, and generally squeezing into things that he alone can fit into to do repairs.

It's almost seems like your vaguely hinting at he is probably all alone. Although he is passed by people every day.

[WhiteFox]

GT: The matter of objectivity has come up before... take a look at the comments on 2-3.

Absolute objectivity is impossible on many, many levels. Anything written by a person will inherently be subjective, as it comes from their point of view. Personally, I think it's more important to be polite than objective.

if they're a douche,

Turnsky, I would appreciate it if you didn't use this kind of offensive language here.

"Simple" is not the word I would've used to describe this situation.

...

To some degree, the long-winded-ness is necessary to get those that don't have the common sense to figure out how to be less mean-spirited in their commentary to understand how to comment properly.

Quoted for truth.

"How To Talk To Artists" may not be the most accurate title... Really, it's about how to talk to people, period: clarity, civility, and thought behind the words. It's using art as the main subject, tho.

I notice how Gabriel seems to be alone while walking around and working.

Every now and then, someone says something that makes you feel like you did something right. "Alone" might not be the right word, but there is a lot of distance between Gabriel and the workforce at large.

Thanks for reading, thanks for the comment.

[Turnsky]

*stuff*

Fair cop on the language thing.

even if you're polite to the artist in question, more often than not they might be rude back, either by way of being snide, arrogant, or just downright abusive. Or they get on their high horse and start blabbering on about how the folks aren't understanding "their vision" or "their way of doing things" or what have you.

the thing is this:

Drawing/painting/sculpting/photographing/whatever pretty pictures is art.

Writing is also an art in of itself.

Making a comic? is where the two come together to form a completely different beast in its own right. Lots of people don't understand that there are queues in design one needs to set out if people are 'to get it'. It's a form of literature with art attached, or it's art that tells a story, call it what you will, serialised art, perhaps? (yeah, i know it's "sequential" but who can think of that without thinking immediately of a comic by that name, neh?)

Whitefox, maybe you should make a guide that also serves the other end of the discussion, and not just those talking to artists, but rather, the artists themselves and how they should behave when dealing with others who choose to discuss various 'errors' in their work.

Because if memory serves, not a lot of folks (here, too - not naming names.) don't take criticism well at all, no matter how polite one is about it.

[WhiteFox]

...but rather, the artists themselves and how they should behave when dealing with others who choose to discuss various 'errors' in their work.

Turnksy, you have a plank in your eye.

[WhiteFox]

Whee, page five of Gabriel's comic is done. Joy.
http://www.furaffinity.net/view/5230382/ (FA)

I forgot how much I hate speech bubbles.

Anywhoo, comments appreciated.

[Inumo]

That's gotta be awkward, being as tall as most toddlers. I can't quite tell this, though... What's the cook dropping on Gabriel's tray?

Also, no wonder you've depicted Gabriel as distant from the rest of the crew.

[Turnsky]

...but rather, the artists themselves and how they should behave when dealing with others who choose to discuss various 'errors' in their work.

Turnksy, you have a plank in your eye.

sure, level insults at little ol' me, making yourself seem you have an entire telegraph pole in yours.

Bravo, good sir, i applaud you in your literary efforts.

whilst you have sought to knock me down from my high-horse, you should get down from yours, too.

i.e: just stick with the comics, man.

[llearch n'n'daCorna]

Turnsky, WhiteFox.

Cease the dick size wars, guys. Or I'll start joining in.

I'm sure you'd like that.


No, really.

[Darkmoon]

Oh, did I miss the flame war? How sad. *weeps*

[WhiteFox]

I'm really not interested in a flamewar.

Turnksy, I really do appreciate your comments. You are easily the one person on the board that makes the most constructive observations. When you talk in underlined bold all-caps, or get all high and mighty about how people get all high and mighty, it's hard not to take it as inflammatory. I could have handled it much better than I did.

If you have anything to say about Gaberiel's backstory comic, I'd appreciate it. I get compliments here and there, and they're nice, but they don't give me a lot to work with.

[bill]

It's gone.


Farewell, Sweet Post (and Sweet Poster)

[Lisky]

Wow, how have i put this off for like, over a week?!

Anyways, i'll start with some of the things that catch me first, and go on from there.  The postures and uniforms are looking good.  You're getting rather good at background as well, showing quite a bit of improvement building a sense of depth in the background, as well as the center of action.  This is especially apparent in the bottom left panel. 

A couple of things that do stick out are the slightly off head-shapes in the top left, with the feline and canine. The feline seems to have a bit to  flat on the far side of his head, while the canine in that first pannel seems to have a little to little definition around his muzzle... the bear serving meals looks good, though. 

The animalistic snarl in the top-right is great.  It's difficult to get duke to snarl, but you managed to capture and merge the human and animal posturing and facial features well. 

In the middle, where the bear appears to be giving an extra roll, the hand seems slightly mis-shapen... the pinky is a bit too long, and there seems to be a bit too much definition... the palm-lines seem to distort the depth-perception, at least, for me.

The flowy, yet starched uniforms look great, and the little details in that last panel are outstanding.  I love Gabe's use of his prehensile tail, and the little details in the clothing.

Again, sorry it took so long to get this written out... best of luck, and hopefully this was helpful.  Can't wait to see where the comic goes next.

[llearch n'n'daCorna]

The flowy, yet starched uniforms look great, and the little details in that last panel are outstanding.  I love Gabe's use of his prehensile tail, and the little details in the clothing.

Speaking of details in clothing, I note that Gabriel has rather more detail than the others - chains, bling, what-have-you.

I presume that this is significant, and that the actual significance will show up later. However - it occurs to me that the character that you draw most often has the most complex lines. Is this something you didn't think through fully, or just a challenge to yourself? ;-]

Just a thought or two in passing. I do like it, but it seems to me you might be setting yourself up for fail, is all. Most comic artists reduce complexity in the stuff they have to draw all the time, or so I understand, soas to make it easier to keep on time; this seems eminently sensible to me, so it's interesting to note you going the other way.

[WhiteFox]

Bas: TYVM, especially for commenting on the snarl, which I really wanted to get right; the overdrawn and irregular hand, which I ought to know better; and the outfits, which are a lot of fun.

People seem to really like that prehensile tail.

llearch: One of the main reasons I started the comic was to focus on shaping up my drawing and inking.

Artistically... Gabe's outfit is actually average complexity, and most everyone else (ie: background and secondary characters like Carrel) have simple designs. It's also not hard to draw, since the fabric is fairly stiff material (Theonor's robe-o'-drapery is much more of a pain to draw), and the pattern is laid out using simple measurements(ie: on the sleeve, the point that comes down from the shoulder reaches halfway to the elbow) that take out a lot of the guesswork.

It was a challenge to myself in one way, though: continuity. All the head wings, tails, and minor costume pieces I'd forget to draw in DSoF was just embarrassing. >_<

By the way: two things have already been mentioned in the comic that would explain Gabriel's dressier duds.

[llearch n'n'daCorna]

Oh, sure. I realise there's been at least one explanation already (not sure about the second, but hey)

My point was... I'm not sure which (of the two or more) it is. And I'm happy to wait and see. But, the complexity of his chest covering is more than the others, was all.

I shall remain happy to watch and wait.