Work Bird thinks Colleen should spend the horribly hot days indoors drawing more comics…
The Facebook fan page is here.
Work Bird thinks Colleen should spend the horribly hot days indoors drawing more comics…
The Facebook fan page is here.
Even though I take time to do stupid things like make pictures in Photoshop.
This may sound like an odd admission, but it’s been years since I have felt good about my work. For most of my life, I have had no trouble staying on top of things, keeping long hours, being highly productive. I enjoyed hard labor.
Others call it “workaholic”: I call it “work reveler”.
But I hit a wall a few years back, and my Gotta evaporated.
Lots of reasons for the old Gotta to go, most of them personal and health related. So, no further explanation required, I guess.
But boy is it scary to realize you can’t remember things from one hour to the next. One minute to the next.
I used to dazzle friends (I like to think) with the ability to remember long strings of numbers, and I’d roll out pi like a party trick. Then I couldn’t remember my four digit pin code. I slept badly, was lethargic, had no inspiration. I’d try to draw, and couldn’t remember how. I spent most of my day shuffling about looking for reference – which felt kinda like work
Or I’d blog – which felt kinda like work.
But real work didn’t get done.
About a year ago, the fog started to lift. And fog is exactly what it felt like…grey days.
For the first time since 2006, I began to produce real work. Slowly, the Gotta came back. I sat down to draw and drawing felt good. I sat down to write. And writing felt pretty good, too.
Still, I couldn’t keep those old hours, and didn’t feel the old energy. I wondered if the old Gotta was gone forever.
Is this what middle age feels like?
The last time I had the Gotta was 2006.
Here is what Gotta is like.
I get up at 8 AM.
Pop out of bed. Spring. Spring loaded. Can’t wait to get moving.
Out for an hour or more of exercise, or, if the day is going to be very hot, I put that off until late evening.
Grab a breakfast drink, and go draw. Ten minutes to make sure tools are gathered and papers ready. Later, I take an hour or so to answer email, web surf, blog. An hour of the day goes to filing and admin duties.
I have no trouble feeling motivated for ten hours or more. I feel more energy as the day goes on, even when my hand hurts or my eyes are sore.
About 6 or 7 PM on a hot day. I get out and get some exercise. When I was jogging regularly, that meant two hours of running. Now it’s two hours of yard and garden work. Last night it was three hours. I came in at 9 PM.
After a shower, back to drawing. I draw until about 1 AM. I get most of my layouts done late because I am relaxed. Fine motor control work gets done early in the day.
That feels good and right to me. That is the way I like to live.
Sometime around late 2006, this life evaporated.
I had some fits and starts at Gotta in 2008, but since then, grey days.
The things that buzzkilled my Gotta were raptored by Work Bird. It’s 2010, and I feel normal.
Lately, every day is a Gotta. And I am very happy about that.
If other people want to think of this is workaholism, then fine by me.
It’s My Precious.
Work Bird is not happy with this week’s performance. It is going to be a long weekend.
Acephalous made Work Bird. Work Bird made Acephalous write a dissertation.
Work Bird made me feel guilty for going out for ice cream. Then Work Bird made me come home. And then the ceiling fell in. No, really. The ceiling panels fell in. They hit me on the head.
Work Bird has mighty powers.
No more ice cream until I make Work Bird happy.
Please don’t hurt me, Work Bird.
(original photo credit: Jim Knight. If I could figure out WHICH Jim Knight, I’d post a link. And thank him. This Jim Knight seems pretty awesome.)
The Facebook fan page is here.
This post explains why cartooning is sometimes at its best when the artist doesn’t rely on photoreference. (EDIT: I have not read the comic. But the article makes valid points based on the examples.)
I use a lot of period reference for my work, because on projects like Gone to Amerikay, I must present a convincing picture of a particular time and place. But I use little photo reference for the figures. My custom is to reference the figure photo for no more than the initial rough sketch, after which I toss it and draw from memory.
Some years back, I tried heavy photo reference for my figure work, and not only do I don’t think it improved my drawing or storytelling, it made me neurotically concerned about using reference. Eventually, I became so dependent on photos, I convinced myself I could not draw without them. It took me well over a year to wean myself off the crutch.
I know some cartoonists who never draw without tracing. I’ve gone back to my custom of using reference and then drawing something which looks almost nothing like the reference. I am so much happier.
I think that the rise of computer graphics has decreased the impact of realistic images. Almost anyone can scan in some photos and use filters to make a comic book. Almost anyone can learn to use a Poser program.
One of the interesting things about SF fans who dabble in comics reading is that they often love highly rendered, illustrative comic art no matter how bad the storytelling is. I once heard a woman go off on a painter because you could see his brush strokes.
Comics fans are far more likely to appreciate design, line, and storytelling style.
This is a problem publishers need to consider when they try to market comic adaptations of books to people who are not comics readers: they need to take into account how differently non-comics readers process the pictures.
People who have no understanding of comics won’t notice the lousy lettering in the Twilight manga (and will become hostile when you do, you comic book nerd,) or the stiffly rendered figures and forms and very bad storytelling in some of those other novel adaptations.
But a non-comics reader will look at lots of color or hatching and they think they are looking at Great Comic Art.
Word balloon placement, storytelling…it’s like trying to explain pitch to someone who is tone deaf.
Work Bird swoops in. I must flee.
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