So I’m worrying I might be boring the hell out of all of you with Jung and archetypes and odd archaic symbols and mystical imagery cryptography of late…

So here’s something a bit more fun that’s been rolling around in my head as I was gathering up ...

Howdy!

I was going to go over the structure of a comedy story, based on the fine book “The Comic Toolbox” by Jason Voorhees.

If you have the interest, I can go into the structure outlined by Jason; he lays out a few different options that you may find useful ...

LISTEN!

The most important thing when doing your comic is to maintain your enthusiasm- THIS is what helps you keep working, not feedback, not praise, not fans, but your own internal passion. Feedback is great, but you can become addicted to it and when it's not there or there ...

They say that how hands are drawn is a good indicator of the technical expertise of the artist.
Makes sense!

Hands are definitely the most varied parts of the body, capable of the most diverse configurations. Add in the always-challenging angles and forshortening and you have a very difficult hill ...

Artemisia Gentileschi, Judith beheading Holofernes, 1611-12, oil on canvas, (Museo Nazionale di Capodimonte, Naples)

There are several different ways to read a painting. The perspective of the reader adds a new insight to the history behind the art. For the purpose of this article, I have selected Judith beheading Holofernes ...

So last time I talked about the little extras that can go into dialogue and how that dialogue can be presented on the page of your comic, so I was thinking today might be good to continue in that general trajectory and talk about little extras in your character design ...

Every now and again, an acquaintance or friend who ain't as deep in comics culture and creation as I am (which is to say they ain't really got much of an idea about comics but have seen the Sunday funnies page and know that Batman is a thing ...

So last week I talked about the basic principles of dialogue, so the recipe to the cake itself. But now I’d also like to talk about that cake’s icing and trimmings- what will make the dialogue we’re writing be fun and distinct and pop in our comic ...

Aight y'all, go ahead and fasten yer proverbial seat belts, on account of we got a lot of ground to cover with this one! Actually come to think of it there ain't really too many proverbs about seat belts; more like I'm stretching out a turn of ...

In any work of art where storytelling is concerned, dialogue (should) play a central part. The relatability of the characters hinges on how they behave, and a lot of that behavior is verbal, especially in movies, theatre and comics (but also books. And everything else.)

So how do we create ...