Jun 14, 2021
Webcomicers need to learn to draw and write in order to become webcomicers. There are many other skills and also different ways to make webcomics, BUT most of us draw and or write. Here Tantz and I talk about terrible teachers of these skills and better ways to learn :) (Also, Jason from Friday the 13t is a big fat buttface)
Topics and Show Notes
When it comes to creativity it's a tricky thing to learn and teach, Mainly the most important thing is learning the raw skills you need in order to produce that creativity. A bad teacher will try and impose their own notion of creativity on you, use jargon, skip steps and basically not explain to you WHY you do certain things. Good teaching in creative feilds is about skills, techniques, tools, learning the terminology, and the reasoning behind things.
What were some of the worst and best expereinces YOU had when learning to draw or write? Who were the bad teachers, the good teachers, the bad lessons and the good ones?
This week Gunwallace has given us a theme to Necroblivion - The raw, bussing fuzz of distorted electric guitar over calm, almost celebratory rhythm driven music brings to mind the sounds of North African Tuareg band Tinariwen. This is quite a positive vibe and a very African sound.
Topics and shownotes
Fatman - https://www.theduckwebcomics.com/news/2021/jun/08/featured-comic-fatman/
Necroblivion - https://www.theduckwebcomics.com/Necroblivion/ - by Paneltastic, rated M.
Special thanks to:
Gunwallace - http://www.virtuallycomics.com
Tantz Aerine - https://www.theduckwebcomics.com/user/Tantz_Aerine/
Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean
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Jun 7, 2021
Taking on more than you can handle - i.e. James Cameron and JJ Abrams are good directors and writers but neither could handle the demands of a complex Sci-Fi project that needs full world building and internally consistent logic etc (Avatar and Star Wars). They're great with more simple SciFi that's based on 21st century earth and simpler stories, but epic SciFi was clearly a long way beyond the capabilities of either. We're talking about when WE have been caught taking on stuff we couldn't handle, how we dealt with that and also how other creators dealt with it too.
Nov 30, 2020
Coming up with character names isn't easy. It can actually be really, really hard! Tantz did a couple helpful Newsposts about it and we decided to spin that into a fun Quackcast about naming and names! The names behind stuff often has interesting stories, the Quackcast itself is no exception. When Wowio told us we had to do a podcast back in the day we tossed around a few names and the one they came up with was “Quackcast”, because of the whole “duck” theme we have going here. I protested because there was a highly regarded skeptical medical podcast with that name already run by Dr Mark Crislip, but I didn't have any real say and so the name stuck! When I DID have the power to change it, it was already way too entrenched.
Apr 8, 2019
Today we're talking about all the ways nightmares can be used in stories. This is based on a newspost by our very own dreamboat Tantz Aerine. Nightmares are great for foreshadowing through premonitions, forcing characters to confront things and change their minds, ratcheting up tension in a story and all sorts of other useful things that you'd never consider.
May 29, 2017
In this Quackcast we cover the Importance of good linework in comics and different line techniques such as Herge's Ligne claire, the traditional thick line for characters and thin for everything else as exemplified in the work of Mucha, variable line widths as in Manga, solid blacks like in American comics, and complex lines like Durer or Hyena Hell. I really seriously thought I could get an entire Quackcast out of the concept and techniques of linework, but honestly I was struggling… Okay, so linework constitutes the skeleton that most comics are built on, with the notable exception of painted comics, photo comics, 3D and vector comic among others… But for most comics line is a pretty essential element. There are a lot of different techniques involved in the use of lines. Herge popularised “ligne claire”, which means that all lines have the same thickness and that there's no line shading. A popular style that I was taut was to have thick lines around characters and overlapping elements, with thin lines for internals and backgrounds. This is popular in a lot of manga, US comics and famously the work of Alphonse Mucha. Part of my technique on Pinky TA involves making my lines grey, so that when I set the line layer to “multiply”, the lines take on some of the background colours beneath them and don't show up as darkly as traditional black lines. The work of Hyena Hell on the Hub is interesting for her use of very complex internal shading line to build up texture and shapes, this can also be seen in the works of Albrecht Durer. Manga is notable for its extensive use of very stylised shading, crisp lines and the use of variable line widths for outlines, while American comics make heavy use of solid blacks for areas of shadow, basically extending the width of the line as far and as solidly as it can go. How do YOU approach your linework? The music for this week by Gunwallace is for The Wallachian Library. It's a dark, black future sounds, neon glows, pulses of energy and ideas, vectors and virtual circuits.Sorry, no link to this comic, the user deleted it from the site.
Mar 6, 2017
Carrying on from last week's Quackcast discussion on tips and tricks for drawing and artwork, we jump again into the topic and THIS time we have Tantz Aerine on board to lend her perspective and tell us about even MORE little techniques to use to draw better. It's an interesting, technical cast and bellow I've kisted some examples from our own work of what we talk about. Details discussed in this episode: Establishing shots, Facial lines, Scars, Wounds, Snow, Rain, Smoke, Fire, Explosions, Gold, Fur, and Eyes. Gunwallace has given us the music to the Fading World this time, it's an oriental procession into a snowy, twilit, exotic world, unbalanced, and dangerous.
Jun 20, 2016
For Quackcast 276 we had a discussion about the topics of time management, organisation and deadlines- all things essential to the practitioners of webcomics, and even more-so to people involved in webcomic collaborations! This is tricky stuff to handle, you have to balance your webcomicing with your other life activities as well as audience expectation for updates! And as you go on it gets harder and harder to stick with self imposed deadlines, so how do you combat that? Well one way is to make a Patreon account so people will put money towards you updating, That can make an excellent incentive to stick to a deadline, when there's money involved! Collaborations can be easy or hard to keep alive, as long as everyone is equally eager to take part and everyone wants it to succeed then you're good, if not then your group project needs a good leader: not someone who WANTS to be a leader, rather someone who's dedicated to getting the project DONE and needs to be the leader to make that happened, sort of like my role at Drunk Duck. They need to be willing and able to coordinate people and tell them what to do, handle their strengths and weaknesses right to get the work done. The last part to remember is contingencies for when things go wrong! What are your safeguards? i.e. buffers, finishing early so you've got extra time to work on the project if it needs it, have backup people lined up to do work for you, filler art at the ready, guest strips, maybe even simplified techniques or just posting line art instead. How do YOU stick to deadlines (if you do), how do you handle time management and organisation with your comics and collaborators? Gunwallace's theme music this week was Z74's Star Knights. It's An operatic swarm of hornets on a massed bombing run over enemy territory.
Jun 13, 2016
The topic this week was ALL Banes' idea! We talk about page layout: techniques to make a good, readable layout, and stuff to avoid. We have Tantz Aerine (greetings), Banes, and myself, Ozoneocean, chatting about how best to do page layouts, at least from our own limited perspectives. None of us are pros in this regard, but we've been doing comics for many years now and we've all developed some pretty decent ideas about how best to do it, in our own ways. Banes is mostly influenced by American style comics, which have more interesting layouts. Tantz and I were manly influenced by European comics, which tend to have a more conservative by very constantly readable style of “box” layout. On Pinky TA and Bottomless Waitress the majority of my pages are in a fairly standard box format, but every now and again I experiment with crazy shapes, overlapping panels, no panels at all, and even “infinite canvas” pages that work with the scroll function. Speaking of which we briefly mention Scott McCloud and the comic Heart of Keol, which uses vertically scrolling large pages. The music this week by Gunwallace was Wastelanders Anonymous, an epic classic rock tune with a lovely repeating upward base rhythm, soaring guitars and authoritative keyboard.