If you're studying to be a comic artist, don't miss @David Finch's course that came out on presale today - Creating a Comic Page. btw I'm giggling like a little girl right now because I'm so excited about today's livestream. I've been officially made into a superhero.. Drawing Superheroes with David Finch (LIVESTREAM)

I created this character of our dog, Marlow (RIP), who LOVED water. This is supposed to be a gouache painting for my wife but I'm not satisfied with the character design. I can't really pinpoint what is off so would appreciate any guidance. Thanks!

A couple of pages that I filled during work.

So probably you guys have already seen my recent two spreads in this channel and I finally decided to push through the third one. Been tired and my allergy going on is getting me into a low energy state :/ I feel the texture is a bit finer than what I wanted so it appears a bit noisy at some places. However I feel it's my best looking so far in terms of contrast and layout. What do you guys think? I'm probably gonna do one or two more spreads like this and call it a series, so I could more or less solidify my workflow so to speak.

Hi there! It's the first time I'm starting a thread out here. Made a little illustration of God creating a tiger. The idea struck me and I could not help drawing it

A couple of months ago I asked you for help with the composition of some pages. Thank you very much, the result was far beyond my expectations. Over the next few days I will bore you with new storyboards since your help with these pages has been so valuable and useful! Thank you very much, it's nice to have a community to ask for advice! <3

Just some random sketching in the evening.

I am going to Post here the more Cartoony traditional stuff from me. Feel free to give some serious feedback and critiques! First 4 Pieces done in Watercolor&Gouache+Ink

Hey, everyone! :) Here are some of the cartoons drawings I've been making lately. There's a few more on my website (liandro.art/portfolio) Feedbacks will be warmly appreciated!

Hey, people! Here's a new batch of cartoons I've worked on recently, thought it would be nice to share them with you guys. There's also some more stuff at http://www.liandro.art/en :D

Hey, guys! 😄 I’m working on this piece now and would love some honest feedbacks. Idea, composition, style, gesture, shapes, forms, light, colors… anything feedback-worthy that pops up to you is valid! Hope to get some help. Thanks in advance! 🙌🏻

Hey guys I finally finished the 5th spread of this project, which concludes the planned sequence and I find myself more comfortable doing shading like this. I'm still not very comfortable with drawing human and clothes, especially regarding pose and folds. I think I should do some silhouette practice to get more comfortable with how a human look like when doing various stuff. As for clothes and folds, I'm not quite sure what will look better. I tried actually mapping out all the shadow area shapes and shade them accordingly but that looks pretty stiff, so I may need to look at more artist on how they do clothes. Otherwise I'm doing okay... Composition/value distribution wise, you can probably spot I'm lazy at some places and some shapes got muddled, but overall they turned out better than I expected. Please give some thoughts on these, and I do recommend people who is interested in drawing to do some more "lengthy" stuff than quick practices, I think I benefited a lot from doing this :D (I don't think I can re-order the image list...)

I´m trying to find a very specific approach to digital paint, so I´m just gathering references of my favorite artists and art and try to apply something they did in a pleasant way :)

I've got a comic being published by CEX publishing that's going to be in stores on Wednesday. It was originally written as six books, but is getting released as three double sized issues. I drew it and co-wrote it with Bryan Richmond. Every book has a variant cover, so there are six covers in all. This coming out is a bucket-list thing for me. It's something I always wanted to do, and now it's happening. It feels good. I don't expect to make a lot of money from comics. It's a tough industry, and most indy comics don't garner the shelf space to sell well in comic shops. The effect comics have made on my career, however, has been profound, if more indirect than cash in hand. The chief benefit for me has been that comics have made me a better illustrator. It's one thing to draw a character once or twice, but it's entirely different to draw that character over the course of six issues in a variety of settings, while conveying different actions and emotions. In a recent podcast, Stan and Marshall talk about the book, "The Talent Code." In the book author Daniel Coyle, talks about how Brazilian soccer players play a game called Futsal to become dominant in soccer. Futsal is played in smaller spaces with a heavier ball, and less players. Futsal demands more control and precision than soccer and players get more reps. What futsal is to soccer players, I believe comics are to illustrators. A typical comic will have multiple characters and environments that have to be drawn from every angle near and far while conveying a story in an entertaining way. Making comics has forced me to obsess over fundamentals because that's where the solutions drawing problems can be found. I thought I'd share what my experience with it in case anyone wanted to give comics a try.

Someone on Twitter asked about process for this of us that write and draw our stories. In my case, I co-write the Space Corps with Bryan Richmond, but the process is the same when I'm doing it on my own. In this case, Bryan and I work out the outline together. This part can be on any scrap of paper. In this case the outline is from issue three, since I can't find what I wrote issue 5's outline on, but it would have looked the same. I then then type the outline into a photoshop document. From there, I start roughing in the comic page by page. I don't necessarily do them in order. I start with the ones I see in my imagination the clearest, and put off the ones I'm not sure about until last. I write the dialogue write into the document as I go. Doing it in this way, I can see from a global view how the pace of the story is working or not working. It's easy to move scenes around or revamp altogether if they're not working. I picked this up from Scott McCloud. He did a presentation on his process when he was doing his book tour for The Sculptor, have been using it ever since.

Hi, I did this animation. Do you have any tips? https://youtu.be/W47jMm22Jhg I went through the Animator's Survival Kit last year and now I'm revisiting animation, to further develop my skills. I applied the disney flour sack exercise to a short story I have in mind. The location is a store and a girl comes to purchase an item. But as the owner of the store ascends the latter to get the item from the shelf, the latter breaks. The story revolves around him trying to get to the top of the shelf. The part I animated is when: he looks at the piece of paper, given to him by the girl, where the number of the item is written. He looks to the top of the shelf, climbs the latter, finds the item and reaches for it. After this the latter will break and he'll fall. My goal with the exercise was to practice the animation process suggested in the Animator's Survival Kit. The animation took roughly 10 hours, spread over two weeks, to make. Before this I practiced timing and spacing with bouncing balls. I started to feel more comfortable with it, so I moved on to focusing on process as well. I wrapped up my bouncing ball practice by doing this animation. https://youtu.be/miINF95TUAg Any feedback on it would be appreciated as well :) Thanks in advance!

So I just finished another spread of my helicopter thing... I'm basically doing this as some sort of test to see if I can do shading comfortably with some painting knowledge. Some of you guys may have already seen my last one. I think I did this one a bit too dark, maybe I could use some lighter shapes to better hint the structure of that helicopter. And I'm not very proficient in representing various textures, otherwise I think I did okay :D. Any opinions on how I should look to improve? I'm kinda struggling with more "free form" textures as seen in a lot of Toppi's works, but I don't think I visualize that very well. And sometimes it's good to leave lighter areas in shadow, like the one I did on the blades, but it's more of a hit or miss for me tbh. Any ideas?

When you look at full length comic books/series, manga, or similar, it seems that in addition to the actual author or creator of the work, there is always an army of people behind them to actually produce the work, long before the publishing process even starts. Assistant artists for certain pages or frames, inkers who go over the original creator's rough or penciled sketches, colorists, artists who specialize in things the creator does not such as environment (since few artists are masters of all...seems comic artists either need to master "everything" or have others contributing to the work) etc. I was hoping someone could point me to some kind of successful series of comics (not quick draw webcomics, like full length detailed comics) or otherwise that were produced by a single creator (excluding the publishing process). Or is the stuff I described above part of the publishing process, and the original creator typically will just submit rough drafts of the art and writing? As someone who does not have an army of people working with me, I would still like to eventually create my own series for submission to publication, but it's pretty discouraging when I see so many examples of that not being possible with only a single person behind the work :)

I've read tons of comics in black and white... but I'm looking to expand my library and see what else is out there. Do you have a favorite comic with beautiful colors? Striking colors? Ominous colors? I'm especially interested in comics that are produced by a single-person or small team! Flat or partial colors also work; what I am especially trying to study is the marriage of linework and coloring :) As an example, I LOVE Calvin and Hobbes (I know, not exactly an obscure pick). Bill Watterson's vibrant watercolors plus juicy inkwork packed with character -- they're a perfect combination!