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assignments 1 submissions
Hey, @Greg Broadmore thank you for the course!
I devoured the course in these couple days and I have so many more questions about the One Path book.
Were you and @Kristian Nee planning to have any Q&A session about this course?
Also would love to have a comicartist like who has read One Path to ask you questions about the story/panels and ideation. Maybe one of the Marvel guys?
Here some questions that keep me awake at night:
I grabbed the One Path physical book awhile back. I was scrolling through it, I almost left it on the shelf, BUT THEN the high rendered scifi-ish/gore pages between the story popped up and that hooked me in. What was the thought process doing those pages? Because those are really clever way to add tension and the "wtf" moment when you flip the page. Really rare I can say, but that was a cheff's kiss *mmmMua*!
Were those pages random imagination/ other concept that you slapped in to the story and was thinking that you work them in to the story later?
-
I was born in 90's and grew up on comics that were done really clean "lines, colors, gradiants", now days graphicnovel have really strong "texture" in the linework ect. One Path is filled with beautiful textures, I would love to hear did you get notes from editors to add more or get rid off some? Or any other editorial stuff, did you have to change much?
-
Did you give yourself some deadlines for a page/panel? Or did you look previous pages to see if they matched up the standard or something?
-
Did you finish the whole book first and then went to the publishing/editors or did you give smaller chapters or something else?
-
In the course info was written: "Real time drawing and painting demos, mistakes and problem solving included. " Was there going to be demos with talking through the actual process while drawing/painting? I would love to hear in the Pencil sketches the thought process.
I don't wait for written answers to these but would love hear in interview or chat!
Thank you so much and wish you pleasant upcoming Spring? in New-Zealand and for others Autumn!
LESSON NOTES
What's in Premium?
Relying only on structured assignments can limit your artistic growth. In this lesson, Greg Broadmore and Stan explain how to take control of your learning through personal projects. You will learn how to identify your weaknesses and use your natural interests to drive your progress. Greg shares his approach to drawing entirely from imagination instead of copying reference material. This method helps you develop a unique style and forces you to solve design problems directly on the page. You will watch Greg demonstrate this process as he designs a new dinosaur species from scratch. We also cover how to balance client work with personal fulfillment and how to maintain your creative focus.
Get the full lesson in the premium course.
DOWNLOADS
greg and stan.mp4
5 GB
ASSIGNMENTS![]()
![@teolindroos]()
Hey, @Greg Broadmore thank you for the course!
I devoured the course in these couple days and I have so many more questions about the One Path book.
Were you and @Kristian Nee planning to have any Q&A session about this course?
Also would love to have a comicartist like who has read One Path to ask you questions about the story/panels and ideation. Maybe one of the Marvel guys?
Here some questions that keep me awake at night:
I grabbed the One Path physical book awhile back. I was scrolling through it, I almost left it on the shelf, BUT THEN the high rendered scifi-ish/gore pages between the story popped up and that hooked me in. What was the thought process doing those pages? Because those are really clever way to add tension and the "wtf" moment when you flip the page. Really rare I can say, but that was a cheff's kiss *mmmMua*!
Were those pages random imagination/ other concept that you slapped in to the story and was thinking that you work them in to the story later?
-
I was born in 90's and grew up on comics that were done really clean "lines, colors, gradiants", now days graphicnovel have really strong "texture" in the linework ect. One Path is filled with beautiful textures, I would love to hear did you get notes from editors to add more or get rid off some? Or any other editorial stuff, did you have to change much?
-
Did you give yourself some deadlines for a page/panel? Or did you look previous pages to see if they matched up the standard or something?
-
Did you finish the whole book first and then went to the publishing/editors or did you give smaller chapters or something else?
-
In the course info was written: "Real time drawing and painting demos, mistakes and problem solving included. " Was there going to be demos with talking through the actual process while drawing/painting? I would love to hear in the Pencil sketches the thought process.
I don't wait for written answers to these but would love hear in interview or chat!
Thank you so much and wish you pleasant upcoming Spring? in New-Zealand and for others Autumn!
