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Thread: Ask Loston (Dr. Stupid Jr)...

  1. #631
    [SUPPORTER] Bruce Lee's Avatar
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    Quote Originally Posted by Joopis View Post
    Does the industry suck?
    Also, do you think I can get anywhere without having to go to school for it? I would have liked to have gone to the Joe Kubert School of Art, but I'm poor and even student loans can't get me there. I live in SC, so it's quite far away.
    I understand that if I'm good enough, it'll show in my work, but does having connections impact whether I get published or not?
    I'M SO LOST :C
    Every industry sucks. You still have to deal with death and taxes, and all that. Wealth can't solve the suck problem. Only attitudes can do that. It's all a matter of perspective. It's up to the individual to determine how they want to see things. Is everything in comics great? No. It never has been, and it never will be. Personally, I think life's full of good things. Along the same lines, the comic industry still has good things to offer. You just have to figure out where to look for the good.


    As far as the other question, sure, having connections certainly does matter. A great deal. Knowing people is important in regards to getting work in any industry. The comic book industry is no different. You have to show you work to editors--people who have the ability to hire you. If they're not made aware of you and your talent, they can't and won't hire you, will they? Don't hold out for editors to come and pound your door down either. You have to go to them. They won't come to you. If you want to work, you have to introduce yourself to editors, and show them what you got. Keep your portfolio of brief--1-4 pages is plenty to show an editor. Never show much more than that, and show your best work only. Don't bother if it's not your best. Make sure they know how to contact you, and tool your portfolio to the sort of work they publish. If you fail to impress, try again later, after you've worked up new samples. Keep going until you get work. Otherwise, look into self-publishing as an alternative.
    Last edited by Bruce Lee; 04-22-2014 at 06:56 AM.
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  2. #632
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    Any new questions?
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  3. #633
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    I have a question! I've always loved the artwork in role-playing books. I've checked out your website and stuff and know you worked on a bunch of them. I was always curious about the process for those pieces.

    Just using Star Wars as an example, would they ask for something specific like "We need a stormtrooper with TIE-fighters in the background and destroyed droids at their feet" or just general guidelines like "This is the world you're working in, show us some stuff and we'll see if we like it."

    I realize there's a lot of room in between those examples and every project could be different, but hopefully you know what I mean =)

  4. #634
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    That's a great question.
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  5. #635
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    Quote Originally Posted by RoboMike View Post
    I have a question! I've always loved the artwork in role-playing books. I've checked out your website and stuff and know you worked on a bunch of them. I was always curious about the process for those pieces.

    Just using Star Wars as an example, would they ask for something specific like "We need a stormtrooper with TIE-fighters in the background and destroyed droids at their feet" or just general guidelines like "This is the world you're working in, show us some stuff and we'll see if we like it."

    I realize there's a lot of room in between those examples and every project could be different, but hopefully you know what I mean =)
    Usually I'd get a description from someone in the art department like:
    An R2 unit projects the image of an alien smuggler on the wall of a Rebel base. A handful of Rebels look onward with interest.

    or maybe:

    A lone stormtrooper tries to saddle a horse-sized, iguana-like creature in the desert of a nearly barren world. On a ledge above, behind the trooper, a hooded bountyhunter watches the scene undetected.

    and sometimes I'd receive something like this:

    A female jedi cuts her way through a metal door marked: "Weapons Locker."

    Sometimes more information, sometimes less. If I had questions, I'd usually just call or email them a question like this if I thougth it necessary:

    In illustration #2 (with he female jedi cutting through the door), does it matter if the jedi is a human or can I make her a Twi'Lek or something else?

    That's pretty much how those kind of things are done normally.
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  6. #636
    Master of Miniaturization Ace Corona's Avatar
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    Loston, you wrote:

    -Raphael Kolinsky Red Sable Series 8408 and 8404 Brushes. I like both series of brushes, preferring the #3 and #2 brushes from each series. Brush inking is my preferred method of inking.

    ******************

    I want to buy two brushes, I can't buy all four, which two would you recommend out of the Series 8404 #2 and #3, or the series 8408 #2 and #3?
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  7. #637
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    Quote Originally Posted by Ace Corona View Post
    Loston, you wrote:

    -Raphael Kolinsky Red Sable Series 8408 and 8404 Brushes. I like both series of brushes, preferring the #3 and #2 brushes from each series. Brush inking is my preferred method of inking.

    ******************

    I want to buy two brushes, I can't buy all four, which two would you recommend out of the Series 8404 #2 and #3, or the series 8408 #2 and #3?
    I'd go for the 8404s, #2 and 3, Ace. In the beginning, you might want to rely more on your #2 to produce thinner lines, but once you gain more skill, you'll want to do more with a #3 because the #3s hold more ink in them. Therefore,less dipping, and more time inking on the page uninterrupted.
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  8. #638
    Master of Miniaturization Ace Corona's Avatar
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    Thanks for your help Loston, my brushes just came in the mail today. How should I care for them the first time I use them?
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  9. #639
    Normally I wouldn't butt in but, looks like Loston's booked up and I hate to see you ruin a good brush before you get started.

    The TEN commandments

    Rule 1: Never "break" the bristles. When new, brushes are covered with a hard candy shell made of acerbic gum. Do NOT twist the bristles free. SOAK the gum out. This can take as much as ten minutes the first time. Take the time to do it right.

    Rule 2: NEVER allow a dry brush to come in contact with ink! While there is a technique called "dry brush", it uses a wet brush. Keep a jar of water next to the desk (NEVER ON the desk. That's a safety issue and bad juju) Soak brush thoroughly, push excess water out by wiping against the inside lip of the jar, blot bristles against a clean absorbent rag. Now you're ready for ink.

    Rule 3: When dipping into ink, never dip further than half way. Better yet, never dip more than 1/3. A brush is a mop made to absorb, there's more ink in there than you think and you know where to get more if you need it. A handy trick is to never fill the bottle with more ink than can cover 1/3 the bristles. Now you can dip straight to the bottom of the bottle and never overload the brush.

    Rule 4: NEVER allow ink to touch the ferrule (the metal band that holds bristles to handle). If it does, rinse thoroughly immediately. Once ink dries in the ferrule you're smurfed. The bristles will no longer come to a point and the dried ink will be a magnet for more ink and now you're extra smurfed.

    Rule 5: Rinse out ink constantly. To rinse out every time before dipping may not be required but, is not excessive. Certainly every couple of minutes, more often in dry climates. Ink is viscous, relatively quick to dry and waterproof once dry.

    Rule 6: Never allow a brush to dry with ink in it no matter how diluted the ink. If you need to switch instruments or take a break, rinse thoroughly, load with water and hang upside down (in a brush holder, do NOT let point touch anything) or lay flat. Keep your eye on the brush, if the distraction takes longer than you thought, load up again or wash it.

    Rule 7: Wash thoroughly after every use. Loston likes shampoo, I prefer "the Masters" Brush Cleaner and Preserver in the flat wide tub.

    Rule 8: Never allow the brush to dry without a setting agent. You want to recreate the hard shell the brush came with. Loston likes hair conditioner, I stick to "the Masters". Once clean, work up a filmy solution (not lather) and then roll the brush against a clean rag. Check for, and straighten out, any bends, make sure it comes to a perfect point. Dry upside down or flat.

    Rule 9: No not allow a wet brush to stand bristles up. You do not want water to become trapped in the ferrule or to absorb into the handle. Either will cause mold and... you're smurfed.

    Rule 10: uhh... Mind your mother and brush your teeth.

    The SNAP Test

    Normally I would say never buy a brush without test driving first... but, we're too late for that here. Still, you want to test the brush in case it needs to be returned.

    SOAK out the gum (do NOT twist bristles) Load brush with water. Find a spot ( a towel, pants leg, out the window) where water spray will do no damage. Snap your wrist. The bristles should come to a perfect point. If it fails to point perfectly the brush is dead; not sick, not wounded, DEAD! Sleeps with fishes, food for worms, DEAD!

    If it does point perfectly, don't trust it, do it again. If it points a second time, don't trust it, do it again. If it points a third time, it's alive and good to go. Note that's three times in a row. ANY failure to point = dead.

    Perform the snap test after every cleaning, prior to setting. If it fails to point you're not clean or, still have soap in the bristles or it's dead. See if further cleaning or soaking cures the problem.
    Last edited by Smitty; 05-04-2017 at 02:17 AM.

  10. #640
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