The DC Comics Guide to Digitally Drawing Comics ( PDFDrive ).pdf

(11572 KB) Pobierz
The material in this book was first published in print in 2009. It has been
reissued in eBook format, with no editorial changes, in 2013.
Copyright © 2009 by DC Comics (print edition)
Copyright © 2013 by DC Comics (eBook edition)
All related characters and elements are trademarks of and © DC Comics.
WB SHIELD:
TM
& © Warner Bros. Entertainment Inc.
(s13) All artwork, unless otherwise noted, is by Freddie E Williams II
Published in the United States by WatsonGuptill Publications,
an imprint of the Crown Publishing Group,
a division of Random House, Inc., New York.
www.crownpublishing.com
www.watsonguptill.com
Library of Congress Cataloging-in-Publication Data Available eISBN: 978-0-
8230-0832-2
Executive Editor: Candace Raney
DC Comics Supervising Editor: John Morgan
Art Director: Jess Morphew
Editor: James Waller
Designer: Kapo Ng@A-Men Project
Cover Illustrations: Freddie E Williams II All rights reserved.
v3.1
FOREWORD
BY BRIAN BOLLAND
I was told the other day, much to my amusement, that I’m a “dead artist.”
Apparently a page of comic art that I drew twenty years ago was sold to a
collector for a surprisingly high sum of money, a sum that’s usually reserved for
an artist who won’t be producing any more artwork … because he’s dead. (Or, as
you Americans like to say, “passed.”) Well, I’m currently still in the land of the
living and hope to be so for a little while—but, no, I’m not producing any more
artwork, at least not in the real world, and haven’t done so since 1998 when I
went—gasp!—completely digital!
Since announcing that I do my work solely on a computer, I’ve detected a
number of curious reactions in people. When I’m asked what I do for a living, I
tell people I’m an artist and for a while bask in their varying degrees of surprise
and admiration—up till the moment when I say, “I do it all on a computer.” At
which point I can see the glow of enthusiasm in their eyes fade, because doing
art on a computer is somehow … cheating. Presumably, they think you press a
button and the computer draws it for you.
Also, if you’re an artist, it’s assumed that when you’ve completed your work
process you should have a physical artifact to show for it. Something you can
hold in your hand or hang on the wall—or, if you’re fortunate, sell to an
enthusiastic collector for lots of money. Not having artwork to sell is the biggest
—and to me the only—reason for resisting the computer.
As long as there have been comics, they’ve always been “digital”—by which
I mean at any one point the printing ink was either there on the page or it wasn’t.
The printing process dictated that you had black and you had white, and colors
were made up of tiny dots of the three primaries: cyan, magenta, and yellow, just
the way they are today. We, the artists, were required to provide drawings that
complied with those digital restrictions. If we wanted something other than black
or white in our drawing we had to do it with shading, scallop-shaped parallel
lines, or cross-hatching, any number of techniques that gave the printing
machines what they wanted. The artwork was just an early stage in a mechanical
process. It was merely information given to a machine that enabled it to produce
the glorious thing itself, the printed page.
I work entirely in Adobe Photoshop. (Other applications are available.)
There are lots of nifty things that you can do in Photoshop that you can’t do with
pen and ink. You can enlarge the image or flip it. You can paint a lighter color
over a darker color, and you never have to clean your brush or buy a new one.
You have a special tool that allows you to draw curves. You can lasso bits of
your drawing and move them about or change their size and, at a stroke, you can
undo any mistake you make. There are many other things—too many to list here
—but try as I might I’ve never managed to find the button that gets the computer
to draw the picture for me, so when the page is finished I can honestly say that it
was done by my own fair hand and not “computer generated.”
Computers have removed the language barrier between the artists and the
machines that print their work on paper. They’re clever tools, but they’re not for
everyone. I recently asked a professional artist if he’d ever considered working
digitally, and he replied, “Nah. I think I’ll go on getting my hands dirty.” Well, I
don’t know about you, but I’m very pleased he said that and glad there are many
more like him, but for those of us who are not particularly wedded to paper or
ink or the endless washing out of brushes and pens, the possibilities of digital art
—as this book will demonstrate—are endless.

Plik z chomika:

Inne pliki z tego folderu:

Inne foldery tego chomika:

Zgłoś jeśli naruszono regulamin