National Graphic Novel Writing Month
June 2014
Asker viku123 Asks:
I've been considering uploading my art online for a while, but I've read so many cases of stolen art that it really scares me. I want other people to see my art, but I'm afraid of someone stealing it and claiming it as theirs. What would you suggest? Thank you :)
nagranowrimo nagranowrimo Said:


There are a few things you can do:

  • Watermark your work Create a transparent overlay to identify yourself as the creator. It can be a fancy logo or just your name and URL/contact information. This way, even if the image is lifted, your name is still on it. This is not a guarantee, however; there are people who will go as far as to edit it out. But it is a deterrent.
  • Low resolution upload It you create your artwork at a very large resolution, don’t upload the full-sized image, but a scaled down version instead. A raster image is harder to scale up (read: impossible) than it is to scale down.
  • Hide source files If your artwork is vector based, do not give access to the source files to anyone. Only upload a version that’s been converted to a raster file format.
  • Date stamp Generally, when you upload something to an online gallery, there’s always a date stamp which prooves that you were the first to post it to the internet.

If you find someone has stolen your work, you can report them to the admin of whatever site it’s hosted on (if it’s a private domain, report to their ISP). The methods listed above can be used to back you up, if needed.

Some quick tips on protecting your art when you send it out on the Wild Wild Web.

Also if I may add:

Watermarks: the further away you put a watermark/logo/signature from the edge, the better! You want it at a point where it can’t be completely removed with a simple crop. Here’s a piece that does this pretty well.

Resolution: the Tumblr dashboard and most themes display images at 500 pixels wide, so really there’s not a lot of reason to upload pictures much wider than that. It’s large enough to look fine on a screen but small enough that no one’s going to get very far selling 8x10 inch glossy prints of your image. Sites like deviantART and Flickr allow you to set the size of your image when displayed (dA also has an automatic watermarking feature) so take advantage of these free features!


If you would like to request a tutorial, you can do so on this post over here!
Eye Coloring Tutorial by me | Other Eye Tutorials: 1 2 3 | My Resource list for Faces and Heads

(via artist-refs)


Just an easy trick I learned a few years ago that I thought I’d share. May not work 100% all the time, but works well for simple hand/arm placement.


All these pages are 8.5x11, 300 dpi. Feel free to print it out in full size if you like physical copies

Comics and Comic Artists

Jake Wyatt- deviantart tumblr

"Welcome To Summers"


Suggested Reading/Books:

Scott McCloud’s “Making Comics” (entirely done in comic format)



Speech Bubbles Mistakes

Paint Bucket Resource

Storyboarding and Camera angles

What is DPI?

Transferring Traditional to Digital (Photoshop Tutorial)

A good, concise comic making guide!

(via artist-refs)


I’ve been promising a process post for a while now and today seems like a good day for it, since I’m too buried under freelance work and shipping (hooray!) to draw new comics.

This is just MY process of course—and even at that, it’s not always the one I use.

Step 1. Layout

I’ve been doing all my layouts just doing quick sketches, copying and pasting and adjusting, etc. right in Photoshop (where I created this whole comic). I really like how fast it is to edit my layouts this way, although thumbnail sketching works well too. I usually have a pad of paper and some no.2 pencils by me when I wok digitally because somethings just don’t make sense on screen, but are easy to solve with a pencil.


Step 2: Lines

Once I have a story that I’m happy with, I start in on my final lines. I’ve been doing them pretty loose and rough at first, not over-correcting the details to maintain a more natural look to them. It’s important to note that I usually draw my lines, panels, and text all on different layers—it’ll make life easier later. Also, any elements that I plan on moving will need to be on separate layers, so I can shuffle them on and off in order to simulate animation.


Once I get the basic idea drawn out, I finish my lines and correct anything that was looking weird. This is just about taking the time and getting lines that I’m happy with.


Step 3: Colors & Shadows

I’m showing it here without the lines on top, but this step is simple enough. Just color the damn thing! Really, the only “trick” to this step is that usually after I’m finished (if I’m doing what I consider to be a “full color” piece, ie not like the Earthbound print where I only used five or six colors), I’ll usually drop in a new folder in my layers palette on top of everything but the text/panels layers (because I want them to stay a pure black/white) that I call “Adjustments.” In that folder I’ll place all my adjustment layers which I use to create a more unified feeling to the colors (ie warm, cold, etc).

The adjustment step can get out of hand really quickly…I’ve been known to spend a lot of time trying to get this exactly right…but lately, I’ve been trying to get better with color selection right off the bat, so that I don’t have to spend as much time with this step (or end up altering the finished product so much that I don’t recognize it anymore).

Some of my go to Adjustment Layers are Color Balance, Hue/Sat., Selective Color and Exposure. I used to use a lot of Photo Filter, until I realized that it’s really ends up washing out your drawings and making them look kinda cheap. Try Color Balance and Selective Color instead. I find that you can use those to still build a more unified color temperature without destroying your initial color choices.


And for the second part of this process, I laid down some shadows. I have a tendency to go with purple shadows if I’m doing a warmer color palette—orange tones/purple shadows…I just like the way that looks, but experiment and find whatever you like best. Unless you’re doing black and white art though, I’d try to avoid doing pure black shadows, since it tends to flatten everything out. Do what feels right though, obviously.


Step 4: Animation

To do my animations, I start by choosing every piece that I want to move—here it was a lot of them. Here’s a frame of everything I ended up animating with the background stuff removed (keep in mind that I ALWAYS keep animated pieces on their own layers).


Above every layer that I want to move I create a second layer with the second “frame” of the animation in it. Sometimes, it’s as simple as just shifting or redrawing the thing in “frame 1.” When you turn these layers on and off, you’ll see them “move.” I also take the time to label them as something like “speedlines1” and “speedlines2.”

Next, I open up the Animation palette in Photoshop. Open it up and you’ll see Frame 1 that has a thumbnail of your work inside it. Click the New Frame button which looks identical to the New Layer button underneath the Layers palette. A second one appears! It is an exact duplicate of the first.

Now, select frame two in the animations palette. With that selected, go over to your layers palette and turn off “speedlines1” and turn on “speedlines2.” Go back up to the Animations palette and press the play button and you’ll see your frames cycling on and off, which gives you a movement effect if you’ve done it correctly. You can also change the speed at which the frames move. I tend to favor 0.1 for things like this comics and 0.2 for something like flickering fire (see the Zelda three-parter).

Step 5: DONE!

Finally, I Save For Web as a .gif and I’m done!


Just found this buried in my old likes, I love the idea of adding simple animations to comic pages!


Hey guys! Yesterday artofcrystaldawn asked me how I digitally clean up my scans so I thought I’d make a little tutorial for all of you! Today I’ll show you the steps I take to clean up my sketches and this afternoon I’m going to paint this drawing and then I’ll show you how I digitally tweak the scans of my watercolors. Digital is about 50% of the process for me, both in the beginning (color roughs) and the end (tweaking bad scans to make them look either like the original or better than the original!).

I’m by no means a photoshop-ninja, these are just things I’ve picked up over time, but I wish someone had told me how to clean scans years ago so I thought I’d post my process. Sorry if this post takes up a lot of space on your dashboards (lots of photos!). If you don’t want to read it all, here’s a short breakdown of tips:

1. use a rough-edged brush to paint white

2. treat the rubber stamp tool like a brush and alter it’s settings, you’ll get more natural results

3. err on the side of not overdoing things. over-adjusting levels or over-doing the rubber stamp will look either garish or blurry (the more you rubber stamp, the blurrier it gets).  Dab at it instead.

This entire process takes about 10 minutes once you’re used to it, so it’s pretty fast!


Here’s the original scan of this drawing, pretty crappy:image

I use a rough-edged brush to paint white around the part I want. I choose a rough brush because I think it helps to have a non-hard edge between where you’ve erased and where you haven’t to help it look more natural.



With less information to mess with, and most of the big stuff taken care of, I adjust the levels. Don’t go nuts doing this, though I totally find it tempting, too! I try to stay just right of the big peak of white because if I put the marker in the middle of the white it ends up looking too washed out (especially if I have “grey” tones like shaded-in skin tones). I mostly just adjust the white and then carefully tweak the middle values and barely touch the darkest values for sketches, or else the whole thing starts to look too garish. It’s okay if there are a few fuzzballs that adjusting the levels didn’t fix, we’ll get to those.



See these fuzzballs? 



This is when I go through and paint with the paintbrush in white the little imperfections away. I also sometimes edit the drawing a little here like removing those crazy sketch lines at the bottom of the drawing.

AFTER (I didn’t get them all this time, oh well)



Sometimes I bung things up in a way I can’t erase with painting, so I use the rubber stamp tool. This thing is a powerful tool, so I recommend treating it with respect and not going nuts with it. :) I used to overuse it and it makes pieces look blurry or fuzzy. I dab with it now (with a tablet pen) and I also recommend playing with the opacity/flow in the “other dynamics” settings on the brush. It took me years to realize you could edit the tip of the rubber stamp, durr, but I seriously recommend it! It makes the stamp look much more natural (a must for watercolor editing which will come tomorrow).

Here are the things we’re trying to remove:



Settings I use. The brush is under “wet media brushes” in the basic brushes that come with photoshop cs4 (I’m behind, what).  The other dynamics are set to off with this picture because what I was removing wasn’t complicated, but I think it’s worth playing with them to see what you like:



And there you have it! It’s not perfect, but then again, it IS a sketch! :) I hope that helps, guys, and thanks once again for all your support! Stay-tuned, tomorrow I’ll post a tutorial on how to edit watercolor scans!

(via artist-refs)



Inspiration and Writer’s Block



Research Organization

Family Trees



Timeline Makers






Mental Illness



Self-Defence And Fighting


Body Language












How To






Reference Materials

How To


Editing Services




Literary Magazines





Body Paragraphs

Topic Sentences


Thesis Statements


Argumentative Essays

Writing About Poetry

Expository Essays

Research Papers

College Application Essays

Narrative Essays

(via firstenchantervivienne)




So in my basic drawing class we are learning to draw facial features and I couldnt help myself to draw eyes on all the lips

The new Teenage Mutant Ninja Turtles movie looks so good

I am crying

(via artist-refs)

I’ve spent my entire career obsessively trying to “learn how to draw” when I should’ve just been drawing. Always thinking “I just need to get a little better… and then I’ll start working on (insert any of a hundred personal projects)”

The fact is that i’ve been good enough since my teens- and would’ve improved so much more rapidly had my study been in the service of any of those projects- and not in the dozens of sketchbooks pilled in my closet.

Lesson: Don’t use “learning” as an excuse to avoid “doing”.

-Shane Glines
Link (via faitherinhicks)


(via tonycliff)

(via tonycliff)


#1: You admire a character for trying more than for their successes.

#2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.

#3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.

#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

#5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.

#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

#8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.

#9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.

#10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.

#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.

#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.

#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.

#14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.

#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

#16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.

#17: No work is ever wasted. If it’s not working, let go and move on - it’ll come back around to be useful later.

#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

#20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?

#21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?

#22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

Possibly have posted this before but still really solid advice!