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Old 05-22-2018, 10:57 AM   #1
Kenanze
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Aspiring artist in need of advice.

Hey guys,

My name is Kenan and I am an aspiring comic book artist with over 5 years of experience, working with various indie publishers.

I haven't been very active in the forums so I decided to turn to the DW community and share my story and my concerns and maybe some of you guys, which I know there are a lot of talented artist,writers etc. here, could give me some advice, critics or just share your own concerns and experiences in the business with me.

I can say I have a relatively successful career as a comic book artist so far, which means that approximately 2 years ago I ditched my day job and started working full time on comic books. It was a huge risk but I was confident I could find projects to work on and keep a respectable monthly income. It worked out great thankfully, Im still having a steady flow of projects to work on and I can say so far so good.

Eventually I wanted to try and send my portfolio to some of the more established publishers to try to get work on a more professional level. So I sent out my portfolio to A LOT of publishers,any publisher I could think of big or small. I never got a reply from any of them, which was pretty disheartening. It has been 5-6 months since I gave it a shot again with a new updated portfolio and still not one reply. I mean I understand that I was definitely not getting a reply from 90% of them, but not one reply where they would at least give me some insight to where I could do better , or something. My work is not the best, but I know its not "no comment" level of bad.lol. So I tell my self, they are too busy to look through every online submission and I just keep doing what I love and hope that one day someone will reply so I can at least get a good quality advice on how to improve my work.

I should mention that I live in Bosnia and going to comic cons is not possible so the only window to the comic book community, editors,or publishers is through the internet.

I was hoping to get some advice on how to get in touch with editors and get my work reviewed by the people in the industry, also your opinion and critique of my artwork is very appreciated as well. If you have personal experience in these matters I would love to hear it as well.

Thank you all in advance and sorry for the long post.

Here is a link to my online portfolio https://kenanhalilovic.artstation.com/
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Old 06-01-2018, 05:32 AM   #2
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There are few artists here from the old YU.
See if you can get in touch with Armin Hodzic (think that's his name), he doesn't really visit often though. He might offer you some insight.
As for your work, its definetly above average art, although I don't see top 3 replying to you, Im a little surprised you didn't get a reply from any.
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Old 06-01-2018, 05:33 AM
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Old 06-01-2018, 09:23 AM   #3
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Your work is very good. I would say to work on a contour line (for main figures) which has a little thick'n'thin to it. Your Spider-Man page is the best of the lot.

Also, even when using dead weight lines, use thickness to show depth. The third panel in "Red, White and Blue" Preview is a prime candidate. And add more shading to the man on the upper platform.

I notice a general tendency throughout to make figures in panels too much the same size. ("New Kind" Page 4.) Zoom in and out of the action and get some variety. Do different camera angles, too.

Finally, the sequence for "Limited Experience" is VERY good, but you need a weightier line and some indication of shadow, or more line rendering. A REALLY good colorist could make what you have sing, but it would depend on him/her to pull it off. Your B&W art should stand on its own. IMO
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Old 06-01-2018, 11:57 AM   #4
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Just keep working hard. Your portfolio is strong. Just not Marvel or DC strong enough. Try to find a writer that will work with you and overload Images inbox with pitches.
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Old 06-01-2018, 11:58 AM   #5
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Thank you both very much, I know Armin Ozdic personally and I think we already discussed these things some time ago. Hes a very talented artist and even though he is younger than me but I have a lot to learn from him.

Also I will try to implement all of the suggestions regarding my art, thanks gizroc2.

The more I think about everything, the only important thing is to keep working on my art until it looks like it belongs to the big 3 publishers. Ive been stagnating for some time, and its time to make some drastic changes.
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Old 06-01-2018, 12:02 PM   #6
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Originally Posted by paul brian deberry View Post
Just keep working hard. Your portfolio is strong. Just not Marvel or DC strong enough. Try to find a writer that will work with you and overload Images inbox with pitches.
Thanks, I already have some projects in the works with some great writers.
But I will also try to make some drastic changes to my art because I need to improve much more to be even close to some of the pro artists out there.
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Old 06-01-2018, 07:18 PM   #7
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Little disappointed i dont see any zagor or teks art in your portfolio, come on man we grew up with Lunov Magnus Strip and Zlatna Serija
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Old 06-02-2018, 07:15 PM   #8
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Little disappointed i dont see any zagor or teks art in your portfolio, come on man we grew up with Lunov Magnus Strip and Zlatna Serija
Ja sam više odrastao na Marvelu nego na Bonelliju, ali Zagor je uvijek tu u srcu iako naginjem Americi
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Old 06-03-2018, 05:47 AM   #9
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Originally Posted by Kenanze View Post
Hey guys,


I should mention that I live in Bosnia and going to comic cons is not possible so the only window to the comic book community, editors,or publishers is through the internet.

I was hoping to get some advice on how to get in touch with editors and get my work reviewed by the people in the industry, also your opinion and critique of my artwork is very appreciated as well. If you have personal experience in these matters I would love to hear it as well.

Thank you all in advance and sorry for the long post.

Here is a link to my online portfolio https://kenanhalilovic.artstation.com/
Hi.
Correct me if I'm wrong, but I'm going to assume that what you've shown to publishers is what you've shown here with your online portfolio.

Your art is good, but you don't show how your art interacts with dialogue and narrative. You need to show publishers how well you can portray a narrative, even if it's just a small one. What you're showing in your portfolio is that you can draw sequences of events. You're not showing you can tell a story (either your own or someone else's) with drawing. If I were a comic writer looking for an artist, I wouldn't pick you for that reason.
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Old 06-04-2018, 09:29 AM   #10
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Hi.
Correct me if I'm wrong, but I'm going to assume that what you've shown to publishers is what you've shown here with your online portfolio.

Your art is good, but you don't show how your art interacts with dialogue and narrative. You need to show publishers how well you can portray a narrative, even if it's just a small one. What you're showing in your portfolio is that you can draw sequences of events. You're not showing you can tell a story (either your own or someone else's) with drawing. If I were a comic writer looking for an artist, I wouldn't pick you for that reason.
I am planing on refreshing my portfolio with a couple of pages of Marvel, DC and other big 4 publisher characters. They will have the dialogue and they will be complete 3-4 page stories, so that should cover that part I hope. Thanks for the advice.
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Old 06-04-2018, 12:15 PM   #11
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Quote:
Originally Posted by BeautifulRoses View Post
Hi.
Correct me if I'm wrong, but I'm going to assume that what you've shown to publishers is what you've shown here with your online portfolio.

Your art is good, but you don't show how your art interacts with dialogue and narrative. You need to show publishers how well you can portray a narrative, even if it's just a small one. What you're showing in your portfolio is that you can draw sequences of events. You're not showing you can tell a story (either your own or someone else's) with drawing. If I were a comic writer looking for an artist, I wouldn't pick you for that reason.
Actually, most publishers I've dealt with don't want you adding letters to you page. They want you to tell the story through your art. If an artist tries to letter a page they can kill the whole page with poor lettering. That's why companies hire professional letterers.

The main thing, and maybe this is what you mean, is making sure the panels leave room for the lettering to be applied.

Finally, you should work from a test script from the publisher, so they know what the story is and can verify that the artwork aligns with expectations.
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Old 06-04-2018, 01:32 PM   #12
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Actually, most publishers I've dealt with don't want you adding letters to you page. They want you to tell the story through your art. If an artist tries to letter a page they can kill the whole page with poor lettering. That's why companies hire professional letterers.

The main thing, and maybe this is what you mean, is making sure the panels leave room for the lettering to be applied.

Finally, you should work from a test script from the publisher, so they know what the story is and can verify that the artwork aligns with expectations.
Completely agree with this.

Also, if you are applying to the big 2 - if you want to be a penciller, supply pencils, if you want to be an inker, supply inks over someone else's pencils. They want to see your strengths. In the past they have frowned upon samples that i have shown that were both pencilled and inked.
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Old 06-04-2018, 02:33 PM   #13
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Completely agree with this.

Also, if you are applying to the big 2 - if you want to be a penciller, supply pencils, if you want to be an inker, supply inks over someone else's pencils. They want to see your strengths. In the past they have frowned upon samples that i have shown that were both pencilled and inked.
Yes.

Expanding a bit on the inking statement: ink over a known artist that has strong pencils. Don’t just grab some dodgy pencils off the web. This way the editor/reviewer will know what the inked image should look like and your inks won’t be judged based on someone else’s crappy pencils.
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Old 06-04-2018, 10:23 PM   #14
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Completely agree with this.

Also, if you are applying to the big 2 - if you want to be a penciller, supply pencils, if you want to be an inker, supply inks over someone else's pencils. They want to see your strengths. In the past they have frowned upon samples that i have shown that were both pencilled and inked.
They may always frown at bad stuff.
Actually, the best artists at Marvel and DC are both pencilers and inkers of their own work. Plus, being able to do the two chores, the artists can get double pay, for his pencils and for his inks. Also the artist can keep both, his pencils and his inks ready for future page's selling.
If you are insecure of your skills start as inker.
Inking pros artwork you can learn a lot from these artis'ts pages. Then, you can apply what you did learn inking to your pencils stuff.
Your drawing is good, your inking is pretty good.
But your pencils are too European on criteria and page concept.
All looks good until we get to your Spiderman samples. Many issues there. Anatomy and narrative.
As training, you can use the pages of the best artists ( at your criteria) working currently at the big two and with tracing paper or computer layers trace these pages on big blocks without details to find out how the big artists are placing the figures and how they manage the composition and narrative for their pages.
What you learn from that exercise should be applied to later on your own pencils.
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Old 06-05-2018, 04:36 AM   #15
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They may always frown at bad stuff.
Actually, the best artists at Marvel and DC are both pencilers and inkers of their own work. Plus, being able to do the two chores, the artists can get double pay, for his pencils and for his inks. Also the artist can keep both, his pencils and his inks ready for future page's selling.
If you are insecure of your skills start as inker.
Inking pros artwork you can learn a lot from these artis'ts pages. Then, you can apply what you did learn inking to your pencils stuff.
Your drawing is good, your inking is pretty good.
But your pencils are too European on criteria and page concept.
All looks good until we get to your Spiderman samples. Many issues there. Anatomy and narrative.
As training, you can use the pages of the best artists ( at your criteria) working currently at the big two and with tracing paper or computer layers trace these pages on big blocks without details to find out how the big artists are placing the figures and how they manage the composition and narrative for their pages.
What you learn from that exercise should be applied to later on your own pencils.
Will do that, thanks.
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