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GLBA Question about Comic Speech Bubble Conventions
216Thread Activity
COMIXIANTSun, Dec 29, 2024
AnabranSun, Dec 29, 2024
supremoomegaSun, Dec 29, 2024
AnabranSun, Dec 29, 2024
COMIXIANTSun, Dec 29, 2024
AnabranSun, Dec 29, 2024
It's a bit embarrassing having to ask this, but something I've never understood about comics and comix in general is how to determine the order in which the speech bubbles are meant to be read.
There's plenty of tutorials out there on what the various bubble types represent and how to use and read them, I know about that, but I've never seen one of the most important aspects being discussed, that being the order in which to read speech bubbles.
If there's two characters in conversation in a scene and both have a standard speech bubble, how are we meant to know who's bubble to read first without some sort of design cue? It makes me wonder if there's some sort of convention for it. The first assumption might be to read from left to right, top to bottom, but of course that wouldn't work because there's no knowing where the characters will be placed within a scene.
Bit of a head-scratcher really, one that keeps bugging me because I wonder if there's an accepted way (even if relatively unknown) that I'm not aware of.
! REPORT
I sometimes put bubbles in my drawings, I respect the convention
read the first one from the top left
the second one from the top right
the 3rd one a little lower on the left and so on
It is true that this is an excellent question and I would like to know the order used by professional artists.
read the first one from the top left
the second one from the top right
the 3rd one a little lower on the left and so on
It is true that this is an excellent question and I would like to know the order used by professional artists.
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! REPORT
This is a very good question! There actually is a convention for speech bubble placement.
Generally, it's left to right, top to bottom. Here's a basic example:
There's also the concept of interlaced bubbles to convey the sequence of a conversation:
In the above example, the woman on the right is speaking first, the woman on the left responds, and the woman on the right makes another comment.
As you can see, composing a scene for a graphic story requires some planning for the dialogue; not just for where the speech bubbles will go, but the order of who is speaking.
Generally, it's left to right, top to bottom. Here's a basic example:
There's also the concept of interlaced bubbles to convey the sequence of a conversation:
In the above example, the woman on the right is speaking first, the woman on the left responds, and the woman on the right makes another comment.
As you can see, composing a scene for a graphic story requires some planning for the dialogue; not just for where the speech bubbles will go, but the order of who is speaking.
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! REPORT
It is best to plan your panel Art with the speech/thought bubbles in mind from the beginning.
However I highly recommend using a purpose built comic book layout program such as Comiclife which has highly editable speech/though bubble features.
I used it to letter my recent 92 page Graphic Novel being sold on Amazon for Kindle.
However I highly recommend using a purpose built comic book layout program such as Comiclife which has highly editable speech/though bubble features.
I used it to letter my recent 92 page Graphic Novel being sold on Amazon for Kindle.
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! REPORT
So it's a mixture of pre-planning the scene, and left to right and top to bottom. Makes sense I suppose but I'm surprised there's not another way to do it. I've often seen those linked bubbles but thought they were being used to separate text without blocking important parts of the image or something. It's possible some of the comics I've seen are done by people who perhaps weren't using them properly.
Thanks all for the input on this, I'm glad I asked about it now and I think it's just as well I did.
By the way, I have the Affinity suite and plan to use that for layout and bubbles etc, but I'll take a look at Comiclife because I'm always open to options.
Actually, something I'm very curious about is the Renderer and Shader you use for this, what is it?
https://rumble.com/v33q8rh-the-assault.html
Also, I don't know if you're aware of it, but PART 1 is missing (or at least I can't find it on your channel).
I spotted the video for PART 2 on the same page, but didn't watch it because I've not seen PART 1.
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3DSaga
Karma: 2,967
Wed, Dec 25, 2024Yes, planing the layout is a must- it will make things a lot easier for you when it comes time to put the speech bubbles in. There's also room for the style you like, but it should still follow the basic convention.
COMIXIANT
Will do, and I dread to think how messed up my stuff would have been to a seasoned comic reader if I'd not asked about it!
Karma: 1,978
Thu, Dec 26, 2024Will do, and I dread to think how messed up my stuff would have been to a seasoned comic reader if I'd not asked about it!
That is a clip from my 50 minute Fan film based on the Ghost in the Shell anime franchise.
created on 74 days over the summer of 2023 with Reallusion Iclone using its built in toon shader.
All of the voice work ,including the Japanese Dialogue, was done with AI
as I work alone and need multiple voices
male and female in multiple languages that I don't speak.
( Entire film here)
GHOST ORIGINS
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COMIXIANT
Well of course, sir, I'd recognise Motoko and Batou anywhere!
Looks great and I'll definitely watch it this weekend although you loose some coolness points by default though uploading it to YouTube and not Rumble!
Thanks for the heads-up regards the shader used. I think it looks great and I've always been a fan of iClone, but these days it's way too expensive for me once all the necessary add-ons are factored in. Realistically, my only chance of ever using a modern release of iClone would be if one of the large game engines were to snap it up and either incorporate it, or use it as a cinematic tool add-on.
Karma: 1,978
Thu, Dec 26, 2024Well of course, sir, I'd recognise Motoko and Batou anywhere!
Looks great and I'll definitely watch it this weekend although you loose some coolness points by default though uploading it to YouTube and not Rumble!
Thanks for the heads-up regards the shader used. I think it looks great and I've always been a fan of iClone, but these days it's way too expensive for me once all the necessary add-ons are factored in. Realistically, my only chance of ever using a modern release of iClone would be if one of the large game engines were to snap it up and either incorporate it, or use it as a cinematic tool add-on.
Anabran
Karma: 2,606
Thu, Dec 26, 2024Actually I stopped at Iclone version 7 with 3Dxchange.
Iclone 8 is a great character animation app.
but its cost ,with addons, has become prohibitive even to upgrade from 7.x.
They even have a monthly subscription scheme for their new Cascadure style auto pose library system.
I am Not really doing much 3D animation these days though as I am migrating to 2D animation and comics & Graphic novels.
Iclone 8 is a great character animation app.
but its cost ,with addons, has become prohibitive even to upgrade from 7.x.
They even have a monthly subscription scheme for their new Cascadure style auto pose library system.
I am Not really doing much 3D animation these days though as I am migrating to 2D animation and comics & Graphic novels.
COMIXIANT
Sometimes a radical change like that can be a very good thing, so have fun and good luck with it!
Not sure if it's for me yet, but I suppose I'll know once I make a start on it. To be honest I think I might even enjoy it more than playing around with 3D animation, because there's a lot less hurdles to get in the way of creativity when workin in 2D I think. I mean even Marmoset that I enthused about just days ago, it's clearly an amazing piece of software but believe it or not I cannot even navigate the bloody viewport on it!
I mean literally, the only thing I can do is zoom in and out using the mouse wheel but I cannot pan or rotate in the viewport no matter what I do. It's like wading through treacle as well due to some setting, but even so a fail to see why that would stop the viewport from panning and rotating - it's just one thing after another.
Karma: 1,978
Thu, Dec 26, 2024Sometimes a radical change like that can be a very good thing, so have fun and good luck with it!
Not sure if it's for me yet, but I suppose I'll know once I make a start on it. To be honest I think I might even enjoy it more than playing around with 3D animation, because there's a lot less hurdles to get in the way of creativity when workin in 2D I think. I mean even Marmoset that I enthused about just days ago, it's clearly an amazing piece of software but believe it or not I cannot even navigate the bloody viewport on it!
I mean literally, the only thing I can do is zoom in and out using the mouse wheel but I cannot pan or rotate in the viewport no matter what I do. It's like wading through treacle as well due to some setting, but even so a fail to see why that would stop the viewport from panning and rotating - it's just one thing after another.
Anabran
Karma: 2,606
Thu, Dec 26, 2024Your performance issues with marmoset could be related to your hardware specs
which is one of the main reasons I am losing interest in 3D/CG.
I predict this era where your personal creativity being heavily dependent owning a $3000 GPU hardware device from a 2 Trillion dollar company(NIVIDIA)
is coming to an end due to online AI content generation and I am pleased to see it end frankly
I officially become a pensioner in 12 months and have no plans
to spend more thousands on more PC hardware/GPU’s to run these programs with all of the tedious modeling UVing, rigging, Lighting.simulating rendering ..
I am tired ......I might be done with 3D .
At most I will likely get a digital drawing tablet and focus on my 2D puppet animation apps Reallusion cartoon animator and MOHO 14.
and making my own Comic book IP.
which is one of the main reasons I am losing interest in 3D/CG.
I predict this era where your personal creativity being heavily dependent owning a $3000 GPU hardware device from a 2 Trillion dollar company(NIVIDIA)
is coming to an end due to online AI content generation and I am pleased to see it end frankly
I officially become a pensioner in 12 months and have no plans
to spend more thousands on more PC hardware/GPU’s to run these programs with all of the tedious modeling UVing, rigging, Lighting.simulating rendering ..
I am tired ......I might be done with 3D .
At most I will likely get a digital drawing tablet and focus on my 2D puppet animation apps Reallusion cartoon animator and MOHO 14.
and making my own Comic book IP.
My hardware specs are pretty good to be honest and there'a no way an 8GB card cannot handle Marmoset. I think it's down to some setting it changed when I ran it for the first time. I wish I'd clicked "No" instead of allowing the change!
I think the price of graphics gards are being effected massiviely due to coin mining. The prices are insane yet people talk about them as if they're a casual; purchase! I was looking at the prices of some of the cards being discussed in that other thread and could hardly believe my eyes when I saw the prices of them!
Anyway, good luck with the comics and hopefully developing some cool IP. I took a look at Comiclife and while it's nice to see stuff like that I could never use it personally. I'd much rather have the power of Affinity Designer which is also a perpetual licence (in fact the entire suite is). The only important tip I would give to new users of Affinity, is to learn how to rearrange the window docking and the tabs within those windows (it's very customisable). Learn also to study the amount of windows that are not open by default, go into the Window menu and make the ones you'll use be visible, and then dock them. Set about creating your own layout. Once you do that, those Affinity programs are absolutely incredible and a joy to use!
Also, I love that you can switch the interface of all three programs to light mode, which is just as well because I hate dark mode!
The Affinity suite was rapidly approaching industry standard even last year, so I wouldn't be surprised if by now it hasn't reached that status already. Endless tutorials out there whether it be Designer, Photo or Publisher.
Designer is so well suited to comic work that there's a Comic development pack for it, it look absolutely great as you can see from the attached screenshot. So if you ever fancy cutting-off Adobe's access to your pension money, maybe join the rest of us in the Affinity revolution!
Here's the full Affinity Suite with Perpetual Licence: https://affinity.serif.com/en-gb/
Here's the Comic Development Pack for Affinity Designer: https://creativemarket.com/TheArtifexForge/6239497-Vintage-Comic-Creator-Affinity
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! REPORT
Comilife is a $30 perpetual license
Actually I have Affinity designer and Affinity photo on my windows machine
I also have PRE SUBSCRIPTION versions of Adobe Photoshop Illustrator and indesign CS6.
with the original installers backup up in multiple places.
I was a professional Graphic Designer for print for 19 years before getting into 3D/CG animation so I prefer my Adobe tools (like old friends).
The Affinity suite is cool but I prefer my dedicated comic book panel layout and Drag and drop speech bubble tools and comic fonts built into comiclife.
That third party vintage comic pack for Affinity looks extremely limited and cost as much as the entire purpose built comiclife software.
TBH unless you are actually working in the print design industry as a professional both Adobe and Affinity are overkill
The casual user needing to create some designs for their website or youtube/social media etc has every thing they need FREE from the Adobe online tool.
https://new.express.adobe.com/
Actually I have Affinity designer and Affinity photo on my windows machine
I also have PRE SUBSCRIPTION versions of Adobe Photoshop Illustrator and indesign CS6.
with the original installers backup up in multiple places.
I was a professional Graphic Designer for print for 19 years before getting into 3D/CG animation so I prefer my Adobe tools (like old friends).
The Affinity suite is cool but I prefer my dedicated comic book panel layout and Drag and drop speech bubble tools and comic fonts built into comiclife.
That third party vintage comic pack for Affinity looks extremely limited and cost as much as the entire purpose built comiclife software.
TBH unless you are actually working in the print design industry as a professional both Adobe and Affinity are overkill
The casual user needing to create some designs for their website or youtube/social media etc has every thing they need FREE from the Adobe online tool.
https://new.express.adobe.com/
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! REPORT
I understand you wanting to stick to something you're used to, and at least you're not paying a subscription so at least that's something.
I know what you're getting at, it's really a productivity thing but the reason I recommend Affinity Designer over Comiclife is due to having absolute control and limitless possibilities over every aspect of it. That pack is just a nice way to make it easy to get a certain look. It's nothing that cannot be done in Designer by simply learning to use Designer properly anyway.
There's a lot of cool features in Affinity Designer which, although a lot of it can be done in dedicated programs as well, it's nice to have in such a powerful tool, for example how easy it is to create fully adjustable, non-destructive comic panels as shown in the video. Anyway, just thought I'd mention it, but as long as you're happy and are not allowing Adobe to suck on that pension you have coming, then more power to you.
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Indeed for me its an efficiency issue
with Affinity you are still literally building each page & panel by hand
as opposed to having a huge built in library with industry standard panel layout styles such as manga, 60s. 70s 80s,90s ,2000s
Euro, futuristic ,Graphic novel.
and you dont have to manually place and fit the actual panel art.
With comiclife there is a browser window from which you just drab and drop your panel art and it auto scales the art to the panel and the editibility and styles of the word ballons and lettering are unmatched not to mention how you can auto fill the word ballon from the script window as shown in this video.
with Affinity you are still literally building each page & panel by hand
as opposed to having a huge built in library with industry standard panel layout styles such as manga, 60s. 70s 80s,90s ,2000s
Euro, futuristic ,Graphic novel.
and you dont have to manually place and fit the actual panel art.
With comiclife there is a browser window from which you just drab and drop your panel art and it auto scales the art to the panel and the editibility and styles of the word ballons and lettering are unmatched not to mention how you can auto fill the word ballon from the script window as shown in this video.
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! REPORT
I downloaded it this morning to take a look.
I understand why you like it, but it's far too basic (IMHO). Please watch that short video I posted because there's a point where he saves the comic panels as an "Asset", and in effect this is why you like Comiclife, you like it because it allows you to work quickly by dragging and dropping assets.
Affinity does that too, but on steroids!
It has a proper asset system that you can call upon whenever you like. In Affinity Designer, an asset is basically anything you want it to be, and to be fair, that comic panel he creates and saves as an asset in that video, is actually easier to edit in Affnity than how it's done in Comiclife! It' s important to remember that once he ALT-Combines it, it then functions as a fully adjustable asset that can be added to your own library and called upon whenever you like. You can do that with any aspect of anything you design in Affinity Designer.
You could build-up a library of adjustable panels., or character heads, or textures, or halftones, or text with deformations pre-added to it etc, anything. When you save a document or whatever else you're working on as an asset, it basically puts all items and editable values under a layer group, so that when you drag that asset back out from your library, that asset becomes a layer in your document that you can click into in order to make your edits or move around the layer stack however you wish. It's a bit like appending more characters to a scene in DAZ Studio or Poser, but in 2D.
You really should look more into the Affinity Asset system. This is why I posted that comic pack as an example, because that comic pack is basically a pack of adjustable Affinity assets, and assets are the Affinity equivalent of a drag-and-drop library system, one that gives you complete control over everything.
If you were to create the panel shown in that video, save it as an asset as he does, and then re-load as he does then you'll see what I'm getting at. That simple panel he created in just seconds becomes an asset to reuse anytime he wishes by dragging it from the asset library. That asset also remains fully adjustable because in effect, it's basically a document collected into a layer group that can then be used as you would use any layer or group of layers. It does the same thing but with way more flexibility and you only need to create your assets once in order to reuse them.
As long as you're happy, that's great, but seriously I get the feeling you're not fully aware of how fast and useful the Affinity asset system is for rapidly building-up your comics (this is no doubt one of the reasons that so many people use Affinity Designer for comics). Professional grade colour management and output options being another reason.
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Manually Creating panel asset libraries ,for later use, is fine if that is what you wish to spend your time doing….I do not
I prefer to spend my time generating the actual ART that goes onto my pages.
the many built-in presets in comiclife
are more than sufficient for any comic artist IMHO
and the script to speech bubble feature is a HUGE time saver
as well as the automatic page numbering feature as well as the export presets with formatting for Ebook devices as well as hi-res offset printing
Affinity is a decent graphics suite
which is why I gave it shot, But I found it lacking for advanced editing my raw panel art compared to Adobe photoshop & Illustrator and far behind comiclife for just building my comic book pages instantly as the actual panel art was finished.
Layout out in Comiclife
I prefer to spend my time generating the actual ART that goes onto my pages.
the many built-in presets in comiclife
are more than sufficient for any comic artist IMHO
and the script to speech bubble feature is a HUGE time saver
as well as the automatic page numbering feature as well as the export presets with formatting for Ebook devices as well as hi-res offset printing
Affinity is a decent graphics suite
which is why I gave it shot, But I found it lacking for advanced editing my raw panel art compared to Adobe photoshop & Illustrator and far behind comiclife for just building my comic book pages instantly as the actual panel art was finished.
Layout out in Comiclife
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Anabran, you're supposed to use Affinity Photo for working with RAW, not Designer. I don't agree about editability, there's no contest because literally every aspect is editable and it took the dude in the video just seconds to create his own asset, save it as one, and load it back into the document. But yes of course, use whatever works for you, I'm just very surprised you would go that route if you plan to do it professionally, that's all.
Nice work on "Origins" by the way. I just watched it over tea. I love the look, but the political/religious aspect of it towards the end spoiled it for me. Unless a movie is specifically political or religious, then I'm a firm believer that neither aspect should be brought into a movie.
Anyway, thumbs-up for getting it done in just over two months.
If it were me doing it I'd likely still be on scene one by that time!
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Hi
thanks for taking the time to check out Ghost origins.
It was alot of fun to make.
Your movie would go pretty fast as well if you used the same resources
(Iclone,Davinci Resolve/Fusion)
except working with human voice actors
would slow you down due to the logistics of it as you wont touch anything AI created, as I did for the all of voice acting dialogue.
In the end its the story that matters as the laypeople viewing your work wont know or care about the tools.
from what I have gathered ,since entering since entering the indie comic space, is that Most indie comic pros who Draw digitally and on physical paper are not using Affinity or comiclife.
but most are using Clip studio paint instead.
https://www.clipstudio.net/en/
The people who are buying my book on Amazon have bought it for the story and the art not because I used
program X to create the pages & panels
Just like with animation the final story and visuals are king.
thanks for taking the time to check out Ghost origins.
It was alot of fun to make.
Your movie would go pretty fast as well if you used the same resources
(Iclone,Davinci Resolve/Fusion)
except working with human voice actors
would slow you down due to the logistics of it as you wont touch anything AI created, as I did for the all of voice acting dialogue.
In the end its the story that matters as the laypeople viewing your work wont know or care about the tools.
from what I have gathered ,since entering since entering the indie comic space, is that Most indie comic pros who Draw digitally and on physical paper are not using Affinity or comiclife.
but most are using Clip studio paint instead.
https://www.clipstudio.net/en/
The people who are buying my book on Amazon have bought it for the story and the art not because I used
program X to create the pages & panels
Just like with animation the final story and visuals are king.
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! REPORT
I was just about to go on a rant when you mentioned Clip Studio Paint. I already have a perpetual licence from when it was called Manga Studio EX.
I stopped using it when they started the discriminatory practice of replacing perpetual licences with subscription. Regardless, I just took a look again out of curiosity and can see that they've finally had the sense and decency to bring back perpetual licences and offer subscription as an option.
Now I wonder why that could be? - lol!
So I'll have to spend some time today catching up on it and I'm sure I'll enjoy doing so! I do love the software, but I was really pissed off when they started with the subscription BS, so this reversal of policy is VERY nice to see! It doesn't surprise me, either, that it took a Japanese company to realise the error of their ways and correct the situation before the western ones start doing so.
Well done, CELCYS!
As for DaVinci, dude, you're talking to a DaVinci fanboy here! I've been using it for some time now. Not only perpetual, but beyond that! Makes me wonder how many people are aware of it, but you not only get a perpetual licence, you even get new releases too. I actually find it unbelievable that people still use flakey junk like Adobe Premiere when a full perpetual licence of DaVinci Resolve Studio is an absolute bargain (and is the choice of Hollywood Studios anyway). I absolutely LOVE DaVinci and totally recommend buying the full Studio version to anyone that hasn't. So, no push-back from me on that one bro!
Regards speed of workflow, I hear you but you're using A.I. and I refuse to do that. If I create something, I prefer it to be mine as opposed to something generated by an A.I. algorithm. A part of me envies that you can work so fast, but the other part of me is much more profound and bloody-well demands that I make my own.
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I have modeling skills
rigging and animation skills
https://www.blendernation.com/2020/04/29/behind-the-scenes-sci-fi-armor/
I can do quite alot myself
what I do not have is the ability to convincingly sound like a 20 something year old female or speak fluent Japanese.
And no... I refuse to go hire human voice actors for a personal fan film project with no budget or profit to be made so AI voices were the only logical option.
Ghost Origins also used 360 degree AI generated backdrops in very shot with several scenes containing Daz props imported for foreground interaction with the Iclone Actors.
rigging and animation skills
https://www.blendernation.com/2020/04/29/behind-the-scenes-sci-fi-armor/
I can do quite alot myself
what I do not have is the ability to convincingly sound like a 20 something year old female or speak fluent Japanese.
And no... I refuse to go hire human voice actors for a personal fan film project with no budget or profit to be made so AI voices were the only logical option.
Ghost Origins also used 360 degree AI generated backdrops in very shot with several scenes containing Daz props imported for foreground interaction with the Iclone Actors.
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Anabran, it's not those who create their own art who have an ideology of limitations, it's those who rely upon the work of others to generate output.
I'm not very good at this stuff myself, but I still enjoy the experience of learning and I do improve the more I do it. I enjoy watching videos on how to get good at anatomy etc, and I like it that we now have the tools that enable us to practice and develop these skills in a non-destructive fashion.
Personally I think A.I. is an IP catastrophe waiting to happen, I won't touch it at all and wouldn't touch it even if I didn't think that was going to happen.
And anyway, since you're retired now, you actually have less of an excuse for using A.I. than others do. I just spent a few hours catching-up on Clip Studio Paint and wow, what an awesome tool it is now! Not only able to bring in fully poseable models into a 2D viewport, but also fully compatible with Blender's shape-key system. So are you telling me that now you're retired, something like that doesn't encourage you to produce something with your own soul imprinted on it?
In effect, you now have the ability to trace over imported, posable models you bring into the 2D viewport. This is no different to a traditional artist holding-up their thumb or using a grid reference (other than it being way more convenient of course). And the good thing is that every single stroke you lay down is still your own, it's still your own work, so unless you're working for someone and need to meet a deadline, your use of A.I. must largely come down to laziness.
Being human, we all possess a unique imagination and skill level, and it's that uniqueness that attracts some humans to our art while repelling others.
Anyway, I see Clip Paint Studio 4 EX is about to drop next year, and you can bet yer nuts I'll buying a perpetual license of it when it does:
https://www.clipstudio.net/en/news/202411/20_01/
It's a bit pricey that version, but at least it does what I want it to and it's perpetual. I suppose there'll be a sale when it launches anyway. But yeah, man I was so pissed off when I had to drop it all those years back. I was majorly looking forward to all that 3D stuff being implemented and improved upon, so I'm pretty damn happy right now to see that it's here and that they've gone back to offering perpetual licenses!
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I modeled everything in this video
rigged the Halo spartans and animated and rendered them in Blender.
I have Nothing left to prove in regards to my ability
to create content from nothing so AI is merely just another tool for those of us who already possess actual skills beyond loading prefabbed Daz figures and content with prefabbed lights, props and sets that everyone else can buy from Daz, Renderhub etc, and calling it their work.
rigged the Halo spartans and animated and rendered them in Blender.
I have Nothing left to prove in regards to my ability
to create content from nothing so AI is merely just another tool for those of us who already possess actual skills beyond loading prefabbed Daz figures and content with prefabbed lights, props and sets that everyone else can buy from Daz, Renderhub etc, and calling it their work.
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All that said, this does not mean I will use AI exclusively or always model every asset from scratch
Here is a quick example page of how my next book will likely look
no AI anywhere
But Daz mechs and sets inside blender with Blender rigging( via a free addono) to pose them.
Instant viewport renders using Blenders built in toon matcap global shaders for a classic comic look.
tossed them into comiclife 3 into some drag and dropped panels and lettering all about 5 minutes work.
you have to be versatile and not rigidly locked into one set of tools or approaches.
here is a short animation using the same matcap toon shaders built into blender
Here is a quick example page of how my next book will likely look
no AI anywhere
But Daz mechs and sets inside blender with Blender rigging( via a free addono) to pose them.
Instant viewport renders using Blenders built in toon matcap global shaders for a classic comic look.
tossed them into comiclife 3 into some drag and dropped panels and lettering all about 5 minutes work.
you have to be versatile and not rigidly locked into one set of tools or approaches.
here is a short animation using the same matcap toon shaders built into blender
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I've watched two videos from you in recent days: the first being "Origins" and the second being that pre-programmed tech-witch you just posted - lol
Do you honestly think I haven't noticed how BOTH of those videos demonstrate the TRUE danger of A.I.?
LMFAO ... dude ...
I've never wasted time talking to a machine before and I gotta tell ya mate, I'm not about to start. But feel free to tell your artificial friend that COMIXIANT is much smarter than her and that he TRULY BELIEVES that her boob-job is every bit as fake as the rest of her!
Seriously bro, I think you should ditch her right away before she permanently poisons your mind!
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LOL I am way to versatile to have my mind "poisoned" by a large language model from a tech company.
AI is just a tool and for those of us who are not so easily frightened by change
and a fairly useful tool that will only become more useful going forward.
I turned 61 yesterday.
I have seen alot of change in the world
no time for me to live in fear of the new.
Anyway glad to have reconnected you to Clip studio paint perpetual
it looks really powerful for comics and graphic novels.
"Tech witch " ..LOL
AI is just a tool and for those of us who are not so easily frightened by change
and a fairly useful tool that will only become more useful going forward.
I turned 61 yesterday.
I have seen alot of change in the world
no time for me to live in fear of the new.
Anyway glad to have reconnected you to Clip studio paint perpetual
it looks really powerful for comics and graphic novels.
"Tech witch " ..LOL
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supremoomega
Karma: 4,317
Sun, Dec 29, 2024I like your comics art, I hope to do something like that someday, greetings.
Anabran
Karma: 2,606
Sun, Dec 29, 2024Hi, Thanks alot!!!
I hope to start a new graphic novel project in 2025.
I hope to start a new graphic novel project in 2025.
Oh no, not her again!!!
There she goes, rattling-on about the virtues of A.I. again while conveniently skipping past the negatives! If she were fed a few of my posts she'd likely smoke the server she's running on!
In all honesty, I think the time will come (if it hasn't already) when the truly gifted traditional artists out there will get more recognition than they do at the moment. I think it will become more and more special to own a quality piece of human-produced art. The rest is effectively worthless when we're at a stage where anyone can type-in a prompt and get the output they asked for. I think the bottom line here is that matter how good A.I. gets, it will never have a consciouness and therefore it can only ever feed off' the algorithms based on data from others. This is why A.I art often manages to look the same even when it's completely different. It's because there's no actual 'conscience' involved in deriving the output.
I posted that Michelle Gurevich video for two reasons by the way. It was posted for the very appropriate title, but also to demonstrate the difference between 'soul' in a piece of work that is the result of artistic decisions that were arrived at though an actual human conscience, and the sort of lifeless junk that A.I. is capable of (and will only ever be capable of because it well NEVER be conscious regardless of how much BS you see out there suggesting that it will).
If A.I. were to produce a song and video in that style, sure it might look artistic, but it would never have been arrived at through an actual human conscience or by any form of inventiveness. A.I. cannot do 'inventiveness' because in order to do that, it would need a conscience. Trawling masses of data stolen from the public in order to string-together something for the talentless, is NOT the same thing as human conscience does to arrive at a piece of art (nor will it ever be).
So you're never going to convince this human that I or anyone else is inferior to this A.I. BS, nor are you ever going to convince me that even if I were a good comic artist, that I would have "no option" than to follow the A.I. crowd. Sure there are those who will, but in general I think that any self-respecting artist will stay well clear of it and will prefer to hold-on to their legacy of being recognised and respected for being a purely traditional artist.
And just so you know, I'm NOT discounting your skills, I never have and wouldn't dream of it. It's clear you have talent going on. I'm simply pointing out to you that it's a shame you see things that way. A.I. is the latest thing and it's currently enjoying a honeymoon period. But just like anything that abuses the public masses, there WILL be recourse further down the line and I'm guessing such recourse will be in the form of IP lawsuits galore.
Anyway, yeah I'm definitely super-pleased to hear about Clip Studio Paint, so cheers and a belated Happy Birthday to you!
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