Summer Course 2013
To paraphrase Brandon Graham paraphrasing KRS-One -“I’m talking to, like, three of you people out there”. (around the 39 min mark - http://www.inkstuds.org/brandon-graham-frank-santoro-and-michael-deforge/)
I know I post advertisements for my correspondence course maybe a little too often here on Tumblr when I’m ramping up a new course - so I thought I’d do something a little different this time.
The most common questions I get about the course:
How does the course work?
The way the course works is that there is a private blog where you get all of your assignments. This blog is updated everyday with demos related to each assignment. We do a lot of fast drawing to get you thinking about sequencing much like a storyboard artist. Over the 8 week course you will create a 16 page “signature” - that means that you will basically draw two pages a week. Email me - capneasyATgmail - and I will send you an invite to the course that just wrapped so you can see how it works for yourself.
What if I have a full-time job? Do you think I can manage to find the time to do the course within the 8 week time frame?
I’ve had many students in the past who have had full time jobs. I designed the course so that you can do it when you have the time - at night, weekends, etc. If you “fall behind” it doesn’t matter because I will work with you to complete your 16 page comic even after the course ends. The idea of the eight week course is to impress upon you the structure of a deadline which, I believe, is central to comics making. I know lots of talented comics makers who never seem to be able to finish anything. Comics is all about the deadline. So 16 pages in eight weeks is what we aim for - however if your job or other commitments prevent you from completing the comic, I will work with you until the comic is finished.
What if I can’t afford to pay for the course all at once?
Not a problem. I’m very flexible with payment plans. Talk to me about it and I promise you that I will make you an offer that you cannot refuse. If you think there is no way that you could afford this course then think again. Often I have found that people chicken out about actually doing the work by using the “I can’t afford it” excuse. I will work with you in ways that no “real” school would ever work with you. Also my course is way more affordable than just about any other comics program out there.
Thanks! Please email me capneasyATgmail with any questions regarding the course. Applications are due by June 1st 2013. The application is: 3 landscape drawings, 3 still life drawings, and 3 figure drawings. All done on blank 3 x 5 inch index cards. Draw in direct pen with no pencil underdrawing. Also send me any specific urls of comics work you have done. If you haven’t done comics before that is not a problem.
You will never meet someone as enthusiastic about comics as me. I’m a good coach. Check out what some of my former students have to say about the course:
Here’s me Brandon Graham and Robin McConnell yakking about Moebius and other shit
and here are a couple other Inkstuds to check out
Some animation art from Seraph is up now on ebay — a 23 X 29” acrylic and airbrush on bristol by Frank Santoro and myself. And an 8.5 X 11” ink drawing by myself. They’re up for a week. Act soon if you want it.
A new comic strip of mine has been published in a scroll format at the Study Group Comics website, which was arranged by Zack Soto. Clock the image to go directly to the strip.
I started this comic while taking Frank Santoro‘s Correspondence Course for Comic Book Makers last year. You can still inquire about the course by clicking here, and I highly recommend doing so.
Thanks to Frank and Zack.
Check out this work by one of my students - Saman Bemel Benrud. He’s drawing it “all in one go” on an eight panel grid. I like the directness of the drawing and how clear it is. The story is called Abyss and will be updated regularly - so check back later for more!
These are the kinds of exercises that we do for my correspondence course. Summer course starts June 8th.
The common perception is that the great statues and buildings of ancient Greece and Rome were all pure unpainted stone or green tarnished bronze, but researchers have been arguing that this may not been what these classic monuments really looked like back in the era of their creation. That, in fact, these statues were quite alive and vibrant, full of color.
Gods in Color: Painted Sculpture of Classical Antiquity is a travelling exhibition of varying format and extent that has been shown in multiple cities worldwide. Its subject is ancient polychromy, i.e. the original, brightly painted, appearance of ancient sculpture and architecture. It features more than 20 full-size color reconstructions of Greek and Roman works, alongside 35 original statues and reliefs.
The color reconstructions are based on close examination of the originals and on scientific analysis of the scarce traces of paint remaining on them. Ultraviolet light, says Ebbinghaus, “brings out ‘paint ghosts,’ differences in the surface structure of the stone caused by different paints and by the weathering of the paints. It can often give you an idea of patterns, even if no pigments survive.” The paint on these reproductions of stone sculptures appears flat, lacking the depth of, say, oil. “We can identify the colorants—mostly minerals and some plants,” says Ebbinghaus, “but binding media are hard to identify. Egg has been used for the reconstructions. If the minerals were ground more finely, a different binding medium used, the paint polished or covered with a protective coating, the effect would be quite different.”
“We now assume that almost all Greek marble sculpture was painted,” she says. “These reconstructions can only be approximations,” but at least they dispel a popular misconception—that most statues of antiquity were plain old white. Plain would not be thought ideal until the Renaissance.
Researchers believe, particalurly Vinzenz Brinkmann who has been doing this research for the past 25 years, that artists used mineral and organic based colors and after centuries of deterioration any trace of pigment leftover when discovered, would have been taken off during any cleaning processes done before being put on display, washing the historical art clear of its true colors.
The findings of this research completley changes the commonly held modern ideas of the ancient world, and the way we view modern sculpture and art today, much of which was based on those classical Greek and Roman styles.
Sources: x x x x.
(Source: nowhere---kid, via videozoology)
My Dad and I have the same name. He told me he googled *our* name and found this post. We were having a beer when he told me this - then he started laughing so hard that beer came out of his nose haha
“Here’s what cracks me up. I know Frank Santoro pretty well. He’s a HUGE asshole and I don’t like him…at all. But, he has put in the time and work where I respect his opinion on comics a LOT. Just because he’s a jerk doesn’t mean he doesn’t know what he’s talking about. The world is bigger than just my opinions.”
Pittsburgh studio - Pompeii work