Dave Alvarez's Cartoon Comic Strip Corner!

[Dynomutt]

http://drawingboard.toonzone.net/alvarez1.JPG
Your kind administrators from Toonzone asked me if I could open a Q&A thread for all of those who have questions about the Wild World of Cartoony comic strips and comics.

Soooo... Start shooting those questions!

In the meantime, you may visit: http://www.comicssherpa.com/site/feature?uc_comic=csaeb and leave some good nice feedback of my comic strip, "Yenny" :D (wink-wink!) or you can go to : www.changuy.com (http://www.changuy.com/) and check more original stuff and sign my guestbook so I know you were there!
All right, all set now, so... "LET'S GET IT ON!!"

[James]

I ALWAYS have questions! :)

Likenesses - is there any process to keep a character likeness constant?

Take either your own characters like Yenny or traditional characters like for Looney Tunes, do you have a particular approach?

What would you recommend to aspiring cartoonists?

[screw on head]

your work looks very professional btw.
what size do you draw your strips at?
what materials do you use?
what do you listen to while drawing it?

[Dynomutt]

I ALWAYS have questions! :)

Likenesses - is there any process to keep a character likeness constant?

Take either your own characters like Yenny or traditional characters like for Looney Tunes, do you have a particular approach?

What would you recommend to aspiring cartoonists?

Keeping character's likenesses are everyone's headche after learning to draw hands.
You may NEVER start a comic or a strip if you are not familiar with the character's look first. You have to "play" with the character sketching it as many times as possible on single pieces of paper until you get it right.
For how long? That you can only know. ;)

[Dynomutt]

your work looks very professional btw.
-Thank you! :D
what size do you draw your strips at?
- Usually the size I use is 14 1/2 x 4 1/2 for comic strips.
what materials do you use?
- Bristol plate paper, HB #7 mechanic pencil and technical pens from .25 to .35.
what do you listen to while drawing it?
- This is the 100 million dollar question. When I'm developing the idea or drawing the first pencils I listen to....silence. Why? Because the first creative process needs your whole attention. Many artists draw their first drafts meanwhile they are listening Bach's music or Smashing Pumpkins. I'm not saying is bad, but later when you see the final draw you may say to yourself, "gee, I could've done this or that..." And it cold've been done. But full concentration was not there.
However, after the main idea is drawn and the inking process comes over, I listen to whatever fits what I'm drawing. For example: For Looney Tunes I listen to a lot of the Carl Stalling soundtracks, for Yenny I listen to R&B, and for Changuy I listen to John Williams, James Horner, Alan Silvestri etc.. or simply Aerosmith!


http://drawingboard.toonzone.net/rr.JPG

Looney Tunes #88 art by David Alvarez.

[Dynomutt]

Take either your own characters like Yenny or traditional characters like for Looney Tunes, do you have a particular approach?


Oops, didn't saw that question.
You have to study the character's roots. This is a tricky process because in the meantime you can be tempted to copy other people's style but you have to keep in mind that you have to be original.
For Looney Tunes, I have to study cartoony styles like Richard Williams, Chuck Jones, Tex Avery, etc.. And I apply for the story the style it fits best. Some stories I've drawn have the Chuck Jones style and others are inclined to Clampett's.


http://drawingboard.toonzone.net/yenny.JPGDavid Alvarez's Yenny!
In Yenny's case I look for a lot of expressions. Girls like her are usually very expressive so I look for reference on Glen Keane's drawings for that. In her case, real subjects are an important influence since her looks are inspired in latina girls.

[James]

Do you get model sheets supplied when you are doing work for the Looney Tunes comic? Do they ever tell you do redo frames for likenesses or are you spot on everytime? :)

[Dynomutt]

Do you get model sheets supplied when you are doing work for the Looney Tunes comic? Do they ever tell you do redo frames for likenesses or are you spot on everytime? :)

WB sent me a whole batch of character model sheets for the Looney Tunes characters in order to get familiar with them.
I've been told to redo frames many times. It took me a while to get those little slight differences ofthoseironically similar looking styles.

[Jack]

WB sent me a whole batch of character model sheets for the Looney Tunes characters in order to get familiar with them.
I've been told to redo frames many times. It took me a while to get those little slight differences ofthoseironically similar looking styles.
I've noticed that there are two Daffy Duck models in the new LT comics. The hideous 90's one that vaguely looks like Daffy, and a newer model that actually looks like Daffy. I was wondering if you are the one who made that new design up? Were you ever discouraged from using it?

[Dynomutt]

I've noticed that there are two Daffy Duck models in the new LT comics. The hideous 90's one that vaguely looks like Daffy, and a newer model that actually looks like Daffy. I was wondering if you are the one who made that new design up? Were you ever discouraged from using it?


If you are talking about the Bob Clampett-like looking Daffy, yes, that's my fault. I came up with changing the design a little to have more freedom when it comes to Daffy's personality changing moods.
As we know, Chuck Jones's envious and high tempered Daffy is very different from Clampett's and Avery's version of the Duck.

[James]

How far into designing Yenny did you think she was a good enough idea to market? Or did you have the idea to create a marketable character first? How have you gone about marketing her?

(I know you've sort of answered some of this before, but as this is a Workshop on cartoon strips it seems worth going over again)

Essentially, what advice would you give to people wanting to take their characters and market them?

[Dynomutt]

How far into designing Yenny did you think she was a good enough idea to market? Or did you have the idea to create a marketable character first? How have you gone about marketing her?

(I know you've sort of answered some of this before, but as this is a Workshop on cartoon strips it seems worth going over again)

Essentially, what advice would you give to people wanting to take their characters and market them? Marketing Yenny was a risk. Precisely because of what we talked before; her looks. I have to convince the reader that a good looking girl can make a good leading character if it's work right. Specially in the Toon world where we are used to see ugly funny looking characters with leading roles.
If anyone is thinking of marketing a character you have to keep a couple of things in mind:

1) Is it original or has it's been done before?
2) If so, how can I make it different?
3) NEVER copy styles or other artists work.

http://drawingboard.toonzone.net/yennystrip.gif (http://www.comicssherpa.com/site/feature?uc_comic=csaeb)

An example of David Alvarez's Yenny news strip hosted at Comics Sherpa (http://www.comicssherpa.com/site/feature?uc_comic=csaeb)

[screw on head]

when syndicated, how much do the higher ups mess with what you've created so far, asking you to change conceptually who your character is? should the aspiring cartoonist be worried much about that end of being published?

when published (comic strip that is), how much hold do you have on the character? do you own the rights or does the publishing company, or it depends...?

[Dynomutt]

when this strip gets syndicated, god willing, are you worried about the higher ups messing with what you've created so far, asking you to change conceptually what makes yenny -- yenny?
or would that even be an issue with you?

when published (comic strip that is), how much hold do you have on the character? do you own the rights or does the publishing company, or it depends...?
It all depends on what syndicate takes the strip. Mostly all of the new syndicates promote "creator-owned"material, (quoting your comment: God willing I'm looking forward for one of those to consider my strip), I have all the rights of the characters, of course, but readers usually have vote on this and the syndicate will suggest some "adjustments" to the strip, if necesary.
I don't like to change my creations, so I'll fight for the true item to the end.


http://drawingboard.toonzone.net/yennystrip.JPG (http://www.comicssherpa.com/site/feature?uc_comic=csaeb)
Another example of David Alvarez's Yenny news strip hosted at Comics Sherpa (http://www.comicssherpa.com/site/feature?uc_comic=csaeb) (my fav one - SJJ :D)

[screw on head]

sorry my last post is a little different than what you quoted, dave. i edited it right after i posted it, so it was more generalized, and just in case yenny's already printed in newspapers and the like. :o heh, sorry for any confusion...

[Jack]

If you are talking about the Bob Clampett-like looking Daffy, yes, that's my fault. I came up with changing the design a little to have more freedom when it comes to Daffy's personality changing moods.
As we know, Chuck Jones's envious and high tempered Daffy is very different from Clampett's and Avery's version of the Duck.
Yeah, I meant the more 40's looking Daffy. "Clampett Daffy" was the only Daffy up until the mid 50's, so I never cared for calling it that. :p Say, have you and any of the other DC people read the 40's and 50's Looney Tunes comics? I've been wondering about that.

What type of sunday strip do you plan on having? I know there are several different kinds. I'm not sure what they're called, but Garfield has a different Sunday format from Get Fuzzy. Garfield has throw away gag panels, while Get Fuzzy does not. There's also a newer vertical format too, like Non Sequiter has.

[Batlhasar]

I have always wonder what that "Special Font" is that you use for the bubble text. All comics seem to use the same font and I've never found one on my computer that matches. Is this widely avaiable or is this a trade secret? :anime:

[Bubblegum Girl]

Hey Dynomutt! BG here and I got a few questions that I hope you'll answer: Besides Yenny, what other projects have you been working on? I'm good at drawing unique characters, but I have trouble drawing stuff like furniture, houses, and mechincal stuff(In cartoon form. I can draw that kind of stuff realistically, that usually takes me time.). What do you suggest I do? I have great ideas to use for comics/animation which I keep in a notebookbut I keep changing ideas every 10 secs(I already have one idea that I'm sticking too. :D ). Remedy this. ;) How you ever done any animation at all? If so, could ya give me a few pointers? I'm going to attend the Art Institute to study animation so I need all the adivce I can get. :D Thanks! :anime:

[Dynomutt]

I have always wonder what that "Special Font" is that you use for the bubble text. All comics seem to use the same font and I've never found one on my computer that matches. Is this widely avaiable or is this a trade secret? :anime:

Here's the secret...: go to www.blambot.com and there you will find an enormous collection of free comic book fonts.

[Dynomutt]

Hey Dynomutt! BG here and I got a few questions that I hope you'll answer:
Besides Yenny, what other projects have you been working on?
- I'm a penciller for Looney Tunes comics and also I used to self-publish a comic book called Changuy. You can see it at: www.changuy.com (http://www.changuy.com)

http://drawingboard.toonzone.net/changuy.JPGChanguy


I'm good at drawing unique characters, but I have trouble drawing stuff like furniture, houses, and mechincal stuff(In cartoon form. I can draw that kind of stuff realistically, that usually takes me time.). What do you suggest I do?
- Always think of objects as if they were cartoon characters. Add them a "bouncy look" just as you do with your toons and that can make your work easier.
I have great ideas to use for comics/animation which I keep in a notebookbut I keep changing ideas every 10 secs(I already have one idea that I'm sticking too. :D ). Remedy this. ;)
- That's called braistorming. Good ideas take time ;)

How you ever done any animation at all? If so, could ya give me a few pointers? I'm going to attend the Art Institute to study animation so I need all the adivce I can get. :D
Thanks! :anime:
- Yes, I've worked in animation before. What pointers do you need exactly

[RKillian]

OK, I've got a question (or two or five)...

How much of an average comic is done on paper versus on a computer screen? What are your biggest hurdles in each medium and what do you find works to overcome them? Finally, did you get "seen" doing a web comic or were you interviewing around?

[James]

*pops out from the shadows*

Glad you are all making use of David's words of experience! Just a reminder that if you could, take a second to support David's work and vote for his daily news strip, Yenny here (http://drawingboard.toonzone.net/yennystrip.JPG). :)

*slides away again*

[Dynomutt]

OK, I've got a question (or two or five)...

How much of an average comic is done on paper versus on a computer screen? What are your biggest hurdles in each medium and what do you find works to overcome them? Finally, did you get "seen" doing a web comic or were you interviewing around?

Paper space don't change much. For comics you have to work vertically and , of course, for computer screen you need to work horizontally. (Samples on the "comics" page at www.changuy.com)
Each medium works in a similar way, altough webcomics are taking over because it's easier and don't cost anything at all, which is placing regular comics in jeopardy if you ask me. But that's another issue.
I never saw myself doing web comics but, then again, one has to move along with the advances of technology in order to survive.

(PS: Thanks for the pointers on today's strip. I fixed it)

[Dynomutt]

*pops out from the shadows*

Glad you are all making use of David's words of experience! Just a reminder that if you could, take a second to support David's work and vote for his daily news strip, Yenny here (http://drawingboard.toonzone.net/yennystrip.JPG). :)

*slides away again*


Thank you! :D To leave your votes and canned goods you can go to:
http://www.comicssherpa.com/site/feature?uc_comic=csaeb
And to sign a nice fun guestbook visit: www.changuy.com

[Pyro]

Hi, I have a question. How is professional inking done? No matter how small a pen I use, my art always looks like it was done in a pen, whereas comic art has inks that don't look... like that. I might be able to show you an example of my inks soon.

[James]

Hi, I have a question. How is professional inking done? No matter how small a pen I use, my art always looks like it was done in a pen, whereas comic art has inks that don't look... like that. I might be able to show you an example of my inks soon.

I'm sure David will give you a good answer Pyro - keep an eye for Ty Templeton's workshop which will specifically be on inking - I'm hoping he may have time like David to answer a few questions - so you may get double help on this one!!! :)

But David - I like Pyro would like to hear what you have to say on this. :)The nature of cartoons being on the whole they are very crisp in line and body - how do you approach it?

[Dynomutt]

Hi, I have a question. How is professional inking done? No matter how small a pen I use, my art always looks like it was done in a pen, whereas comic art has inks that don't look... like that. I might be able to show you an example of my inks soon.

There are many ways of inking. The most popular one is the brush technique. I personally use technical pens. (My pulse is not that good when it comes to brushes).
The pens I use are 0.25 for small thin lines , 0.35 for regular lines and 0.50 for larger drawings. These pens are not cheap, but they last long. Just like Wriggley's Spearmint gum! :D

[RKillian]

0.25/0.35/0.50 what? If it's in millimeters, I think I might've found my inking problem...

[screw on head]

what did you do when you worked in animation? were you a storyboarder, etc. i'd love it if you could tell us what it was like
and what it entailed? what did they look for when hiring you?

[Dynomutt]

what did you do when you worked in animation? were you a storyboarder, etc. i'd love it if you could tell us what it was like
and what it entailed? what did they look for when hiring you?


I've worked in animation from a storyboard artist to a key animator. (How's that for versatility?) But I've worked only locally in commercials and animated promos.
Usually, what they look for in an animator is his ability to have a strong drawing line and to express emotions trough the pencils.

[James]

I have a feeling you've opened up a brand new barrel of excited worms on this topic.. can I just barge in and ask an unrelated question I've been meaning to ask someone about inking...

Bristol boards/paper. What qualities does this paper have that makes it so attractive to illustrators?

[Dynomutt]

Bristol boards/paper. What qualities does this paper have that makes it so attractive to illustrators? Plate smooth Bristol boards have the facility to keep inking lines looking sharp and clean.
Vellum finished bristols are for pencils.

[Pyro]

There are many ways of inking. The most popular one is the brush technique. I personally use technical pens. (My pulse is not that good when it comes to brushes).
The pens I use are 0.25 for small thin lines , 0.35 for regular lines and 0.50 for larger drawings. These pens are not cheap, but they last long. Just like Wriggley's Spearmint gum! :D
Wow those are small! :eek: The smallest I have is a 1.0! Thanks though, I'm going to look into it.

[screw on head]

i don't want to be too forward, but how's the pay as a comic book artist?

i mean no disrespect because it's a very tempting career to persue, and well i'm looking at possible careers and colleges. i'm looking at animation, comics, movies, i don't know what i want to do, it's all so equally interesting...

[Dynomutt]

i don't want to be too forward, but how's the pay as a comic book artist?

i mean no disrespect because it's a very tempting career to persue, and well i'm looking at possible careers and colleges. i'm looking at animation, comics, movies, i don't know what i want to do, it's all so equally interesting...


There's no disrespect in learning more about your future career. The pay as a comic book artist depends on your employer.
For example, some employers can pay pencils from $80 to $300 per page depending on the company and depending on how reliable are you for them.

[Outlander00]

Man, Ive been gone a week and I return to this! :D

First, thank you for taking time out of your schedule to do this, Dave... A lot of people appreciate your work and hope for your continue sucess with DC and with your own projects.

I have a couple questions that people, I am sure, are dying to know.

What were/are some of your influences when you developed your talent/style?

What was the best aspect about working on Looney Tunes and Yenny?

Any tips on getting your foot in the door?


Does anyone else have any questions?

[Dynomutt]

What were/are some of your influences when you developed your talent/style?- Some are Chuck Jones, Jeff Scott Campbell,(Danger Girl), Jeff Smith, (Bone) and Glen Keane.
What was the best aspect about working on Looney Tunes and Yenny?


- Looney Tunes makes my inner kid's dream come true. Since I was very little I always wanted to draw Bugs Bunny, (as my mom for my old notebooks) :p And knowing that I can draw the in my own style is really cool.
And Yenny is a first step into self-publishing in the US. I have High hopes on this.
Any tips on getting your foot in the door? Does anyone else have any questions?


eehh...could be :rolleyes:

[James]

Some examples of expressions from Dave's Yenny strip (http://www.comicssherpa.com/site/feature?uc_comic=csaeb ). We were talking about expressions on the previous page, but I thought rather than amend the earlier posts to offer examples, I'd throw them up where people are more likely to look.

http://drawingboard.toonzone.net/yen1.JPG


The above is a great example of Dave using an almost identical frame but simply altering the facial expressions to give an entire different emotion. One could argue that it also affects the way we few Yenny's body language too (does the more concerned look make you think her body looks more tense even though it's drawn the same?)

http://drawingboard.toonzone.net/yen2.JPG

Here's one from one of his recent strips (todays (http://www.comicssherpa.com/site/feature?uc_comic=csaeb )), a variety of expressions and angles. The hair seems to be a useful tool here in helping depict action as well as character. Was that intentional when designing Yenny? Making sure she had attributes that would help convey her better?

http://drawingboard.toonzone.net/yen3.JPG

Just a couple of shots. Both of which I thought were cute but displayed fine character drawing. Her emotions in both are so well captured not just in the face, but in the body.

I don't know if this encourages any questions on penciling characters or if Dave has anything he'd like to add or counter! :p

[Stu]

I've been drawing a while, yet I've always had trouble on deciding where the shading should go. This is due of course, from not knowing where a good light source is. Do you have any advice on the shading aspect of a picture, and any hints on how to make the shading allow the characters to, for lack of a better term 'pop' more?

[Dynomutt]

The hair seems to be a useful tool here in helping depict action as well as character. Was that intentional when designing Yenny? Making sure she had attributes that would help convey her better?

- Wow! Now that was a really deep analysis of my drawings! :eek: :p
One of the things I enjoy of drawing Yenny is that every inch of her design works to accent her expressions.
That's one of the things an artist has to keep in mind. When designing a character. Everything has to work in favor of what you plan to do.
In Yenny's case, her hair plays with her mood changes. Observe close and you'll notice that her ponytails rise or lower a bit depending of the scene mood.
Details-details!

[Dynomutt]

I've been drawing a while, yet I've always had trouble on deciding where the shading should go. This is due of course, from not knowing where a good light source is. Do you have any advice on the shading aspect of a picture, and any hints on how to make the shading allow the characters to, for lack of a better term 'pop' more?


- I always say, there are no specific techniques when it comes to art. It all resides on your ability to observe. When it comes to shading always choose where the light source should be and how strong or soft it will be. How much lighting depends on your story or character's mood.

[The Detective]

I know someone mentioned inking earlier but I was wondering, all my inking usually comes out looking rather stiff and not near as fluid as my actuall drawing. Any tips to remedy this?

And in a comic, like your Looney Tunes work what is used to color it? Is it all colored on computer or do people still color it by hand?

[Dynomutt]

I know someone mentioned inking earlier but I was wondering, all my inking usually comes out looking rather stiff and not near as fluid as my actuall drawing. Any tips to remedy this?

And in a comic, like your Looney Tunes work what is used to color it? Is it all colored on computer or do people still color it by hand?

We previously mentioned some inking techniques. You can check them out and let me know if you have any questions.
Looney Tunes is inked by computers. All the characters have their own pantone color guide and all different colorists follow it.

[Dynomutt]

It would also help if I could see some of your inking jobs too.

[James]

The Detective seems to have gone walkabouts, however on the assumption as with many they use a singular line of a singular width, how do you approach inking? Do you begin with working on lines of a certain thickness? How do you decide what to emphasise and what to keep subtle?

[Dynomutt]

The Detective seems to have gone walkabouts, however on the assumption as with many they use a singular line of a singular width, how do you approach inking? Do you begin with working on lines of a certain thickness? How do you decide what to emphasise and what to keep subtle?

I choose the inking line thickness depending on the drawing. For example, Yenny asks for a delicate single line to emphazise her femenine side, on the other side, the Looney Tunes ask for broader lines which transmits the wackiness and wild behavior of them.
Psychology at hand, huh?

[James]

A situation I know has been an issue from some artists here is parents and how they feel about their kids venturing out into the artworld - especially into comics. Did your parents support your choices in art? Have you been fortunate enough to be able to specialize in your chosen field the whole time or have you had to hold down jobs - artistic or otherwise - to make ends meet?

[Dynomutt]

A situation I know has been an issue from some artists here is parents and how they feel about their kids venturing out into the artworld - especially into comics. Did your parents support your choices in art? Have you been fortunate enough to be able to specialize in your chosen field the whole time or have you had to hold down jobs - artistic or otherwise - to make ends meet?

Saying that my fathers were happy with my choice would be a fat lie! lol. My parents wanted me to be a doctor. They even sent me to a psychiatrist because it wasn't "normal" for them to see me drawing cartoons. But, hey! That's part of my story.
On the longrun they understood my career and they also understood that GROWN up people really create cartoons. So young artists out there, don't loose your faith!
I've been working on three sides of my career, one, which you already know which is cartooning, two acting for commercials and some cheap modeling...(I'm not that cute, believe me), and three...believe it or not....I'm a puppet builder and performer for TV shows.
So there you go. Always use your talents to the most.

[Pyro]

It would also help if I could see some of your inking jobs too.
Here's the inking job I did that brought up my question. I don't think it looks that great, but it doesn't look bad. I want it to look better.
http://forums.toonzone.net/showpost.php?p=945690&postcount=26

[Matthew Hunter]

One thing I noticed about your Looney Tunes work, as opposed to the stories drawn by Leo Batic or Walter Carzon or others, is how expressive the drawings are. Your drawings are clearly not as model-sheet driven, and the panels seem almost like they are moving images. I particularly enjoy reading your Foghorn Leghorn and Daffy Duck work just to see what rubber-faced expression you're going to give them next. Do you just DO that, or does it take a few tries to get the characters' expressions just right?

Are there any characters that you have worked with, Looney Tunes or otherwise, that you had a hard time drawing or expressing? I would think Marvin Martian would be a pain...to get that head structure rounded right, and express him without a mouth!

Out of all your works, including original characters, what is your favorite project you've ever worked on?

[Dynomutt]

Here's the inking job I did that brought up my question. I don't think it looks that great, but it doesn't look bad. I want it to look better.
http://forums.toonzone.net/showpost.php?p=945690&postcount=26

It looks great and pretty funny too. It would help if you could tell me what kind of paper and inks did you used.

[Dynomutt]

One thing I noticed about your Looney Tunes work, as opposed to the stories drawn by Leo Batic or Walter Carzon or others, is how expressive the drawings are. Your drawings are clearly not as model-sheet driven, and the panels seem almost like they are moving images. I particularly enjoy reading your Foghorn Leghorn and Daffy Duck work just to see what rubber-faced expression you're going to give them next. Do you just DO that, or does it take a few tries to get the characters' expressions just right?

Are there any characters that you have worked with, Looney Tunes or otherwise, that you had a hard time drawing or expressing? I would think Marvin Martian would be a pain...to get that head structure rounded right, and express him without a mouth!

Out of all your works, including original characters, what is your favorite project you've ever worked on?

At first I had a hard time trying to follow the character's model sheet as close as I could. But later I realized.....What the heck! The purpose is to be loyal to the character's look, and of course, to be as unique and expressive as possible.
Daffy Duck allows me to play with his expressions because of his multiple changing moods. On the other hand, in Marvin the Martian's case, I can only rely on his eyes and helmet's front part to change his "facial features".
It's hard to say what project is my favorite, but I really enjoy Looney Tunes and Yenny a lot.

[James]

Okay, here's a fun one - does any Looney Tunes character present you with a problem so far as consistently drawing?

and....

What do you think about your work? Do you feel happy with your skills or do you feel they can be improved on. I guess many people here couldn't imagine you'd have any doubts with your artistic talents, but do you see any room for improvement and where?

[Dynomutt]

Okay, here's a fun one - does any Looney Tunes character present you with a problem so far as consistently drawing?You are gonna laugh at this one, but altough all the Looney Tunes have the same basic design, (mainly the basic things that changes are the cheeks and tails), I do have some trouble sometimes drawing Sylvester! There's a tricky part on his cheeks that just drives me nuts sometimes. I found out that the recent model is not as fluid as the old one. In the early newspaper comic strips, the artist made a blend of the new design and the old one that is just fantastic. I've been following that design ever since.

What do you think about your work? Do you feel happy with your skills or do you feel they can be improved on. I guess many people here couldn't imagine you'd have any doubts with your artistic talents, but do you see any room for improvement and where?Thanks! I don't know if it is an "artist" thing, but I always learn something new. I see an animated movie and learn some new pose or movement. I just finished working on the Looney Tunes Back in Action movie adaptation and the storyboards were filled with wonderful art of cartoon artists that simply inspired new things on me, or maybe I see a new funny expression on my wife's face and I want to try it on Yenny.
I'm always learning and trying to get inspired every second of the way.

[James]

I just finished working on the Looney Tunes Back in Action movie adaptation ...

How much was involved in that? At what pace were you working, just to give budding artists an idea of schedules/pace


or maybe I see a new funny expression on my wife's face and I want to try it on Yenny.

That's SO sweet! :)

How about deadlines? In your line of work - in particular the Looney Tunes - are the deadlines flexible? - do you try and complete work prior to the deadline or just about manage it at the nick of time? In fact, when do they set the deadlines? Are the negotiable?

I think deadlines is an issue we haven't really covered and one that is vitally important to the artist/employer relationship.

[Dynomutt]

[/color]

How much was involved in that? At what pace were you working, just to give budding artists an idea of schedules/pace

When we were working on the movie adaptation many changes were taking place at the same moment in the picture. Some scenes changed, characters, and stuff like that.
We wanted the adaptation to be as faithful to the movie as we could do. However, if you have the heart of a collector, grab a copy because certain mayor scenes were changed at the end of production.
The schedule of work was a little tight but we managed to stay alive. Bill Matheny did an incredible job shrinking 300 pages of a script in 48 pages.
I've seen some pages of the final work on the book and they are cool.

That's SO sweet! :)

How about deadlines? In your line of work - in particular the Looney Tunes - are the deadlines flexible? - do you try and complete work prior to the deadline or just about manage it at the nick of time? In fact, when do they set the deadlines? Are the negotiable?

I think deadlines is an issue we haven't really covered and one that is vitally important to the artist/employer relationship.

Deadlines are very important in this kind of work. We are working four issues ahead of it's release date. (In june we are working on the Christmas issue and so on...)
Meeting deadlines are the MOST important part of a freelance artist. I try to complete my work prior to the deadline. And of course, the most reliable you are, the most oportunities you'll get.

[Jack]

I've noticed that, in what I've seen, your comics don't have as many overlapping and strangely shaped panels as the comics of other artists do. I like this because it makes your work look airy. There's a (IMO awful) story in the DC "Comics Celebration" book called Romeo and Drueliete that is just so cluttered. The stories that you drew that came after it were a breath of fresh air.

Anyway, a thought came over me today. You'd be the perfect person to draw a Woody Woodpecker comic book. Woody always worked best when he was expressively drawn, like in Culhane and Lundy's excellent cartunes. Andy Panda is another character who also relied on a lot of expressive drawings. I doubt a Woody and friends comic book would ever come out, but I'd like to see you work on it if it did. I'd want poor Andy to be included, since Univeral was all-to-eager to forget him the second Walter Lantz dropped dead.


Jack :bosko:

[Matthew Hunter]

Here's a question for you: Are there any Looney Tunes characters or combinations thereof that you just don't like working with? For example, Dan Slott, who writes a lot of the LT comic stories, once told me that he never writes stories with the later 7 Arts characters like Cool Cat and Merlin the Magic Mouse because he hates them and doesn't find them funny. I suspect the same is true for your writers and Sniffles the mouse...I've never seen him used outside of the occasional cameo.

Also, are there any classic characters that you as LT comic artists are told to avoid using?

-Matthew

[Dynomutt]

I've noticed that, in what I've seen, your comics don't have as many overlapping and strangely shaped panels as the comics of other artists do. I like this because it makes your work look airy. There's a (IMO awful) story in the DC "Comics Celebration" book called Romeo and Drueliete that is just so cluttered. The stories that you drew that came after it were a breath of fresh air.

I like to keep my stories clear and simple so the readers can enjoy them more. I learned from Brett Kotth's daily Looney Tunes strips. They were beautifully drawn and very very simple. I'm glad that you like them.

Anyway, a thought came over me today. You'd be the perfect person to draw a Woody Woodpecker comic book. Woody always worked best when he was expressively drawn, like in Culhane and Lundy's excellent cartunes. Andy Panda is another character who also relied on a lot of expressive drawings. I doubt a Woody and friends comic book would ever come out, but I'd like to see you work on it if it did. I'd want poor Andy to be included, since Univeral was all-to-eager to forget him the second Walter Lantz dropped dead.

Aaaahh...if you only knew! Drawing a Woody Woodpecker story is in my wishlist. I really hope I can do it someday. However, strangely enough...Mexico is publishing a new Woody Woodpecker comic based on the new series.
Weird, huh?


Jack :bosko:

[Dynomutt]

Here's a question for you: Are there any Looney Tunes characters or combinations thereof that you just don't like working with? For example, Dan Slott, who writes a lot of the LT comic stories, once told me that he never writes stories with the later 7 Arts characters like Cool Cat and Merlin the Magic Mouse because he hates them and doesn't find them funny. I suspect the same is true for your writers and Sniffles the mouse...I've never seen him used outside of the occasional cameo.

Also, are there any classic characters that you as LT comic artists are told to avoid using?

-Matthew

Dan, Dan, Dan... he's always thinking out loud. LOL
I'm not a fan of those characters either, but I guess it would be very weird to see them today. Unless.....John K. do something tragic to bring them back in his style, like the new Yogi Bear knowwhattahmean? I guess that would be the only way. (If you see anything of this happens, then take my words as profetic, my man!).
We are not allowed to use the Gremlin because of some legal stuff. Apparently the little guy ended up in some guy's hands after the denigrating Public Domain Period.

hmmm....

[Matthew Hunter]

Dan, Dan, Dan... he's always thinking out loud. LOL
I'm not a fan of those characters either, but I guess it would be very weird to see them today. Unless.....John K. do something tragic to bring them back in his style, like the new Yogi Bear knowwhattahmean? I guess that would be the only way. (If you see anything of this happens, then take my words as profetic, my man!).
We are not allowed to use the Gremlin because of some legal stuff. Apparently the little guy ended up in some guy's hands after the denigrating Public Domain Period.

hmmm....

Maybe Bob Clampett's estate owns him? I had never heard of anyone else other than Turner owning the cartoon for TV broadcasting, and since it is Public Domain I figured anybody could use the character freely. :(

[Jack]

There's an animation art dealer called Gremlin Animation Art. It uses the Gremlin as its mascot, and they even sell limited editions with it. Maybe they're the ones who "stole" the character.

[Dynomutt]

Maybe Bob Clampett's estate owns him? I had never heard of anyone else other than Turner owning the cartoon for TV broadcasting, and since it is Public Domain I figured anybody could use the character freely. :(

I'm not sure who owns it. I think it's not a big network but whoever it is is wasting a lot of time keeping it.

[Dynomutt]

There's an animation art dealer called Gremlin Animation Art. It uses the Gremlin as its mascot, and they even sell limited editions with it. Maybe they're the ones who "stole" the character.

Nice finding. I didn't knew that.

[Jack]

Nice finding. I didn't knew that.
Here's a link for anyone who wants to visit their site. They sell WAAAAYYYYY overpriced lobby card reproductions. Gremlin (http://www.thegremlin.com/)

Anyway, I'm glad that you are for the idea of a Woody Woodpecker and friends comic book. How would you approach drawing Woody and friends? What "era" at Lantz would you base the designs on?

Also, have you ever illustrated any Looney Tune story books? And if not, would you ever do it if it were offered to you? (if yes), would you do it in the same style as the comics, or would you experiment more with different media, like painting, charcoal, ink washes, etc. Something I've noticed lately is that children's books with classic cartoon characters seem to be all drawn in flat comic-book style, and I think that's a shame. I like it when a children's book gets experimental with shading and texture since the illustrations are so much bigger and long-lasting.

And why doesn't DC do a Tom and Jerry comic book? They do a good job with the Road Runner and Coyote, so why not Tom and Jerry? Droopy, Screwy Squirrel, and Barney Bear could be used as backup features in the book. Is it because there's already a Tom and Jerry comic book overseas?

[Dynomutt]

Anyway, I'm glad that you are for the idea of a Woody Woodpecker and friends comic book. How would you approach drawing Woody and friends? What "era" at Lantz would you base the designs on?
The glorious forties era...when Woody WAS Woody, with his crazy look. I just love it.


Also, have you ever illustrated any Looney Tune story books? And if not, would you ever do it if it were offered to you? (if yes), would you do it in the same style as the comics, or would you experiment more with different media, like painting, charcoal, ink washes, etc. Something I've noticed lately is that children's books with classic cartoon characters seem to be all drawn in flat comic-book style, and I think that's a shame. I like it when a children's book gets experimental with shading and texture since the illustrations are so much bigger and long-lasting.
I did illustrated a Star Wars-Looney Tune parody a few years ago. It was fun.
WB and DC work in mass production when it comes to Looney Tunes stuff, so it's a little hard to find something more elaborate.


And why doesn't DC do a Tom and Jerry comic book? They do a good job with the Road Runner and Coyote, so why not Tom and Jerry? Droopy, Screwy Squirrel, and Barney Bear could be used as backup features in the book. Is it because there's already a Tom and Jerry comic book overseas?
Everything in this business is sadly just that..."business". A Tom and Jerry book would've been a hit, (and it was), 30 years ago. But since this kind of business it's called "kid's business", they try to concentrate more in those weird "Yu-gi-Oh", (or whatever the name is), and their new cartoon franchises to work with.
We as artists would love to see a great Oscar Martin Tom and Jerry book again, but as I said before....there's no business as new franchise business".

[Dudley]

I created a comic strip for my school newspaper (which I own the rights to), and when I grow up I'm going to personally syndicate to several newspapers. That way, I don't have to make changes, and I can quit anytime I want to!
Do you think this is a good idea?

Is it better to do Sunday comics only, or weekday comics only?

If you start your own company, does the company name have to be registrated by the USPTO?

[Dynomutt]

I created a comic strip for my school newspaper (which I own the rights to), and when I grow up I'm going to personally syndicate to several newspapers. That way, I don't have to make changes, and I can quit anytime I want to!
Do you think this is a good idea?

Is it better to do Sunday comics only, or weekday comics only?

If you start your own company, does the company name have to be registrated by the USPTO?

You can do that if you personally know the newspaper owners, of course. I did that for a few years while I was on High School. I drew a comic strip called Zacha & Anyelin. (Which turned into "Yenny" at the end).
However, I personally recommend you to never start a project with a negative tought in mind. As I use to tell my students,(I give cartooning classes sometimes), "Never enter the door of sucess looking for the "exit" doors".

Even tough a Sunday strip it's just a "single" strip, compared to six whole daily strips,it does takes a good deal of time in coloring. Also check for your newspapers needs and what you CAN do.
Don't offer them a whole week of comics if you barely have time to study.

Every company who's personal goals includes money earning or non financial purposes has to be registered in the US Department of State.
It's da' lo'h!!

[Dudley]

Do you have a relative who worked at Cartoon Network Studios?

[Dynomutt]

Do you have a relative who worked at Cartoon Network Studios?

Not at all. I'm one of those rare cases that've entered the field for my own merits.
I'll be the monkey's uncle of my generation!

[screw on head]

how are comic cons as a place to find work? i've been to a few:
wondercon and wizard east, both cluttered with aspiring cartoonists and professionals. i've found the aspiring artists to be very easy to talk to, much more approachable than some of the professionals because they don't have security and lines around them.

sergio argones managed to make me a huge fan of his just by talking to him.
he gave lots of free stuff like magnets and sketches and now i'm hooked on groo the wanderer. he was so generous and funny and just an overall nice guy. meeting artists like this in person gives you a whole other perspective and appreciation for their work.

have you been to any cons as a kid? was there any particular artists to wanted to or did meet?

have you set up a table and displayed your work at any conventions? i love these types of displays, great for feedback and conversation, and the occassional sketch and advice. i love watching artists draw at their tables, it's a great learning experience.

[Dynomutt]

how are comic cons as a place to find work? i've been to a few:
wondercon and wizard east, both cluttered with aspiring cartoonists and professionals. i've found the aspiring artists to be very easy to talk to, much more approachable than some of the professionals because they don't have security and lines around them.
- Cons are a place to get yourself known among the Comic book followers. I wouldn't call it a place to find "work" because you have to take certain steps first. And those steps are: 1) Promote your work so everyone may know you 2) If someone likes you, THEN you might get to work.


sergio argones managed to make me a huge fan of his just by talking to him.
he gave lots of free stuff like magnets and sketches and now i'm hooked on groo the wanderer. he was so generous and funny and just an overall nice guy. meeting artists like this in person gives you a whole other perspective and appreciation for their work.
- I've never met Sergio in person but everyone says so many good things about him that I'll love to have that oportunity one day.
Being a "snob" in the comics world will get you knowhere among fans. Being kind, humble and respectful can open a wide variety of doors inside the business.


have you been to any cons as a kid? was there any particular artists to wanted to or did meet?

-I've been in local conventions. (I live in Puerto Rico in case you didn't know), and I had the privilege to shake hands with some people like Jo Duffy. I missed one convention where my favorite artist Jeff Smith attended. I wish I could meet him one day.


have you set up a table and displayed your work at any conventions? i love these types of displays, great for feedback and conversation, and the occassional sketch and advice. i love watching artists draw at their tables, it's a great learning experience.
- Having the reaction of fans and seeing their happy faces worth more than a thousand dollars. When I used to publish "Changuy" I always had a booth were people could meet us , get their comics signed and get their hands on some sketches.
It's a wonderful thing.

[Bubblegum Girl]

- Yes, I've worked in animation before. What pointers do you need exactly

How long does it take to do a 5-7 minute and 10-13 mintue animated cartoon?

[Dynomutt]

How long does it take to do a 5-7 minute and 10-13 mintue animated cartoon?

It all depends on your style of animation. can tell you that the most complicated classic cartoons took months to finish. But, using today's technology, like Flash, you can finish a nice short in a few days or weeks.

[Dudley]

I noticed in Foxtrot and other comic strips, they mention other comic strips and copyrighted products and properties including Yu-Gi-Oh, Pokemon, Star Trek, video/PC games, food, and etc.

Do the creators ask permission from the companies and creators first?

[Dynomutt]

I noticed in Foxtrot and other comic strips, they mention other comic strips and copyrighted products and properties including Yu-Gi-Oh, Pokemon, Star Trek, video/PC games, food, and etc.

Do the creators ask permission from the companies and creators first?

You can do that as long as you do it only for a friendly parody joke purpose. What you CANNOT do is use other creation's likenesses, themes etc.

[Dudley]

What if a character from a different source appears in a comic strip?

Example: In Foxtrot, Jason had a nightmare where he met Lara Croft.

Here's an un-related question:

Since you've worked in animation before, do you know a good numbering-system to use when animating?

[Dynomutt]

What if a character from a different source appears in a comic strip?

Example: In Foxtrot, Jason had a nightmare where he met Lara Croft.
It still is a parody. He's not making a Lara Croft cartoon, he's using her for parody purposes.


Here's an un-related question:

Since you've worked in animation before, do you know a good numbering-system to use when animating?

Depends on what kind of animation are you talking about. In my case I've worked on traditional hand drawn animation. Now all the numbering and editing is being done by computer. I'm not familiar with computer composing.

[J. B. Warner]

I am an aspiring cartoonist myself (I do a comic strip for my school paper) and I was wondering what tools I ought to use to make my work look more professional, as well as the measurements for a standard four-panel strip? Right now I just use any pencils and pens I can find and I draw the strip at about 8 in. x 3 in. (and I know that's way too small).

[Outlander00]

Well, it is about time this thread to wind down as Dave is surely busy with other projects. As the head of the Workshops, I like to personally thank Dave for spending a lot of his time answering questions from everyone in Toon Zone. I am sure everyone, including myself, learned a lot from you Dave. :)

Do not fret, though... Dave will be returning soon (we are working out the details now) in a feature that will specifically for the Drawing Board website, where he will answer more questions! One of the first questions to be answered will be yours I am sure, J.B. Warner.

Keep your eye out for an annoucement for Dave's feature on the website until then!