Friday, March 30, 2012

Live Art Tutorials at Anime Blues Con 2012

We will be foregoing our regular tutorials in order to let you guys know about an important event that is directly related to what we do here on MAWPRO.COM.

You all know that we love to teach what we know to aspiring artists, writers, performers and illustrators. As indy comic book guys (and gal), we feel a need for the artistic community to embrace the new, the young, and the undiscovered talent in the comic book industry in order to further its growth and survival. What you may not know, is that Martheus Wade is the Art Track head for a huge convention called Anime Blue Con, June 15-17, 2012. It's a convention in Memphis TN that specializes in all things anime and beyond. From movies, to cartoons, to books, Anime Blues Con has it all. And, in the realm of artistic education, Anime Blues Con is just as effective. We have set up a great line up of tutorial classes and informational panels that are sure to give you a leg up when looking to further your skills or break into the industry. Check out what we've set up for you at Anime Blues Con 2012!

Who's Coming to Anime Blues Con 2012

Alex Zemke

Animator and Cartoonist Sony Entertainment

CG animator and cartoonist. He’s animated rodents, bugs and speeding hamster balls in the hit film G-Force, as well as the little blue men – and woman – in Smurfs. He has animated the cinematic sequences for such major game titles as Killzone 3, SOCOM 4, and the Uncharted series and has worked on the graphic novel Turra: Bombs and Betrayal. Alex will be unveiling a top secret project he has been working on dealing with the Portal game! Don't miss what he has to show!!

  

Dave Beaty

Illustrator/Inker DC Comics

Since 1992 Dave Beaty has produced numerous award winning illustrations and designs for the publishing, entertainment, advertising, film and music industries. Past clients include Archer Malmo, Clear Channel Communications, Elektra Entertainment Group, Marvel Comics and DC Comics.

 

Shawn Pryor

President Action Lab Entertainment

The founder & publisher of PKD Media; Shawn was inspired to dive head-in to the world of comic books & media entertainment by writing his first series, the buddy-cop comedy “Mercury & The Murd” in 2008. That led him to create/write several additional titles for PKD Media as time went along. Currently, Shawn is co-writing the sci-fi title “Exo-1 & The Rock Solid Steelbots” for the Action Lab Signature Series line, and writing the all-ages action title “Agents of C.O.L.T.: Satellite of Ice.”
As President of Action Lab Entertainment, Shawn tries to put the emphasis of putting fun back into the comic book and animation medium and in his spare time ponders if he’s related to the late-great comedian with whom he shares the same last name.
See more of Shawn's and Action Lab Entertainments work here

 

Sean Taylor

Comic Book, Graphic Novel, Novelist and Manga writer

Sean Taylor writes short stories, novellas, novels, graphic novels, and comic books (yes, Virginia, there is a difference between comic books and graphic novels, just like there's a difference between a short story and a novel). In his writing life, he has directed the "lives" of zombies, super heroes, goddesses, dominatrices, Bad Girls, pulp heroes, and yes, even frogs, for such diverse bosses as IDW Publishing, Gene Simmons, and The Oxygen Network.
He's the former managing editor of Campfire (formerly Elfin) graphic novels, where he oversaw the publication of graphic novels based on classic literature, world literature and historical biographies, as well as original works.
In addition to all that, he's also been a staff writer, managing editor and editorial vice president for iHero Entertainment's Writer's Digest Grand Prize Zine Award-winning Cyber Age Adventures magazine ("The very first zine award, as a matter of fact," he adds with great pride). He served as book editor and writer for the two iHero trade paperback collections, A Private Little Corner of the Universe and Playing Solitaire. He's also the former editor-in-chief of Shooting Star Comics, where he edited the critically acclaimed Children of the Grave comic series and edited and contributed to the fan favorite Shooting Star Comics Anthology, and was the creator and author of the Fishnet Angel: Jane Dow comic book miniseries.
As if he weren't already overworked and exhausted, he's also written and edited for the role-playing game industry as well, having contributed to the DCU Role Playing Game published by West End Games (Gotham City Sourcebook, Titans Sourcebook, and the Green Lantern Sourcebook) and having edited the Cyber Age Adventures Role Playing Game.


 

MAW Productions

Jetta, Muley, Turra... of course we're going to be there!


Created in 1994, MAW Productions has gained acknowledgement in their hit graphic novel series titled Jetta: Tales of the Toshigawa and take pride in creating exciting new worlds for lovers and readers of comic books and manga to enjoy. They are continuing to make strides in the motion picture and animation industry as well and is continuing to bring new ideas to readers with their newest graphic novel, Turra: Bombs and Betrayal.
http://www.toshigawa.com
 

Anime Blues Con 2012 Art Track Events!!


Artists of ABC

This is where the fun begins! Want to meet the featured artists as well as your favorite creators from Artist Alley? Come mingle and talk shop with the Artist of ABC 2012.

 

Illustrating for Comics and Manga 101

Are you an aspiring comic book illustrator? Find out the tips, tricks and tools to illustrate your way to Manga glory in this informative and fun panel. Hosted by awesome manga illustrator Meaghan Beninati

 

Writing for Comics and Manga 101

Manga isn’t all about the art. You have to have a story. Join Action Lab Entertainment President, Shawn Pryor and IDW writer, Sean Taylor as they break down the ins and outs of storytelling.

 

Digital Designing 101

Are you a photoshop or Manga Studio whiz? Sharpen up those digital skills and learn the ins and outs of digital designing for Manga and Comics illustration. Hosted by Dave Beaty, DC Comics Illustrator.

Animation for movies

Are you the animated type? Join Alex Zemke, animator for Sony Pictures Interactive, as he shows the tricks of the trade to animate for the motion picture industry. Don’t miss the chance to see how the magic is done.

 

Animation for Video Games

Take your love of gaming to the next level. Alex Zemke, animator for Sony Pictures Interactive will show you how to go from playing your favorite games, to bringing them to life.

 

Breaking into the business of Comics and Manga

If you are a writer, artists or future publisher, this panel is for you. From Manga, to comic books, to animated and live action feature films, the influence of the comic medium on pop culture is astounding. Find out how to get your ideas from your mind and to the printed page. Join Dave Beaty, illustrator for DC Comics, Shawn Pryor, President of Action Lab Entertainment, and Sean Taylor, writer for IDW, for an in-depth conversation on the business of Manga and comic books.

 

The Muley the Mule and Friends Puppet Show

Take the Muppets, add a sprinkle of the Peanuts comic strip and mix it into a bowl and you have Muley the Muley and Friends! This show is a hilariously funny, all ages puppet show that you don’t want to miss. Meet Muley the Mule, Bufford the Dog, Roy Duck, Missy Mule and the rest of cast as they stumble their way into and out of trouble. And, just maybe, you’ll get a visit from Santa Fish as well!! Hosted by MAW Productions

 

Jetta: Tales of the Toshigawa - Graphic Novels, Music and Movies

Jetta: Tales of the Toshigawa has been a graphic novel fixture for 17 years as readers have followed Shianndrea Toshigawa, AKA Jetta, on her journey to become the Chosen One of the Toshigawa Ninja clan. Now, the books climatic end is fast approaching. With a live action movie in the works, the creative team that brought you this independent hit would like to celebrate this 17 year journey with Anime Blue Con! Come meet MAW Productions creators, Martheus Wade, Kevin Williams and Janet Wade with special guests Alex Zemke as they talk the past, present and future of this exciting story. This panel will be kicking things of with live music from Iyse Gibson and D’Voted as they perform tracks inspired by the Jetta: Tales of the Toshigawa - Defiance soundtrack! Don’t miss this celebration!
 
Hope to see all of you there!! It's going to be an AWESOME time!!
 
ANIME BLUES CON 2O12
JUNE 15-17, 2012
AT THE MEMPHIS HILTON
MEMPHIS, TN 

Saturday, March 24, 2012

Larry Zankowich's Certified Cool: Junipers and stuff

Yeah, so seein as my brotha from anotha motha, Martheus Wade, is outta town doin his comic book thing, I'm doin him a solid by posting a review.

This past weekend I had some down time between my disco swingers club meeting and baking donuts (at especiallydonust4u.com, baby!), so I decided to do a little recreational reading, because you know I’m an educated gentleman and whatsnot.  I picked up a book by a brotha named Grimm or sumthin.  Well, lemme tell ya, this guy Grimm was all over the place.  I mean, he couldn’t stick to a single friggin storyline.  Everything kept changing from chapter to chapter!  How this guy even got published while my “1001 Ways to Pick Up Chicks with Donuts” was overlooked is beyond me.

I was about to chuck the whole thing in the trash when I finally came to “The Juniper Tree” chapter.  Boy, that one was a doosy!  It had murder, murder cover ups, pinning murders on little girls to take the fall, cannibalism, and sweet revenge all in it.  It was like some kind of friggin mob story, I tell ya!  The only thing missing was like maybe the brotha Grimm could’ve wrote in a hot, steamy sex scene or sumthin, ya know?

Anyway, “The Juniper Tree”’s all about this guy who has a kid and his wife dies, so he marries another dame and has a kid by her too.  Now this dame is a gold-digger and hates the first kid because he’s not hers.  So she gets the kid to reach for an apple in this big chest, because even though she’s a gold-digger, I don’t think they have a fridge or whatevah because the guy obviously needs to take on a second job to afford one.  Well, when the kid reaches in the chest, the dame slams the lid down and friggin decapitates him!!!  I mean, I was totally taken by surprise with that one!  Then the dame panics and places the blame her own kid who does nothing the entire chapter but cry her friggin eyes out.  Then, get this now, to get rid of the body, the dame cooks the dead kid and feeds him to the guy!  I mean, what the hell?!!  Then there’s sumthin about burying bones under a juniper tree, hence the chapter title, right?  Sumthin else about a singing bird that squeels on the dame, yadda yadda. One good thing is the bird gets the guy a fancy medallion, kinda like the one I bought the other day at the corner gas station.  Yeah, chicks love those.  Then the bird drops a millstone, I think that’s the new line of Buick station wagons, on the dame and kills her.  Then the kid spits in the face of logic by coming back to life even after being decapitated, cooked, and eaten.  And the kid and the other kid and the guy all live happily ever after without the gold-digging dame.

So even though this book was confusing as hell, “The Juniper Tree” chapter saved it all.  I give it 3 outta 5 star-shaped donuts.  With sprinkles.  At especiallydonuts4u.com.

(A note from MAW Productions:  Mr. Zankowich is in no shape or form a part of MAW Productions.  His opinions are solely his own.  We also have no idea how he has our blog password.)




Friday, March 23, 2012

Lexington Comic & Toy Convention

MAW Productions will be attending the Lexington Comic & Toy Convention this weekend.  Things to look out for are:
  • All things Jetta (books, Turra's book "Gun Angel", prints, jewelry)
  • All things Muley the Mule (books, prints, a special Ghostbuster Muley prints)
  • Muley himself (give him a hug when you see him!)
  • Jetta creator Martheus Wade (he does sketches, folks!)
  • Muley creator and MAW Productions editor Kevin L. Williams (he does sketches, too!)
  • Green Ranger prints
Green Ranger print - Martheus Wade - $10.00

"There is No Dana, Only Mule" prints - Kevin L. Williams - $10.00
Jetta square charm bracelet - Just Another Distraction Jewelry - $12.00
Stop by their booth, say hello, make happy purchases. Who knows. If you ask nicely, Martheus might give you a sneak peak on a few pages he's been working on for an Action Lab Comics project.

Thursday, March 15, 2012

Tutorial 2: Inking!


This tutorial will be a slightly complicated one. There are a lot of different techniques that inkers apply to get the job done. So, I split this one up into three different point of views. The first part will be inking for cartoons and strips with Kevin Williams. The second will be inking for comic book pages by myself. The third will be inking for the pin up with Janet Wade. Some of the techniques and tools will overlap and some will be drastically different. However, the overall goal is the same. The inks should add more clarity, weight and definition to the pencils. As with any tutorial, this is meant for you to take what we are presenting and use it as a basis to create your own technique for tackling your personal or professional project. Here we go!

PART 1: 
Inking for Cartoon Strips with Kevin L. Williams
How do I ink?  Badly.  But, it’s fun to do and makes fun art for the viewers.  I do have a process, though, and want to point out that, while my style and tools suit me, you will practice and learn what tools and styles suit you.
Well, I suppose first I should introduce you to my tools of the trade:  Black Inda Ink, a pen with a cartooning nib (available at the art store nearest you).  Windsor & Newton Series 7 Sable Brush is awesome and some artist pens and a Sharpee.  These help me with inking whenever I need to make my pencils go from…pencils to ink!  Of course, you'll need your pencilled art on your Bristol, some rulers and such.

When inking, you need to first choose your light source.  Here’s the first time I’ll share this big secret about my own light sources, and now you’ll be able to go back, look at my comic strips and realize this:  my light source is always from the top left. 

  
Sketched out Muley panel.

What does using a light source help with?  Well, the lines you draw/ink on the side where the light is shining down will always be thinner lines than the opposite side, where the shadow would be, which will use thicker lines.
First, I will show inking with the India Ink and the Windsor & Newton Series 7 Sable Brush.  If you ever have done any painting, then you’ll have a pretty good control of the bristles and can lightly touch the art for thin lines, or bear down to make the lines go thicker.  Then, it can fill in the spaces that are supposed to be completely dark.  I like the brush because, with good control, you get some really great lines!
And the inking begins!
Then, there is the chance to use your cartooning nib pen.  Dip it down into the inkwell and don’t worry about getting it on your pen or your fingers—that’s what’s awesome about doing art!  Again, the pressure on the pen determines how much ink is released to the line…slide the pen sideways for a nice thin line, then pull it down to get thicker lines.  Video would be more helpful to see this, but maybe we can do that at a later time.
Filling in the big, dark areas with a brush.
When using the art pens (in this case the Faber Castell PITT artist pen) you can get different line thicknesses from the different size of the pens.  I use the thicker pens for the darker areas and the lines which will be opposite the light source.
Fine lines get a pen.
The medium pens tend to the light-source side of the character or object in the comic strip.
Finally, the fine pens are used for items such as the eyes, eyelids, eyelashes, or other fine details in the art.
I can also go in and use the Sharpee to fill in the areas that are solid black:
So, all these tools are what I use when inking comic strips, and hope this is a little helpful for your shopping list and useful for reference!
Tadah!

PART 2: 
Inking for Comics with Martheus Wade

I owe the start of my journey on the road of inking to Mike (Battle Pug) Norton. One day visiting his apartment, he convinced me that inking would make my pencils pop and I have been doing it ever since.
Tools of the trade.


Tools of the trade: Copic and/or Micron 01, .08, .05, .01, .005 black pens, Black India Ink, Copic 100 black sketch marker
Triangle, French Curves 
2 pages of an Action Man mini-comic.


How I start a page is by determining what is the most important element on the page. This could be a complicated question especially if you have multiple panels on a page. In that case, I take each panel as a separate piece and determine what element is most important inside that particular panel. I then ink from what I like to call, back to front.


Before the inks get slapped on.

First, once I have figured out what the most important subject is on the panel, I start to ink with that subject in mind. I try to isolate the subject by inking it with a thinker line with an .08 or a .05. The weight is determined by the placement of the subject in the panel. If there is another element that is closer in the foreground than the subject, that element will be inked with a thicker line than the subject. 
See how inks make everything POP?

From there, I work on outlining each element in the panel with a noticeable weight difference while keeping in mind what is the most important element and what is foreground and background. The further an object is in the background of a panel, the thinner the outline I ink the object with. This is to simulate depth of field on a flat page. If you go outside and look as far as you can see, you will notice that the detail of the objects in the distance become hard to see or none existent. However, the closer things are to you, the more detail you see. To simulate that idea with a pen, I ink with a smaller pen tip for objects in the back ground than I do for objects closer to the “camera”. Depth of field is really important for an inker to achieve. Not only does it help bring a sense of space to the illustration, but it also helps the colorist determine light sources and object edges.
More poppin.


After I outline the different objects, I start in with the details of each. Here, I use the front to back inking idea inside of each object. The finer the detail of the object, the smaller the pen tip will be. As I move to background of the panel, I tend to not worry about details of individual objects because you wouldn’t see them anyway.
After outline and detail are completed, I begin to spot my blacks. Now, this can be a little tricky and changes depending on who you are inking. If you are inking for your on pencils, it’s easier to understand where your shades and shadows will fall. However, many different pencilers work in a variety of ways. Some are very loose with their pencils while some are very tight. Whichever way the pencils are, make sure you have a clear understanding of where the blacks will be placed. Also, make sure you have a clear understanding of the lighting source and the flow of the entire page. That way, shading will stay consistent throughout. Another thing to be on the look out for is what objects should be left open for colors. Color brings an element of rendering to the art that can compliment what the inker has already set up. However, if you go heavy on blacks, that could limit the colorist. 
Preliminary sketch and the final inks.

Going back to the idea of isolating the most important subject, I use haloing when spotting black. A halo in inking terms is a thin white line that travels around an object to separate it from the complete black background. This helps to isolate the main subject from the surrounding area giving the eye a distinct point of reference.
Once this is complete, be careful to erase your pencil lines by stroking the eraser in one direction as opposed to going crazy all over the page. Heavy erasing can take up your ink marks making the line grey instead of black. Scan in at 600 dpi and get to coloring!
As you can see, inking is an IMPORTANT step in the process of comic book page creation and should not be glossed over or taken lightly. A good ink job can be the difference between a masterpiece and a dud.


PART 3:

Inking for Comics with Janet "saltygirl" Stone Wade

How did you get started inking?
It was in the pre-nup. Martheus said he wouldn’t marry me unless I SWORE my allegiance to MAW Productions and to ink the Jetta books.
My first foray into inking was clumsy.  I used one sized nib (if you can call it a nib) on everything: a fine point sharpie.  And when Martheus said I could use whiteout if I need to, I took that as “Sure, you can ink this page blindfolded if you want.  Whatever.  No need to stay in lines!  Here’s a bucket of whiteout.  Use it with abandon!”  Looking back, I think he had a mini-stroke when I gave him his pages back and he saw how I mutilated it with sharpie and whiteout.  I’m really surprised he wanted me to continue inking his stuff.
*ahem*

I’ve gotten a lot better since then.

What do you feel your inking brings to the artwork?
Hopefully, it makes already awesome pencils POP!  I mean, I love raw, rough pencil sketches.  It’s almost like seeing the artist’s thought process in those.  But laying inks down solidifies that thought.  It’s the point of no return, no looking back, no more erasing nor editing.

How do you feel about digital vs. traditional inking?

I personally like traditional inking.  It’s always a challenge to bring out the best in pencils when you lay inks onto paper.  And it’s also a challenge to not mess up hahaha!


With digital inking, I feel a separation between me and the work.  I don’t know, might be because it’s on screen and I never actually touch the work.  Also, I haven’t had enough practice with the digital inks yet.

What are your tools of the trade?


Sakura, Copics, Microns, Sharpies (I’m not picky) with various nibs for detailed work.  Sometimes I get fancy and do it with brushes and india ink for bigger areas.  Sometimes, I said.  I like how a nib gives me more control over a brush.  But I do like how a brush can give such great line variation…hmmm…
Got my  tools ready.  About to begin...

What is your inking process? This question is step by step.


I just want to say that inking is NOT tracing.  Tracing implies following exactly the established pencils without using any of your congnative skills to go over what someone else has already done.  When you ink, you enhance the pencils set before you.  Jim Lee is an awesome artist, but he would be in big trouble without his inker.  Alright, rant over.
This is for traditional inking…
When I get a page, I first take a look at it and evaluate it.  Are there large, solid areas of black?  Mark those w/ X’s.  What’s in the foreground vs. the background?  Are there details to pay close attention to?  What is important on the page?



Thick outlines and large areas of black established.


Follow up with finer details.
 Now to ink.  Of course, objects in the background get smaller line work as opposed to things up close.  Distance = small, thin lines.  Up close = thicker, more bold lines.  Sometimes it’s ok to put a halo around an object that’s in the foreground to separate it more from the background.  Or maybe you want the foreground object to bleed into the dark background.  This all depends on your personal style, too, so you may opt out of the halo thing.
Finer lines for background stuff.
Also, pay attention to curves.  On something organic, like hair, a line will taper at the end, so watch the pressure you apply with the pen.  If an object has a bow or bend to it, the bend is thicker than the ends.  It’s also important to note that an object’s outline will be thicker than the details within, so use a smaller nib when tackling those.


I’m a sucker for people.  Maybe I should reword that…  If given the option, I’d choose to ink only the characters and leave the inanimate objects and background in pencils.  Haha!  Who’s lazy?  This gal, right here.  Nah, but seriously, I like to ink people first, specifically faces, starting with the eyes of a character.  Then I work my way out to the body outline, then the details within.  Then I tackle the background (ugh!) with the same method:  outlines first, details within next.  And finally I ink the large solid areas of black which I’ve already marked with X’s.  I ink those areas last because I feel I can finally relax after concentrating on a lot of detailed lines.

Then, when all’s done, I take a trusty straight edge and do the panel borders.

Theeeee ennnddd!
In the end, the one thing we want you to walk away with is that inking is an important part to comic book illustration. There are a lot of ways to achieve the look you want with your ink work. However, it's going to take practice, time and patience in order to get things going. We hope this inking tutorial is helpful on your way to completion of that all important project. Don't forget to post your comments here and visit us on our MAW Productions Studio Facebook page to hear more tips and techniques. 

Friday, March 9, 2012

JETTA TO BE COLLECTED BY ACTION LAB!


This is a long time in the making for Janet, Kevin and Myself and we are thrilled to be able to announce this!!

Action Lab Entertainment is proud to present Jetta: Tales of the Toshigawa as a digital exclusive comic, available in Nook, iOS, Android, Kobo, Kindle, Graphicly and additional formats in Mid-May.

Created by Martheus Wade and optioned for a motion picture, “Beginnings” will be the first in a series of Jetta: Tales of the Toshigawa digital omnibus collections to be released over the next two years. “Beginnings” collects Jetta – Last Chances (first published in 2003) and Jetta – Crucible (first published in 2009) into one 120 page full color graphic novel.
With all new story additions, art and ending commentary, Beginnings brings an entirely new reading experience to these exciting books and provides an excellent jumping on point for new readers who have always wanted to check out one of the most popular female characters in independent comics.
Additional previews to come soon. Get ready for Jetta!


Shianndrea Toshigawa is “The Chosen One” of the Toshigawa Ninja Clan.
She is the only warrior powerful enough to save the world from the wrath of the Knave, a demonic samurai army led by her father, Terminus.  Although Shianndrea longs for a normal life away from the weight of her destiny, she is hunted at every turn.

Taki Sato, one of the most deadly warriors in all of Japan wants Shianndrea dead and the monstrous tracker known as Desai would like nothing more than to restore his honor by breaking Shianndrea and returning her to Terminus.

Now this reluctant warrior must cope with the fear of her destiny, a battle to the death and a rumor that another clan member is traitor.

Sunday, March 4, 2012

Tutorial 1: Generating Ideas!

By Kevin Williams and Martheus Wade

One of the questions we get asked from time-to-time is, "Where do you get your ideas?"

Kevin:
Well, sometimes from reading.  It can be a book about creating ideas, like "The Cartoonist's Muse"; or, it can happen while you're reading a novel.  Sometimes, reading other comic strips will send my brain reeling down another path and then I have to stop and go write a few comic strips.

Martheus:
I'm a big fan of movies. I find a lot of inspiration in going to a great movie (and some of the not so great ones) and falling into the story. Sometimes an idea for a comic story can come to me from something as simple as a camera angle. I remember going to see 300 and being moved so much by the fight scenes that I was determined to achieve that feeling of camera angles and movement in a Jetta comic page.



Janet:
I get a lot of ideas from movies and animation as well.  If there's a good storyline going, you can't help but become inspired. Good stories are timeless and transcend boundaries, so you'll see recurring themes in different books and movies.  Music can also put you in a certain mood to create.   

Kevin:
Other times, it's an idea that stems from a conversation with a friend, eavesdropping on the conversation at the next table, or from a story that a friend tells you from their life.  I can say that sometimes ideas come from just doodling Muley and the other critters--when I draw them a certain way, wearing a certain costume...they tell ME what they want to do, and I do it.


Martheus:
People tend to think that last point is crazy talk. If you know your characters well enough, they will let you know what the story or next plot point needs. Sometimes that's all you need to get an idea rolling. For me animation is another huge inspiration. Everything from the anime Ninja Scroll to Wolf's Rain or High School of the Dead is a place for me to get hyped to create. And it's not just anime that stokes the creative fires. One weekend, Janet and I sat and watched all of the Justice League and Justice League Unlimited cartoon series. We drew the entire time and was glued to our seats!


Kevin:
And, in some cases, the area around you creates the idea.  A while back we went to the Nashville Horror Con, followed by dinner at the Tilted Kilt.  While there, and with nothing much to look at *wink, wink*...

 
I found a clear paper placemat in front of me, so I whipped out my Sharpee and went to doodling.  I left the original art there on the table for our waitress; but, I took a photo of the idea I had.



You see, it's an Irish pub.  And the specialty?  Fish and chips.  Everyone ordered "Fish-n-chips," which sounded like "fishin' chips."  That's where the doodle came from and where this strip originated.



Janet:
I know that my most creative/productive times occur when I'm around other creative people.  Don't know what it is exactly, but the group gets this vibe going, kind of a creative synergy that everyone contributes to and feeds off of.  Before you know it, you've spent 8 hours sitting in one spot drawing, laughing, talking, sharing ideas.  These are, in my opinion, the best times to create.
 
So, you see, the ideas can come from anywhere.  Reach out for them, snag them, and be sure to jot them down quick because as fast as the ideas come they will leave your mind.

Here's a question for you, and feel free to comment below or talk about it in our facebook chat page with this same subject heading: When do you get your ideas?  Do you feel like they come to you when you're about to go to sleep?  Do they show up while you're showering?  Do they show up while you're doing other art, like sketching?  We want to hear from you.

Until then, keep the pencils, pens, markers and ideas MOVING!!