Pieca Porg Papercraft assembly instructions—now with pictures!Wed, 04/06/2011 - 16:22 — Eric
If you were lucky enough to get a Pieca Papercraft from us at a convention, or if you printed one out after donating, we've put together a pictorial guide to assist you in putting together your papercraft. Hopefully it will prevent the creation of more abominations like the one I made:
1. Cut out all the pieces:
2. Cut along all the dotted lines:
3. Crease or fold along all the solid lines:
4. Fold together the tentacles, it might help to tape the ends:
5. Fold together the claw arms:
6. Fold down and tape all the flaps in the tail and front sections, be careful not to tape over the orange and blue slots, or if you do, clear them with a knife:
7. Tape the front and tail sections together:
8. Fold the tabs on the back section and tape together the internal tabs:
9. Tape all the outer tabs of the back piece and attach the back section to the front and tail section from the inside of the tail section using the tabs:
10. Insert the tentacles at the blue dotted lines:
11. Slide together the two slits on the claw arms piece and the claw hands piece:
12. Insert the claw arms at the orange dotted lines:
Now that you're finished go read the comic Pieca stars in!
My comic review checklist, Part 2: WordsSun, 03/20/2011 - 16:31 — Jason
Time for part 2 of what I learned about making comics since starting Carpe Chaos! Part one is here in case you want to start from the beginning of our process. Last time I focused on the layout and flow of a comic, which are the first things we figure out. From there the artists spend time detailing and typesetting each panel, which means it's time to focus on getting the words right. Next time I'll talk about what we look for when finishing the artwork on each page, but this post is all about the words. The dialog! The narration! The text! The language! And just as before, you can click an image to see how that particular example turned out in the final version.
Jason's Words Checklist
The first word-related thing I look for when making a new comic is the words' flow, making sure the layout is good and that the speech balloons and narration boxes are naturally read in the right order. There's a lot of feel to this process; I can't say precisely how or why I decide whether a comic's pages are too condensed, or too expanded, or just fine as they are. So far Carpe Chaos comics have tended to be slow-paced, with simple conversations spanning many pages. I think this is because I like to savor every moment, I want to make sure each moment-to-moment transition is clear, and I'm aware that the more words are on a given page, the less likely people are to read them. But we're always trying different things :-).A good example of a comic that started out too dense would be Moments of Elation. The layout Anthony originally proposed was 5 pages (as you can see below), because the story is a short poem. But it ended up becoming 11 pages! Because the story is about the natural beauty of the Kaean's home ring and spiritual reflection, we chose to have the comic slowly show off the rich imagery of the Kaeans' native environment, and of the poem, in the hope of inducing the same contemplative awe in the minds of our readers.After the layout is decided, we check out how the pages look with the actual words in place. This is the start of typesetting, which means we need to make sure there aren't any typos or copy-and-paste errors, and that all of the lines are in the right places, and in the right order. It's easy to accidentally paste the wrong thing, or to lose a character of text somewhere, so I take the time to compare each line with how it was originally written in the script to make sure no accidents get into the final version.Imagining how things will look on a page when writing a text-only script can be difficult, and when confronted with an actual layout some things that seemed like a good idea come across as awkward or just don't read the way they were intended. I've heard other authors and editors refer to this process as "tightening up the dialog" but for me it's just a matter of making sure the comic communicates what I want it to communicate as clearly and as believably and as smoothly as possible. Most of the time the changes we make are for clarity, conciseness, and the pursuit of natural-sounding speech (even though we view all Carpe Chaos dialog as the best possible English translation of the original alien languages).Not much to say about this one. Too many commas are bad because they slow things down. Too few can also be bad. It's important to think about how the punctuation affects how the words are processed by the readers, because they affect everything from the pace of reading to the perceived personality of the speaking characters.It's like, how good is the acting? The art and the words need to work together in comics, and even the most subtle facial expression or gesture can cause confusion or give the wrong impression of what's happening in a scene. Faces are the worst because humans are wired to pick up on the slightest little thing, and it takes considerable artistic ability to even be able to reliably draw nuanced facial expressions, never mind use them effectively. And it's harder still with Carpe Chaos characters, because many of them lack eyes and noses! When we work on the scripts we do our best to describe the emotions and facial expressions of the speakers, but our ideas don't always turn out as we hope and new "stage direction" is occasionally called for.I hate it when comics style TEXT to aimlessly emphasize every other word. When I try to read a comic that has dialog like that, my head hurts. We use text effects like bolding, italicizing, and capitalizing just like punctuation: to emphasize and add inflection to dialog in ways that enhance, not confound, their interpretation. In the example below the italics aren't needed to resolve any ambiguity, but hopefully this change worked with the rolling eyes to show this character's boredom and disengagement with the topic of conversation.Speech balloon borders that get too close to the words they contain make for an uncomfortable reading experience, and when the borders are uneven (unless the comic has a rougher style, like Jailing Fortune) it makes the whole comic look sloppily typeset. We also make smaller versions of our comics (640x720 pages on the website and 320x480 mini-pages for mobile), so a balloon that has enough space at 960x1080 might still feel cramped when scaled down.Pretty self-explanatory... A speech balloon pointing in the direction of a group of people when only one is speaking the line can be very frustrating for a reader! My example here is more of a stylistic choice, but it has the added benefit of making it harder to interpret the tree in the foreground as the speaker :-).
Are conversations harder to follow because related dialog exchanges and reactions are not on the same page (or adjacent pages)?
Are the lines all in the right order? Do they match the script? Are any words mixed up or copied and pasted from the script incorrectly?
Do the lines still work now that they're positioned in the comic? Do they still feel right? Do they ring true?
Does the punctuation work well? Is it smooth to process while accurately inducing the desired pace?
Do the facial expressions, poses, movements, and actions of the characters work with the script properly?
Does each emphasized word have the right emphasis (bold, italic, larger font size, smaller font size, allcaps, or a combination of these)? Should emphasis be added or removed to better convey speaking inflection and timing?
Are any speech balloons wrapped unevenly or too tightly around their text?
Is the right font used? Are the speech balloon tails the right shape? Does each speech balloon tail point in the right direction and clearly identify the speaker?
Two down, one to go! The last part of my checklist will cover the things I look for when finalizing the visual artwork.
Guest comic for reMINDMon, 03/07/2011 - 07:44 — Jason
We (Anthony Cournoyer and myself) made a guest comic for Jason Brubaker of reMIND!
Click the image for the full-size version
You can click here to see it on his site. He said it actually made him laugh out loud, which I think means we did a good job on it! reMIND's a great graphic novel too (as I recommended previously) so if you haven't read it, now would be a good time to catch up on the archives before it comes back from its break in a couple of months!
Webcomics I've been reading, Part 2Sun, 02/20/2011 - 15:08 — Jason
I still read webcomics, and just like before I have some recommendations to share. I promise these can keep you company while you wait for the latest Carpe Chaos chapter to finish.
I wasn't sure about the simple art style in Supermassive Black Hole A* at first, but then I tried reading it by flipping through the images quickly, absorbing the action and mood of each image and moving onto the next without lingering on any one image for too long. And I discovered: as a fast-paced sci-fi action-thriller, it's pretty darn good! The style is unusual; you don't get much detail in any particular panel and you never see two panels side-by-side (so it's a little like a slide-show). But comics are as much about the reader-imagined transitions between panels as the artwork in the panels themselves, and (at least for me) this comic provokes wonderfully engrossing movement and action. It's also sort of like a book in that, because the art is so limited, my mind fills in the visual details as I read through it. The presentation makes for a unique experience, and the story's compelling, too. Definitely worth a look.
I like Wayfarer's Moon, which surprised me because I usually don't like fantasy comics. The two main characters have a dynamic that reminds me of Xena and Gabrielle from the television series Xena: Warrior Princess, only fully clothed. The story is still getting going, but the comic does a good job of making me want to learn more about Iri, the dark-haired mage-warrior-archer-person.
I love this comic's personality. The art style, the typesetting, the characters, and the storylines all work together perfectly. I don't know whether Meaty Yogurt could be better at being what it is than it already is, if that makes sense. And what is it? It's a comic that follows a snarky young woman that's dissatisfied with her life as she searches for something more.
Another comic that updates in chapters, like Carpe Chaos! I feel an immediate kinship. But this comic is even more beautiful than ours! The creator uses a digital painting style that is warm and rich and inviting and colorful... just perfect for his kid's story about a young boy on his summer vacation. And I love the way it's laid out: it's done in the "infinite canvas" style that involves absolutely no page turning. You just scroll to the end of the chapter, and the layout alone determines the pacing and significance of the different moments in the story. With the way it's painted, the way it's styled, and the way it's presented... I immediately found myself lost in The Wormworld Saga. But be warned: it might be a year until the next chapter is finished.
It seems like every other webcomic has already blogged about Ratfist. I'm not familiar with any of the previous work of Doug TenNapel (the creator) so I can say it's thoroughly entertaining without any incumbent bias. Simply put it's a light-hearted superhero romp that updates 5 times a week. It's silly and everything is exaggerated, but the throw-realism-to-the-wind humor appeals to me in ways I didn't expect. The creator made Earthworm Jim, which I've at least heard of before, and with Ratfist he's found a new use for his considerable worm-drawing skills in the protagonist's disembodied, mind-controlled, extra-large rat tail accessory. That's nothing if not original!
Octopus Pie has been around for a while, it's got a large following, it's successful enough to make a living for the creator, and the reason for these things is that it's very good. It's about Eve, a young Chinese-American grocer, and the different cliques she navigates as she tries to live her life in New York City. Part of its appeal is how authentic the characters feel, from the crazy muffin-making hippie roommate to the well-meaning-but-drug-dealing love interest. It's equal parts humor and drama, and the creator isn't afraid to experiment with less traditional ideas like characters talking into adjacent panels and animation.
Conventions!Thu, 02/10/2011 - 13:57 — Jason
We'll be at WonderCon in San Francisco (April 1-3), and we'll be at Comic-Con in San Diego (July 21-24). If you're going, we really hope you'll stop by our table and meet us! I also created a new page to help keep our convention trips straight. Click here to view it, and it's also in the menu up above.
My comic review checklist, Part 1: FlowSun, 02/06/2011 - 21:54 — Jason
As the guy in charge of working with our artists as we develop the comics from the scripts, I've learned a lot about the process. My chief goal is to make our comics as easy to follow as possible—I hate reading confusing comics, and likewise I would hate for our comics to accidentally confuse our readers. To that end I've built a sort of a checklist that I use to remember what to look for when the artists submit their pages. Some are important for helping the reader move through a comic comfortably, like easily understanding in what order panels and speech balloons should be read, while others ensure a more analytical reader can piece together the finer details of our stories. Keeping the little things consistent is especially important because when our stories are taken together they form the Carpe Chaos universe and we want the Porgs, Kaeans, Turikasuul, and Xotron to feel as real as possible!
I went through my notes and pulled the best examples I could find to illustrate the sorts of things I pay attention to. The list turned out to be pretty long, so I broke it up into three blog posts. This one is about what I do first: make sure the comics flow well from panel to panel, page to page, and spread to spread. It's important for us to get all this stuff figured out before moving to the finer details, because otherwise we end up going back and changing things and wasting time in the process. I made each image below link to that page in the finished comic, so if you want to see how an example turned out when it was finished, just click the picture.
Jason's Flow Checklist
I've found that people who read comics on a regular basis don't often pay attention to how they mentally process each page. They take in each page as naturally as if they were reading a book. But reading comics can be confusing because for a novice because it's not immediately obvious in what order the panels should be read. For stories like Rising Up, the panels are arranged into rows and you can read them from left to right as you would words on a page without any problems. But stories like Jailing Fortune require a more nuanced approach. When do you read to the right? When do you read down? When do you start over again at the next panel on the left?So making each comic easy to follow is important for several reasons. Good layouts make it more comfortable for experienced readers who get annoyed when their reading rhythm is broken, and they help new readers who might be intimidated or put off by complex panel arrangements. There are a lot of subtleties in guiding a reader through a page in the proper order (and sometimes the order doesn't matter or is left ambiguous on purpose), but my approach is simply to read through the rough layouts and try to sense where something could be confusing.In the example below, Anthony Cournoyer's first layout design for this page of Filter Dregs confused me. It wasn't obvious whether the center panel should be read second or third, and because the page needed to show a linear sequence of moments it made the whole thing confusing. I explained my confusion by drawing the "right" way to read it in pink, and the more natural but wrong way to read it in dark red. Anthony agreed and after a few revisions we got a layout that was both mildly interesting and (I hope) completely clear.This one is pretty subjective, and one of the privileges I enjoy as editor :-). If something looks off, I can request that it be changed. This is in the checklist mostly to remind myself to take a step back and look at the pages for anything that bugs me or triggers my OCD. It's like a comfort-check for me.I didn't like how the speech balloon in Worst Case Scenario had panels on top of it, so I asked the artist (Daniel Allen) to rearrange his layers.In other words, is the action consistent from panel to panel? Can I tell what is happening?In the first example (Daniel's Rurban Sprawl), I thought the Porg character Helmut looked as though he had materialized with his segway as if he had spawned in a video game. Too sudden! By adding his tentacle, it became clear that he was pushing the segway out from his house or garage.In the second example, Anthony's Jailing Fortune layout was just too confusing. It was hard to figure out in what order the panels should be read, but more than that it was hard to follow the action after I figured out the panel order.Like the panel order, I always check to make sure the speech balloons are arranged in way that makes their order easy to figure out. We fixed the problem on this page of Anthony's Filter Dregs by lowering the second and third balloons, and connecting them with a tail.
Do my eyes follow good lines when the comic is read, without too much zigzagging? Is the panel order at all confusing?
Does the panel layout look pleasing and nice? Does anything seem off aesthetically?
Does the action make sense as it is shown? Can I follow it clearly from panel to panel?
Is the correct order of the speech balloons obvious, or is the order confusingly ambiguous?
Does the pacing feel right?Making comics is, at the core, the art of creating time with space. The way the panels are laid out, the way the panels are divided, the way the characters are spaced, the way the speech balloons are positioned, really everything everything affects the pace at which a story is interpreted and experienced. Different people can experience the same layout in different ways but certain rules always apply, and then there are the finer details beyond those. For example, more panels means time moves slower. Fewer panels means time moves faster. Larger panels cause me to pause, while I move through many smaller panels more quickly. The more words on a page, the longer it takes to get through it. And so on.I pay the most attention to how the dialog comes across. I want to make sure the beats in conversations are communicated well, because I think about the tempo and emphasis when I work on the scripts and I don't want to lose those considerations when the comic is drawn. I wrote the bulk of Hard Lessons, and in the example below I asked Anthony to divide the panels because I wanted a pause between when the younger Turikasuul finished his lame argument and when the general reacted to it. I wanted to give the general's muttering its own beat or tick or moment in time; I wanted to give her "face-palm moment" more weight.
Do the panels that begin and end pages carry appropriate weight? Would rearranging the page divisions improve readability or "set the stage" better?We present our comics in digital books two pages at a time, so I think about how the stories will be presented when they're live on the site (and printed in books). Page divisions, either between two pages of the same spread or more importantly between page turnings, affect how the story is physically framed and what can be seen side-by-side. It's generally a bad idea to split a sequence of moment-to-moment or action-to-action panels across multiple pages, because they are read quickly and sometimes need to be next to one another to be clear. There's also page density to consider: sometimes not enough happens on a page, and sometimes a page is too cramped.When we started on Door to Door (and when we thought it would only be a few pages long), Joe Slucher's initial layout put the number of actual comic pages at four. Because it's a solemn, somber story, and because the setting changes several times, doing everything in only four pages felt too quick. While it took longer to finish because we added another page, the five-page sequence felt like it was paced much better and each page felt like an even fifth of the story.
Is it easy to become disoriented between panels due to camera angle changes? Is the 180° rule broken in ways that create confusion? Is a general orientation maintained throughout a scene, and if not, is that okay?The 180°rule is more of a guideline, but it says that if you rotate the camera (point of view) around a scene too much and the characters and objects swap places as a result of the changes, the comic (or motion picture for that matter) can become confusing. The way you can make sure not to do anything too confusing is to draw an imaginary line through the middle point of a scene, and then draw all of the panels in that scene from the same side of that line, never moving the camera (point of view) across it. Of course you can break this rule without running into problems, but you have to pay attention to make sure you aren't going to confuse the reader's sense of left and right.On the first page of Moments of Elation, I wasn't sure that everything was in the same position because the camera moved so much. Anthony drew a diagram to show he hadn't broken the 180° rule, which you can see below, and that about convinced me. This story was a little special because it takes place in a zero-g environment and the camera was moving along all 3 axes, and the sense of disorientation was not entirely a bad thing. We wanted the first page to convey a sense of zero-g, which is inherently disorienting :-).
The second part of my checklist has to do with words, speech balloon layout, and typesetting. So look forward to that ;-)
Made some cool buttonsWed, 01/26/2011 - 21:33 — Jason
I was messing around in Photoshop again, this time creating some 125x125 jpgs for some more Project Wonderful ads. These were the best 10:
They look so cool all lined up like that, so I decided to share. I think #4 is my favorite. I stuck them all into a test campaign in Project Wonderful, so I'll see which one is gets the most clicks! If you want to see the others I made, click here. And if you want to take one and use it as a button on your site, feel free :-)
Creating the cover of Carpe Chaos IgnitionFri, 01/21/2011 - 12:17 — Joe
Joe Slucher here to talk about how I created of the cover of the first Carpe Chaos comic collection, Carpe Chaos Ignition. Actually I’ll just be talking about creating the bottom half of it in this post.
After showing a cover sketch that related to each comic, Jason chose to go with the following sketch for the bottom half of the image.
This scene was based on the battle between the Gloryshark and Dreadstone Turikasuul clans in the first chapter of Rising Up, illustrated by Daniel Allen. The specific panel is below:
Throughout this I’ll be referencing some Photoshop CS3 tools and the names may be different for CS5. I knew I’d probably end up playing with the rainy background a lot so one of the first things I did was setting up my image so that I could work on the characters and background on different layers. So I duplicated my sketch layer and titled the top layer “characters“. Then I used the lasso tool and Quick Mask Mode to select the characters. Then I went to Layer > Layer Mask > Reveal Selection. Then I was able to paint on the background layer below it without fear of interfering with the characters.
Click to enlarge.
At the beginning I set my brush to color mode, quickly laid down some rough colors, and then switched right back to normal mode. For the most part I use the default Airbrush Pen Opacity Flow brush and a real media brush that imitates chalk. I use a digital tablet, so I always just go into the brush controls and turn the minimum diameter way up under shape dynamics and turn on other dynamics so that my pen pressure determines the opacity.
I was concerned about making it clear that the rain is affecting the characters without being able to show clingy wet clothes. So after looking at some photos, I noticed that in a heavy rain there’s kind of a scattering of little highlights just off the edge of forms where the rain hits surfaces and bursts. For this effect you can use a round brush and turn on scattering and adjust your count or you can download any of a thousand brush sets that have splattery brushes. Here's what I ended up with:
If you look at the image below, you can see where I began to add a hint of texture in some spots. But I was mainly trying to sort out the lighting:
Click to enlarge.
I was mostly thinking about where the backlighting would be creating rim light and how that hit the form and whether the strong backlighting would wash out the figures or add some blue to them. I also added a third layer to put some of the rain between the character and the viewer. Here I was also dabbling with having the red Turikasuul reflecting onto his opponent’s arm spikes. From looking at Turikasuul illustrations by other artists, I also thought I needed to change the angle and design of the teeth.
Feeling confident that the forms were reading well, I begin detailing and adding final elements such as the blood spatter and thumb:
Click to enlarge. Click to enlarge. Click to enlarge. Click to enlarge.
As you can see from the detail shots, these are not super tightly done. I've learned that the success of an illustration is based more on how believable the lighting and forms are, rather than the details. I knew this illustration would be printed only about 7 inches wide, so spending a lot of time making a tooth look real when seen two inches big on my monitor would have been a waste of time. I used the Add Noise filter on the background and then added a motion filter blur. The wrinkles around the mouths were done by creating a new layer filled with black, lowering the fill to 0% and turning the bevel and emboss layer style on. If you try this, be warned your image won’t look any different until you start to use the eraser tool on this layer.
Click to enlarge.
Jason directed me to make the blood color more yellow to more closely match the design of the Turikasuul species, so I made that change and felt that perhaps making the forehead veins and gums more yellow would help sell that this is in fact blood.
Click to enlarge.
Here’s how the final image turned out. The yellow veins were nixed and we decided to flip the image horizontally. I also decided to try to make their skin look more like it was glistening wet. For that effect I created a new layer above my other layers, filled it with black and set the layer blending mode to color dodge. Then I painted the highlights with a speckly brush.
In conclusion, developing images like this is much less intimidating once you learn the tricks behind it. Any artist could practice with these same techniques and outdo me without too much extra effort.
Anyway, if you like my work, make sure to follow the Carpe Chaos website as you may be seeing more of me around here :-)
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- Thanks! We're still plugging
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