A GREAT USED FIND from a recent bookstore outing. Love this clean old style—illustrated novel with woodcut-style (probably) scratchboard drawings sprinkled throughout. A classic YA novel that’s been made into movie and series.
Fascinating learning about another new-to-me illustrator, Cyril Walter Hodges. en.wikipedia.org/wiki/C._Wal…
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Replying to @PanSoychild
Many beginner/amateur/indie creators don't seem to have figured out that they can escape this hypnotism and find success without any of these online group cultic affiliations.
All you have to do—not easy, but many have accomplished this—is work to become *good enough* that your stories/art/writing will consistently sell to a general audience.
QUALITY!
Of course, in the crowded marketplace, everyone has the challenge of gaining enough attention to get decent sales. But that's a secondary thing.
For the beginner, the seductive appeal of these groups—beyond the parasocial-clubhouse-approval aspect—is that joining them is a shortcut to attention and sales. But it's not! In fact, it might rocket you to nowhere, especially when you've smeared yourself with a tainted brand.
And being in such a group won't improve your work by some weird magic or osmosis, either. You'll just waste time that could have been used practising & improving, instead spending it on being just another online fool.
The amateur mindset seeking the quick & easy road to success doesn't face the unshakeable fact that if the work isn't good enough, NOTHING will make it sell...because buyers aren't stupid!
Flogging the dead horse on streams won't make your steed jump to its feet, no matter how much you nag.
Neigh, nay!
Improve the quality enough that any casual prospective buyer who knows nothing about "CG" or any other group instantly thinks "gotta have/read that!"
THEN, you won't have to sideline yourself in an online micro bubble, a tiny forgotten pimple on the comics industry, wasting your precious time in a pit of nonsense and stupidity. Joining such a thing is an affirmation of low self-confidence and unwillingness to compete in the open market.
これはもう「絵がうまい」としかいいようがない。残酷なほどに「ただの才能」がここにあって、同じ状況を誰が描いてもこんな魅力的なレイアウトにならないだろう。急ごしらえのバリケードがあって、銃を持ってるハイハーバーの人々がいて、ラナがいる。背後に岩山が見える。そんだけ。多分絵描きなら誰でも「はいはい」と言って描ける。描けるが、決してこんな絵にはならないと確信を持って言える。彼の言う「つまんない空間」にしかならないだろう。逆に言えば宮崎駿はいかなるシーンでも「つまんなくない空間」として、しかも反射的に即座に描けたのだと思う。それは同じ平凡な被写体を前にしての、スマホを持った素人とプロのカメラマンの違いのようだ。
ROCKETFICTION 🚀 retweeted
'Speakeasy Corner.' (1928) Martin Lewis died in obscurity in 1962; he found some success in his early career, but was largely forgotten after the Great Depression leaving him to spend last three decades teaching etching including his famous pupil Edward Hopper.
ROCKETFICTION 🚀 retweeted
❝Critics used the word ‘illustrator’ as a denigrating label. I resented the implied barrier between illustrator and painter. Both should be measured by their competence—not by artificial compartments contrived by critics.❞
—N.C. Wyeth, born on this day, October 22, in 1882
ROCKETFICTION 🚀 retweeted
宮崎駿監督が描いた『未来少年コナン』の設定です。フライングマシンの円がゆがんでいるのは本人が疲れているせいだという注釈があります。(未来少年コナン レイアウト集)
ANIMATION SKETCHERY: another design exploration made for a 3D show. It was during the early phase of developing a series and was fun "blue sky" concept work, throwing out as many ideas as possible.
#conceptart #animation








































































