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from : beckycloonan.tumblr.com/post/8…
Becky Cloonan is a comic book artist who has worked on the following titles:
Demo (with Brian Wood, 12-issue limited series, AiT/Planet Lar, 2003–2004)
Bram Stoker's Dracula: The Graphic Novel with Gary Reed (Puffin Books, 2006, ISBN 0-14-240572-8)
East Coast Rising (Tokyopop, 2006, ISBN 1-59816-468-6)
American Virgin #1-17, 20-23 (pencils, with Steven T. Seagle, Vertigo, 2006–2008)
sharkyfandango asked: What's the hardest part about being an artist for a living? What makes it all worth it for you?
BECKY CLOONAN: A lot has changed since art has become my full-time job. I used to only draw when I felt like it, now I have to draw even if I feel uninspired, or unmotivated. I had to learn to turn that switch off, and treat it like a job, and not as a hobby.
I also had to kiss my social life goodbye! As a freelance artist you are always working. I try to separate my art and life as much as possible, but I'm still surrounded by it. I still work all day, and I almost always take my sketchbook to bed to knock out a few more ideas before sleep. Days of the week don't hold any meaning; whenever I go out on a Friday I wonder why there are so many people around. "Oh yeah, it's Friday night. This is what normal people do." As much as it is liberating, it's also a bit alienating.
I also try to plan my jobs a year ahead. As a freelance artist you never know where your next job is going to come from, and you don't want to be stuck for a period with no work, so I'm constantly lining up two or three jobs ahead, just so when I finish one I'm sure I'll have something new to jump into. This too is bit is stressful.
There are a lot of amazing artists out there, and remembering this keeps me on my toes. I'll never be the best, but I hustle and I always strive to improve myself. Things that help me stay on track are having a daily routine, getting up early, writing out a list every morning of the day's goals, and always trying to find ways to be excited about what I'm working on. Lucky for me I am easily excitable, I love breakfast, and I love making lists.
What makes it worth it though, is I love drawing. I LOVE IT. I love making comics. I love starting a new page and buying new paper, ink and brushes. I love telling stories! I love the people I work with, I love the people I meet. I love thinking about the syntax and language of comics. I love esoteric discussions about the comic book industry. I love the opportunities I've had in life because of comics.
The second I stop loving it I will find something else to do. Comics are hard work. Comics are relentless. Comics will break your heart. Comics are monetarily unsatisfying. Comics don't offer much in terms of fortune and glory, but comics will give you complete freedom to tell the stories you want to tell, in ways unlike any other medium. Comics will pick you up after it knocks you down. Comics will dust you off and tell you it loves you. And you will look into it's eyes and know it's true, that you love comics back.
I am totally comic's bitch forever, but if the day ever comes that I stop loving comics, that will mean they have become unrewarding. Why draw comics if you don't love them unconditionally? You'll just become bitter. Ultimately that is why I draw comics: they are rewarding, and satisfying on a personal and emotional level. I still self-publish books because of this. If I wanted to make money I would have stuck with story-boarding and commercial art, but that's not why I'm here. And by "here" i mean on Earth.
Phew!
Becky Cloonan is a comic book artist who has worked on the following titles:
Demo (with Brian Wood, 12-issue limited series, AiT/Planet Lar, 2003–2004)
Bram Stoker's Dracula: The Graphic Novel with Gary Reed (Puffin Books, 2006, ISBN 0-14-240572-8)
East Coast Rising (Tokyopop, 2006, ISBN 1-59816-468-6)
American Virgin #1-17, 20-23 (pencils, with Steven T. Seagle, Vertigo, 2006–2008)
sharkyfandango asked: What's the hardest part about being an artist for a living? What makes it all worth it for you?
BECKY CLOONAN: A lot has changed since art has become my full-time job. I used to only draw when I felt like it, now I have to draw even if I feel uninspired, or unmotivated. I had to learn to turn that switch off, and treat it like a job, and not as a hobby.
I also had to kiss my social life goodbye! As a freelance artist you are always working. I try to separate my art and life as much as possible, but I'm still surrounded by it. I still work all day, and I almost always take my sketchbook to bed to knock out a few more ideas before sleep. Days of the week don't hold any meaning; whenever I go out on a Friday I wonder why there are so many people around. "Oh yeah, it's Friday night. This is what normal people do." As much as it is liberating, it's also a bit alienating.
I also try to plan my jobs a year ahead. As a freelance artist you never know where your next job is going to come from, and you don't want to be stuck for a period with no work, so I'm constantly lining up two or three jobs ahead, just so when I finish one I'm sure I'll have something new to jump into. This too is bit is stressful.
There are a lot of amazing artists out there, and remembering this keeps me on my toes. I'll never be the best, but I hustle and I always strive to improve myself. Things that help me stay on track are having a daily routine, getting up early, writing out a list every morning of the day's goals, and always trying to find ways to be excited about what I'm working on. Lucky for me I am easily excitable, I love breakfast, and I love making lists.
What makes it worth it though, is I love drawing. I LOVE IT. I love making comics. I love starting a new page and buying new paper, ink and brushes. I love telling stories! I love the people I work with, I love the people I meet. I love thinking about the syntax and language of comics. I love esoteric discussions about the comic book industry. I love the opportunities I've had in life because of comics.
The second I stop loving it I will find something else to do. Comics are hard work. Comics are relentless. Comics will break your heart. Comics are monetarily unsatisfying. Comics don't offer much in terms of fortune and glory, but comics will give you complete freedom to tell the stories you want to tell, in ways unlike any other medium. Comics will pick you up after it knocks you down. Comics will dust you off and tell you it loves you. And you will look into it's eyes and know it's true, that you love comics back.
I am totally comic's bitch forever, but if the day ever comes that I stop loving comics, that will mean they have become unrewarding. Why draw comics if you don't love them unconditionally? You'll just become bitter. Ultimately that is why I draw comics: they are rewarding, and satisfying on a personal and emotional level. I still self-publish books because of this. If I wanted to make money I would have stuck with story-boarding and commercial art, but that's not why I'm here. And by "here" i mean on Earth.
Phew!
Trese 5 Book Signing
National Book Store presents
TRESE 5 book tour
Be there for the launch of the special
NBS Edition of TRESE 5: MIDNIGHT TRIBUNAL.
This version comes with an Exclusive NBS Dustcover.
Join Budjette Tan and Kajo Baldisimo,
creators of the award-winning graphic novel TRESE,
for an afternoon of mysteries and revelations.
Ask them questions about the underworld.
Check out the Trese art gallery.
Get the chance to win Trese art work and shirts.
Stick around for the book signing session.
November 10, 4pm: Bestsellers, Robinsons Galleria, Ortigas
November 24, 4pm: National Bookstore, Alabang Town Center
Editor at Large
It's been a week since Summer Komikon 2012 and I haven't had the chance to talk about the comic books that we launched.
http://tresekomix.blogspot.com/2012/06/editor-at-large.html
Me and Kajo had this grand plan to release the new Trese book last week, but several things kept me busy and we were only able to release "Maverick Rider", the first case from what will be Trese Book 5.
Aside from my wonderful dayjob, my nights were filled with editing the following comic book projects:
=======================
TIKTIK: THE ASWANG CHRONICLES
Story and character creation by Erik Matti and Dondon Monteverde.
Script by Erik Matti. Addiiotnal scene
keep on drawing
Yesterday, I received an email from Ms. Eileen Sy, http://tresekomix.blogspot.com/2012/03/keep-on-drawing.html who accused me of influencing the decision of which people would get interviewed by C.B. Cebulski in his recent search for Marvel comic book artists.
Below is the email from Ms. Sy, after which you will read my reply to her, which I have decided to make public.
===================================================
Budjette,
It's a shame that you forcibly included 8 of your buddies out of 34 artists in CB Cebulski's talent search. It can now be explained why more talented people were excluded.
Aspiring artists like us are now quest
Fear of Failure
Famous Creators on the Fear of Failure
by Maria Popova http://www.brainpickings.org/index.php/2011/05/12/fear-of-failure/
"A characteristic of artistic education is for people to tell you that you're a genius. [...] So everybody gets this idea, if you go to art school, that you're really a genius. Sadly, it isn't true. Genius occurs very rarely. So the real embarrassing issue about failure is your own acknowledgement that you're not a genius, that you're not as good as you thought you were. [...] There's only one solution: You must embrace failure. You must admit what is. You must find out what you're capable of doing, and what you're not c
© 2011 - 2024 Budjette
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