What I learned at the comics school

When I joined the Roman School of Comics in October 1998, I had already sold my cartoons to some customers for two years. My site would have been released only 3 years later, in January 2002, but I got jobs thanks to the job announcements in the newspaper “Porta Portese”.

So, why enrolling in a school of comics?

He had always intrigued me, first of all. And I also wanted to close with a past and get to know other people and new environments. So I took my cartoons portfolio, a collection of my best drawings, cartoons and humorous illustrations, and I went to the interview.

After 3 years of drawing technique and many cartoons drawn, I learned something from that experience.

If you’re not able to draw, anyone can teach you it

I have always been convinced about it. Art is not taught, you can’t learn. Techniques and methods are taught and learned, but not art itself.

I didn’t learn how to draw cartoons at the comic school, but I learned to draw them with better methods than I used before. I’ve been able to try and experiment with various techniques and now, after many years of cartoons, I know which technique suits me best.

The light table is an excellent remedy

I didn’t know it and I still don’t have it, due to lack of space. I replace it with the window glass. The light table, which I can make by myself, is made of an empty wooden structure, on top of which there’s a plexiglass slab and a neon lamp.

I use the window glass several times to reproduce characters or objects I have drawn apart into sketch paper.

You have to … cars, motorcycles, airplanes and trains

And for two reasons:

  1. It would take too much time to draw a car in perspective.
  2. A cartoonist is not a mechanical engineer and the car could only resemble the model to be drawn, while it must be that model.

This doesn’t apply to Disney comics, since it’s not sold on the market the 313 car …

Elements of comics script

The comic script lessons were interesting. I understood what are the shots and I still remember them, so much so that reading Tex and Zagor I jump to the eye what I call “shot errors”.

Drawing harmony

Or, giving the right harmony to the cartoon or to the panel. Would a cartoon be functional in which all the elements, characters and objects and parts of the background would be concentrated only on one of the two sides?

Now I can put the elements in a good manner within my cartoons, because I can study them first in a sketch.