Interview With the Erotic Cartoonist IV - June 2023

I apologize for the poor video quality in this recording. The sun and technology didn't quite cooperate with me! However, I'm determined to make improvements. Rest assured, the next video will be equipped with the necessary technological resources for a significant upgrade. Fingers crossed for a better outcome! :)

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Transcription:

Art-related resources or books I recommend.

If you google you can find a lot of resources for learning to draw.  Please don’t limit yourself to Pinterest because you won’t learn anything about breasts and other important parts of the human body.  Of course the best source for artists is life drawing with real models.  Unfortunately, we can’t all have a beautiful nude model in our living room all the days.  So I have these tiny mannequins who help me to understand difficult poses.

An absolute must-have for any cartoonist is 'Figure Drawing for All It's Worth' by Andrew Loomis. It was actually the very first anatomy book I owned, and I can't recommend it enough. I still vividly remember a summer holiday spent at my grandmother's house when I was quite young. I brought along this book to practice my anatomy drawings during the break. Now, picture my grandmother—a devoutly religious woman, petite in stature, always dressed in black with a headscarf. Can you imagine her? Well, when she caught sight of the book in my hands, she shook her head disapprovingly and said, 'Not here.' I had to sneak in my practice sessions secretly that entire summer.

Another fantastic resource that I highly recommend is 'Learn to Draw Women - Capturing the Female Form' by the fetish artist Coax. You can find his book digitally available on his website Coaxdreams.com. Coax has been both my mentor and teacher, and I can confidently say that he possesses an immense knowledge of the female body. His book is a valuable tool that will undoubtedly expedite your artistic journey.

But for those who truly aspire to create comics, there's a need for additional skills beyond anatomy, perspective, color theory, and inking. They must also possess a deep understanding of sequential narrative. I believe this is a skill that is often instinctive and cultivated through early exposure to comics. Personally, I learned to read with the Hulk at the age of four, so the language of comics feels as natural to me as speaking my native tongue. However, there's always room for growth and learning.

That's why I highly recommend two exceptional books on comic narrative.

First, let's start with the classic work by Will Eisner, titled 'Comics & Sequential Art.' It provides valuable insights into composition, panel layout, and the art of sequential narrative. Next on the list is 'Understanding Comics: The Invisible Art' by Scott McCloud. This masterpiece explores the essence and potential of the comic medium itself.

But wait, there's more! While mastering the techniques of sequential art is important, it's equally vital to be skilled in storytelling. Generating a good idea is one thing, but developing it into a compelling narrative is a whole different challenge. That's where 'Story: Substance, Structure, Style, and the Principles of Screenwriting' by Robert McKeecomes in. I really enjoy the fable of the millipede from McKee's book. It beautifully illustrates the distinction between instinct and knowledge. It's a tale that highlights the importance of finding a balance between the two.

Personal experiences and anecdotes as a female erotic cartoonist.

Well, thankfully, these days I receive respect from my readers and publishers. It's been a while since I've received any inappropriate photos from fans or haters. Although, there's always someone who kindly asks for a picture of me in my underwear. Sorry, but modeling isn't my profession. However, I did have some photo sessions a few years ago. If you're curious, you can find them on my DeviantArt page.

Like I was saying, luckily these days I get some respect for my work. It's a rewarding feeling and proof that people see me as a professional and value my art. But let me tell you, it wasn't always like that. Comics used to be considered a man's domain, and when it came to erotic comics, well, they were even more geared towards men. I have this anecdote about showing my work to a publisher at a comic book fair.

Imagine this, the editor of an erotic comic magazine all by himself at his stand. Then, here comes a beautiful young woman with a nice chest and a tight sweater, walking up to him with a folder in hand. He looks around suspiciously, wondering if it's some kind of prank. I should mention, I wasn't alone—I had a friend there with me, giving me some moral support. Anyway, I show the editor the first pages of "Anne-Marie": the naughty nuns, the whip, the steamy sapphic night... His face turns beet red. I ask him, "What do you think about it?" He stammers, clearly uncomfortable, "Well, er... our magazine's readers are mostly men, and I don't think they'd be interested in this kind of story." I reply, a hint of mischief in my voice, "Oh, well, I can always add more explicit scenes if that's what they're after." The poor guy looks like he's about to faint. I feel a bit sorry for him, so I decide to leave him in peace.

But then, a man who works for the magazine appears. He shows interest in my pages and reads them. "Oh, they're good!" he says. And he adds, "Are you single? We can talk in the bar, just you and me. I can show you a thing or two." I politely decline and leave, but I can't deny feeling humiliated. As a beautiful woman, it seemed like nobody took me seriously as an erotic cartoonist. It was a sad experience, but I didn't let it discourage me. I decided to take matters into my own hands and started publishing my work online. Over time, things fell into place, and serious publishers began to recognize and appreciate my artwork. Nowadays, I believe that being a woman cartoonist gives me an advantage. It's a crazy world we live in.

My creative process and how I approach a new project.

The most crucial part of starting a new project is lying in bed and staring at the ceiling. Yeah, before I can even begin writing or drawing, I have to spend a ton of time lost in daydreams. I take advantage of my trips, days off, and walks in the park to come up with the best scenes. I love imagining them over and over again. Unfortunately, inspiration doesn't always play by the rules and sometimes it hits me when I'm in the middle of chatting with friends. They often think I've completely zoned out and gone to the moon.

Well, after the thinking part comes the actual realization. The story takes center stage. I write down the scenes on colored pieces of paper to see how the story unfolds. I delve into the characters' intentions and the contribution of each scene. What value does it bring? Is it positive or negative? It's all about shaping the narrative and making sure every scene serves a purpose.

Once I have the scene plot sorted out, I dive into creating the storyboard. It's in this stage that I bring together the dialogue and design the page layouts. To me, the storyboard is the heart and soul of a comic book. The exterior may be visually appealing, but if the soul of the story is lacking, the whole work falls flat.

And finally, it's the illustrator's turn. Technique and hard work take center stage. There are moments when fear grips me as I face that blank page. Sometimes I doubt my own abilities, questioning if I can truly accomplish what I'm capable of. But you know what?  Sometimes it's best not to overthink and just let things flow.

In the end, the pages are done. I try to gauge my emotions about them. Do they convey the essence? If yes, I feel proud. If not, I learn for next time.

That's all for now, my friends! Excited to hear your questions in the coming month.