Ask Jolly Jack!

We had that problem on one of the other forums I'm admin on. I tried to figure it out, but the other admin fixed it. I've asked him how but he hasn't responsed yet. If you can't figure it out JJ, let me know and as soon as the other guy tells me, I'll tell you.

Xenathos wrote:Do you know why the signatures don`t work?

I'll have a play around with the forum settings and see if I can fix that.....

Ok. Thanks in advance. :3

1. Do you think there is intelligent life elsewhere in the universe?
2. Are you a Carbon Chauvinist?
3. Do you think that first contact will occur sometime in the next 100 years?

Vorthon wrote:1. Do you think there is intelligent life elsewhere in the universe?
2. Are you a Carbon Chauvinist?
3. Do you think that first contact will occur sometime in the next 100 years?

1. Life. Yes. Intelligent? I think there's a slim possibility.
2. Nope. But this rock is crawling with carbon-based lifeforms, so it's a system that clearly works, and if it works; it'll probably be repeated.
3. Nope. If is out there, it sure isn't local.

Why is it that video games are so hard to translate into movies properly, when comic books seem to have more luck? Is it the writer? Do the producers and the crew not bother looking at source material? Is it because of the structure of said source material? I'm having high hopes on Prince of Persia at least being half decent.

Who's your favorite composer/group to listen to when you work? I remember reading you use music to inspire your art sometimes, so just wondering if you have a favorite or a certain recurring composer/group.

JJ, can you helps me with my art at all?

jollyjack wrote:

Zaran wrote:What does it feel like to be so well known within the art/comic world?

When I become well-known, I'll let you know

Well, you ONLY have 25,000 watchers...er...hmm...

Oh yea, can you explain this?



Been doing secret experiments haven't we Mr. Jackson?

cenaris wrote:Why is it that video games are so hard to translate into movies properly, when comic books seem to have more luck? Is it the writer? Do the producers and the crew not bother looking at source material? Is it because of the structure of said source material?

The problem usually stems from the people making a film not having a passion or understanding about/of the source material.
Comic adaptations have been more successful because the people that make the films are often fans themselves.

GotV wrote:Who's your favorite composer/group to listen to when you work? I remember reading you use music to inspire your art sometimes, so just wondering if you have a favorite or a certain recurring composer/group.

I don't have a single fave.
When you're watching a movie, keep an ear out to the music. If it's big and orchestral; chances are I've bought the CD and am listening to it as a draw

Lazarus Firenze wrote:JJ, can you helps me with my art at all?

There's nothing I can say that isn't already in 101 "How to Draw" books.
The only thing they never put in those is "Practice".
You can read as many tutorials as you like, but your art will never improve if you don't put them into practice over and over.

Zaran wrote:

Been doing secret experiments haven't we Mr. Jackson?

All I did was supply the test tubes.

Were it such expensive tubes, that you are not third in line, but second?

JJ the scientist.

Weird Scientific Questions Below.

Spoiler:

Noooooo- those are too specific.

Ok, my real question is, what inspired you to make sequential art?

Hello Jolly Jack!

Have I got this right?

Please forgive this n00b (me).
Thank you

hanyou

hanyou wrote:Hello Jolly Jack!

Have I got this right?

Please forgive this n00b (me).
Thank you

hanyou

Almost right. Switch the names Amber and Jade around
Violet is the one with hair over one eye.
Amber is the one with her hair swept back.
Jade is the one with longer hair than the other 3.

Does such naming have any sense?

Jolly Jack,

Thanks for the clarification!

26_994

Names: Perhaps ....Amber, Jade and Violet are not primary colors. Art, Kat, Pip are the primary characters or some such an analogous parallel structure or pattern.

jollyjack wrote:

cenaris wrote:Why is it that video games are so hard to translate into movies properly, when comic books seem to have more luck? Is it the writer? Do the producers and the crew not bother looking at source material? Is it because of the structure of said source material?

The problem usually stems from the people making a film not having a passion or understanding about/of the source material.
Comic adaptations have been more successful because the people that make the films are often fans themselves.

I'd add that comics are stories, usually presented in linear form just like movies. In fact "storyboarding" is a technique used in planning and developing movies.

In contrast, video games have to allow for player interaction and play. There's a story, but it exists mostly around the game play. It's a different structure, and that increases the difficulty in translating it to a new media. Prose stories have the same problem -- some authors write with great visuals and cinematic sensibilities (Tolkien) while others exceed what can be presented on-screen (Herbert's Dune).

I have a question, is there any chance that sometime in the future, say 2 or 3 years, you could do a drawing for me?

Thanks Phil. I do practice (too much infact) but at least you listen to meees.

Also, has anyone played with Liquid Nitrogen? or made a clous of methane bubbles and set it on fire?

Lazarus Firenze wrote:Thanks Phil. I do practice (too much infact) but at least you listen to meees.

Also, has anyone played with Liquid Nitrogen? or made a clous of methane bubbles and set it on fire?

Heh. I have

As for the liquid N2, I just love dipping stuff in it and watching it freeze through or throwing a bowlful of it onto water. If there is enough water, there is a bunch of vapor, if not, the water freezes solid (my poor sink )

As for methane, I played with them in lab, although we weren't allowed to set them on fire. Hydrogen would've been fine, but not methane...

Hmm. Let us see. A question for the JJ, the pipingrad, the grand muckey muck, Jolliest of Jacks, Pipster, philmeister...okay Im done.

Back to thinking:

As far a conceptual artist goes, what was your favourite assignment thus far; and was it because of the design, the work environment, or just the coworkers lending a hand? And if you had to choose your favourite concept worker who would it be?

You've gotta' to try patched together at some time and propose one of your characters as a figure. Have you thought about that?

cenaris wrote:You've gotta' to try patched together at some time and propose one of your characters as a figure. Have you thought about that?

Listen to this man for he speaks the truth.

I've just got my third Wapsi Square figure from Patch Together today, and it's great.

Now just to find some space to display them all...

Sketchtastic wrote:As far a conceptual artist goes, what was your favourite assignment thus far; and was it because of the design, the work environment, or just the coworkers lending a hand? And if you had to choose your favourite concept worker who would it be?

Well, I've only worked as a concept artists for 2 companies: Climax (The UK one, not the Japanese one) and Rare.
The Rare post was probably the best, simply because I had the chance to work with some very talented people.
I doubt many of their names will familiar, but they were: Wil Overton, Ryan Stevenson, Ryan Firchau and Pete Hentz.
All are far, FAR talented than I.

cenaris wrote:You've gotta' to try patched together at some time and propose one of your characters as a figure. Have you thought about that?

Patched Together contacted me a while back making the offer to produce some figures for me. I really, really, really want to take them up on it, but haven't had the chance to draw up any designs yet.
Scarlet will be the first to receive the treatment, when I get around to it.

On the subject of patched together, what costs are there for producing the figues? I presume you draw the initial design and then pay a small fee to get it commissioned and produced.

If you could do one of Kat shooting a camera or Chloe in her business suit, you would rule. Forever.