So I hate this page more than I hate cockroaches because I had so much bloody trouble with it and just nothing seemed to be working, but it's done, whateverrrr. Argh, I am being bad and ruining Quin's face by making it thinner unconciously. Unfortunately, all these early pages are like, big experiments for me, so I'm fiddling around a lot with the colouring, lighting and design of things. Also I have all the pages for Chapter one done and ready to upload, I'm working on chapter two as we speak, and I am trying to keep things consistant and good.
Jesus, I used waaaayyy too much yellow in this. This is fixed in the next few pages. :U
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Oh and you know what? I did some Tempus Art while not studying like I was supposed too nyhoho, anyway, here's the links:
I understand the artist being their own worst critic but lighten up on yourself please. Take a look at my pages for Nigel. I am still not happy with the look of Lucy but these things take time to process. Look at any long running comics that are continuously drawn by the original creator and you will see that as the story progressed there are refinements in the look of the characters as well as the page layout. The fact you are concerned about this speaks volumes about your dedication and professionalism.
Perhaps the most challenging thing for a comic creator is making sure that the look of the characters is consistent. If you have not already done so it may help you to draw up several character reference pages . These would be things such as a series of head shots with notes on reference points about such things as ratio of eyes to width of face, length of nose, etc as well as the character's face in every possible emotional expression you can think of. In addition a page with body dimensions and relevance to the other main characters will help with consistency. Whenever you are having trouble with the character these reference sheets help you work out the problem. Another aid is doing a pose page of the characters from different angles and perspectives. I will try to post some examples if possible later to demonstrate my meaning.
As always your colors are fabulous and have a vibrancy that adds to the drama. It will be interesting to see what you will do with the color in calmer moments in the story to enhance the mood. For me the yellow works in particular as it lends itself the the industrial feel of the panel with the machine room.
You seem to be deliberately exaggerating the length of Cassie's arm being pulled by Quen in the panels. I think the foreshortening works against you a bit in panel 8. Otherwise, it is makes for a neat comedic effect in what is a tense moment.
My only other recommendation at this time is as I have stated before that you vary you camera angle more for dramatic effect. This is a beautiful story and I wait for your updates expectantly.
Haha I am starting to look forward to reading your Comments Kim! They're always ver helpful and full of really good advice!
Thanks for the pointers, I think I'll make a reference sheet to stop myself doing this in future, definitely a good idea.
Camera angles = oh lord they unfortunately stay like this for a while :C, it isn't until the second chapter that I start experimenting with those and trying different things.
Anyway, thanks again, really awesome suggestions and I'm glad you like my stuff!
Some good resources on this topic are as follows with links as I could find them:
Dynamic Anatomy by Burne Hogarth one of the legends of the early adventure comic strips and illustrated several of Edgar Rice Burroughs Tarzan stories. While the style may not be some folks cup of tea the lessons are relevant regardless. Here is a copy in hardback available for $8.00
Here is another must have in my opinion and again very affordable which is Jack Hamm's Drawing the Head and Figure. Again the material is dated and from the 1950's but like Hogarth the lessons still hold true.
http://www.amazon.com/Drawing-Head-Figure-Perigee-Jack/dp/0399507914
On further consideration, I'm sensing a hint of reality flexibility in this 'graphic dimension'. Of course Miss Pond did crawl through the back of a fire-place and down a rabbit hole to get here...
7th panel expressions~ :')<3
Experimentation is good~ :D
Also the banner<3
experimentation is ok... just not on my actual pages D':
buh-duh-buh-buh-duh-buh buh duh buuuh
....For a while :'D
Can I call him Quin McMissile?
I call him Quin, bro, he don't need any other name.
I understand the artist being their own worst critic but lighten up on yourself please. Take a look at my pages for Nigel. I am still not happy with the look of Lucy but these things take time to process. Look at any long running comics that are continuously drawn by the original creator and you will see that as the story progressed there are refinements in the look of the characters as well as the page layout. The fact you are concerned about this speaks volumes about your dedication and professionalism.
Perhaps the most challenging thing for a comic creator is making sure that the look of the characters is consistent. If you have not already done so it may help you to draw up several character reference pages . These would be things such as a series of head shots with notes on reference points about such things as ratio of eyes to width of face, length of nose, etc as well as the character's face in every possible emotional expression you can think of. In addition a page with body dimensions and relevance to the other main characters will help with consistency. Whenever you are having trouble with the character these reference sheets help you work out the problem. Another aid is doing a pose page of the characters from different angles and perspectives. I will try to post some examples if possible later to demonstrate my meaning.
As always your colors are fabulous and have a vibrancy that adds to the drama. It will be interesting to see what you will do with the color in calmer moments in the story to enhance the mood. For me the yellow works in particular as it lends itself the the industrial feel of the panel with the machine room.
You seem to be deliberately exaggerating the length of Cassie's arm being pulled by Quen in the panels. I think the foreshortening works against you a bit in panel 8. Otherwise, it is makes for a neat comedic effect in what is a tense moment.
My only other recommendation at this time is as I have stated before that you vary you camera angle more for dramatic effect. This is a beautiful story and I wait for your updates expectantly.
Thanks for the pointers, I think I'll make a reference sheet to stop myself doing this in future, definitely a good idea.
Camera angles = oh lord they unfortunately stay like this for a while :C, it isn't until the second chapter that I start experimenting with those and trying different things.
Anyway, thanks again, really awesome suggestions and I'm glad you like my stuff!
And the story is still keeping me intrigued!!
:U thanks
Some good resources on this topic are as follows with links as I could find them:
Dynamic Anatomy by Burne Hogarth one of the legends of the early adventure comic strips and illustrated several of Edgar Rice Burroughs Tarzan stories. While the style may not be some folks cup of tea the lessons are relevant regardless. Here is a copy in hardback available for $8.00
http://www.google.com/products/catalog?q=Dynamic+Anatomy&hl=en&pwst=1&prmd=imvnsb&bav=on.2,or.r_gc.r_pw.r_cp.r_qf.,cf.osb&ix=sea&ion=1&biw=1280&bih=891&um=1&ie=UTF-8&tbm=shop&cid=10516316575371279999&sa=X&ei=0oBWT82-DYHm0QGcs73CCg&ved=0CHwQ8wIwAw
Here is another must have in my opinion and again very affordable which is Jack Hamm's Drawing the Head and Figure. Again the material is dated and from the 1950's but like Hogarth the lessons still hold true.
http://www.amazon.com/Drawing-Head-Figure-Perigee-Jack/dp/0399507914
such a rebel :D
Cool!
*awkward stare*
"Thats too plain! You'll never find a brightly colored pimp in here!"
http://www.youtube.com/watch?v=ZnHmskwqCCQ
*walks away whistling innocently*
That always happens.