22 January 2009

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... and here's the completed/inked page from two posts earlier:

Notice how I've inked 'white' lines over the 'black' india ink lines of the previous step? (ie. The pants folds in the top-left frame.)

NB: I don't think of this inked page as the finished one... it's always the 'printed' page that your readers will see that should remain as the finished page in your mind. If you're really sincere about creating stories, think beyond this page. Think of the lettering, toning, scaling, paper, etc - and don't get sucked in (like so many others do), into thinking you're done after you've inked. People who look at their inked pages as 'folio pieces' or 'precious gems' first are missing the point, I think.

But again... thats me.

Next step... I'll show the finished page. I'm just not sure about the second-last frame of the boot closeup. It's bugging me. Doesn't sit right in the 'flow'. Seems too flat of a composition compared to the other panels leading in and out. (I know, I know... Colin Wilson is rolling his eyes right now, telling me to 'lighten up', forget it, and go onto the next page... and Tom Bonin will slap me for cross-hatching again - :-)



PS: Shit. I juts noticed I forgot the rest of the guy's shadow on the 2nd panel, and the guy's shadow should be slanting 'down' in the 4th panel like the house... (aghh... lighting). Will remedy soon & re-post.



andrew said...

I don't know whether I would feel the same unless you had pointed it out, but now that panel is kind of bugging me too - but maybe for different reasons than you.
I just think it's kind of wierd juxtaposed with the panel above, the way it sort of breaks the line of his leg or something. But then, I tend to have a fairly idiosyncratic approach to panel relationships, so I could be totally off base.
Either way it is a pretty small thing, and you should just get on and draw more pages.

Zeno said...

Nice! My first reaction to the page was holy shit! cross hatching adds a lot of depth. Beautiful to see these progress posts. There's a lot of craft here that really shines when it's shown step by step.

Walking panel doesn't bug me. The close up adds a lot of movement to the page and the drawing is of such a high, consistent standard that it reads perfectly. I feel your pain though - it's all too common sitting at an awkward panel and weighing up the fact that it will take you an hour or so to redraw against the fact that it's only a few seconds of a readers experience.

Bobby.N said...

Now that you pointed out the factor with the panel above it, that does it... Im going to replace the panel with another and see what it looks like.

Yeah, I tried getting rid of cross-hatching, and do the 'clean' line b&w style... but it's just not me. I seldom feel the page is finished without the 'depth' you mentioned. So I invariably have to cross-hatch. I recently was looking at Shaun Tan's work in THE ARRIVAL' and 'TALES FROM OUTER SUBURBIA and felt an understanding in what he was trying to convey with his drawings, and thought, "I can't convey that without crosshatching... so given the type of 'mood' in my story... so far I feel good about it.

Even though many people skim the art that may have taken me a while to draw... it doesn't bug me... because ultimately (as cliche as it sounds) this is all done for me... and I'm having a lot of fun with this story.


Jason Franks said...

I';m with you on the 'finished' page being the printed version, but I guess that's easy for me, since I usually write and occasionally pencil.. but I make sure that none of my lines see the printed page. I never see the inked pages, either, since I receive them electronically.

All that said, someone like Colin makes good money selling the original pages.

-- JF

Bobby.N said...

"All that said, someone like Colin makes good money selling the original pages."

Good point... though people like Colin are the exception. He's a pro. I just mean us mere mortals shouldn't think about 'framing' our pages YET.

Colin has earnt it... we haven't.