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Here's an example from a story Im composing in DIGESTED.02:
I use this as the underlay. I place this under a final blank art-card (that i will be inking onto), and place them both on my lightbox and lightly trace all the major lines in blue pencil.
Afterwards, I tight pencil (add details) to the final art-card in more blue pencil.
Then I ink it.
Anyway, that's it for now... see you at the next meetup (Jan-3rd), or failing that at THE LIST-II book launch (Sat-17th-Jan-09)... Details here.
Later.
-Bobby.N
3 comments:
I should work in a similar way. This is a similar process to what I use when I screw up and I desperately need help, but I think I'd produce smarter pages (and less screwups) if I put in a bit more planning before I hit the drawing board.
I'm getting better at the actual drawing, so this is my goal for whatever I do next: smarter page design. If I survive long enough.
The thing that made me come up with this method, was that I was producing better penciled compositions in my sketchbook than I was on the final artboard.
When sketching in my sketchbook, there's a 'zen' like freedom that I found i couldn't get when penciling onto the final artboard. I felt nervous and constrained by the panels in which i was penciling my final work. It was all too stifling for me... so i found this method much better for me in order to come up with better looking/composed pages.
It's an extra step, sure, but I think the results are much better.
-B.
Funnily enough, that has been exactly my problem. When I first started messing around with comics I got frustrated because nothing looked as good on the page as it did in my sketchbooks and I more or less gave up drawing altogether--I was always a writer before an artist and it seemed like a logical step.
Back to the drawing board now.
Happy New Year!
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