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Thread: An argument in the hallway

  1. #1

    An argument in the hallway

    Hi! I'm trying to get a grip on sequential art and here's my attempt at that. I have a hard time thinking about perspective, proportions, expressions and at the same time making it all tell a more or less meaningful story in several images. I worked without reference for practice's sake, to see if I can come up with expressions and poses on my own and arrange them in perspective. I know no one's ever said it's going to be easy but it doesn't make it any less frustrating. Anyway, I'd be grateful for some feedback on the matter

  2. #2
    Join Date
    Jan 2017
    West Coast Canada
    Nice work. For practice's sake, I'd use reference! Reference goooood.
    I really like panel 3 (establishing shot might work better first.)
    You've got a nice loose confident line. The kid picking up his pencil would work better in the background as to not distract from the main characters. The girl sitting on the window sill should be sneaking a glance at the equally awkward looking guy beside her trying to act natural. Is it wrong that I'm more interested in those two than the main characters?
    Gimme more public school dirty used worn out surfaces. Garbage, graffiti, scratches, grime, etc.

  3. #3
    Because artists never have enough to think about while the finished work pours effortlessly out our pens, here are some things to consider.

    Pn 1- Text

    Balloons, captions, SFX have just as much right to space as art. Space to breathe, play and do it's job. Text is not something to cram into whatever space has been left over. The artist, even Marvel Method, must know when characters will blather endlessly, speak tersely or shut up and plan accordingly. The old Marvel trick is to leave the top 30% of the panel open or devoid of story detail.

    Pn 2- Cropping

    Avoid dead center cropping. When in doubt, think tic-tac-toe, place focus at any corner of the middle square. Added bonus, room for balloons

    Pn3- Perspective

    In this case, projection. If Reading Boy is leaning against the wall, as the drawing suggests, that wall blocks half the hallway. Figure in red is leaning against a locker. Big ol' foreground figures are great... straighten him up and make him just another kid in the middle of the hall.

    Pn4- Clarity

    Did someone go mutant? Light beams? Spider webbing? If something is important enough for it's own panel, it's important enough that we see it.

    Pn5- Rotation, Balance, Composition

    The principle of rotation sez that depth is achieved by preventing all lines in the drawing from being perpendicular or parallel to any other line in the drawing or the frame in which it exists. By squaring up like this, everything flattens up. By placing the weight at the top, it's unnaturally balanced (this can be useful if you want the reader to be physically uncomfortable, nauseous etc) By placing everything in "balloon territory" you throw away time and work.

    It's been a long time since I've dealt with high school lockers but, I submit in a school this new that: Lockers will be built in flush to the wall, not added on with a shelf for garbage up top; Off the ground with at least a six inch kick plate; Taller, the top of the top locker above the head, the top of the bottom locker above the waist. You should have full access to the lower lock and locker while standing straight up.

  4. #4
    Thanks guys, this'll give me a lot to think about!

    By the way, is there a good online comic art course/school? I know about Comics Experience and the Kubert School but that's pretty much it. Are they worth the money? Unfortunately there are no physical places where I live or anywhere in a reasonable travelling distance, so online is the only way to go for me.

    Or is it better to just keep on keepin' on, focusing on art in general, improving perspective or anatomy, and using books and tutorials on how to apply it in comics?


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