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Thread: New Here!

  1. #1

    New Here!

    Hello out there, just found the site and joined up so I figured I'd offer up some recent pages as my hello, enjoy.

  2. #2
    Welcome aboard.

    Watch your perspective. You've done some studying, good for you but, if a little knowledge is a dangerous thing, you know just enough to blow us all off the face of the map.

    Perspective is more than lines radiating from a point. It's about spatial construction and projecting scale over distance.

    Just as the kneebone is connected to the thighbone, the hand grip is connected to the hand. If the gun points down and away, so too does the hand that holds it. Use perspective to lift the barrel towards the target rather than the ground. If the hand is rotated sideways the gun will be too. If you want the gun square to the ground, the hand must be squared to the ground as well

    What falls on the horizon, stays on the horizon.

    Using the window to determine the horizon, we see the horizon is tangent to the top of a child's head slouched down in a chair. This puts the horizon at about the crotch of a grown man. If we note where the horizon crosses the door across the street we see a grown man would have to get down on his belly to enter.

    IF the horizon is true AND the baseline of the door is true (and you said they were) THEN we can approximate the height of the door suitable for a grown man.

    In projecting the height of the soldier in the street we acknowledge that, for flood purposes, the street is lower than the house and the yards are sloped. This means the house is on an inclined plane and that plane's horizon is higher that that of the scene. We project from the soldiers foot, through the base of the door, to the horizon of the inclined plane. From there we project back through the door, at the height of a grown man, towards the soldier. Your soldier is 18 inches high... eek!

    Warning: The close the VPs to the frame of the drawing, the more distortion your drawing will have

  3. #3
    Wow, thanks for taking the time on this wonderful and detailed critique, I really appreciate it! Follow up question if I may, in the bottom window panel, you seemed to advise based on the window being on the first floor, if I wanted to have he window being looked from on the second story of the house how would I extrapolate that to make in convincing? Would I have to change the vantage point further up to make this whole composition work? Thanks so much again!

  4. #4
    Quote Originally Posted by noahgrahamart View Post
    you seemed to advise based on the window being on the first floor, if I wanted to have he window being looked from on the second story of the house how would I extrapolate that to make in convincing? Would I have to change the vantage point further up to make this whole composition work? Thanks so much again!
    Smitty can correct me here if I'm wrong (and if I'm not misunderstanding you)...
    Ok, so your horizon is where it is. The perspective of the interior of the kids room shows us that. So we also know that this kid's bottom half of the second story window is crossed by the horizon. This means that the bottom half of any other second story window in the whole scene that is the same size must also be crossed by the horizon line. Just because another second story window is outside and across the street doesn't matter, the height of the window in relation to the ground is going to be the same.
    Here, look at this pic. Notice how regardless of how far away each copy of the character is, the horizon line crosses them at the same location which is his head. Now if these were different characters of different heights, this would vary a bit.

    Ok, so back to your picture and the kid's window. If you look across the street, all those houses have second story windows, and if we assume that those houses are roughly the same height as the kids house, then the horizon line should cross those second story windows at roughly the same location, being the bottom half of each window.

  5. #5
    Nexus nails the technical rules, BUT...

    Every picture tells a story.

    Is our story about staring into the 2nd floor boudoir of Billy Beefcake across the street? If so, we're looking out the window in an eye level shot and we won't be able to see the street which we wouldn't want to see anyway because it's not the story.

    IF the story is, "eek, Borg in the streets!" AND we're on the 2nd floor, THEN we need a downshot. We need to lift the horizon above the frame of the drawing. Added bonus, we no longer see the houses across the street. Call this, "Tired Old Hack 101." Choose an angle that tells the story with as little drawing as possible. We can see its a kid in a bedroom. Our angle puts us "upstairs". We see just enough lawn, street and sidewalk to "see" neighborhood.

    The Borg and Borgmobile have been faked but, they've been faked in an educated manner. I started at the window sill, dropped down to the floor line of the 2nd floor, then down to the floor line of the first floor, then projected out to the street... now I can "guesstimate" their sizes. Is it perfectly scaled, NO! But when perfect scaling requires spending 1-2 days on a single panel, verisimilitude will do.

  6. #6
    love the crosshatching and nice inking!

  7. #7
    Modesto, CA 1979 EddieChingLives's Avatar
    Join Date
    Oct 2000
    Modesto, California, United States
    Solid stuff here! Reminds me of early Travis Charest. Definitely publishable! You're like 4 issues away from breaking into higher ground! Some group shots and jumping shots are a bit stiff, usually from jumping strait to the board, but that'll smooth out as you go along. Great pacing! You really know how to draw a variety of panel shots and situations. And your work is good enough to get advice from the great Paul (Xmen, Leave It To Chance) Smith!

  8. #8
    a bit to unpack, let me start first with... Paul Thank you so much, yes this is exactly what I was fearing I had done here (though perhaps not describing it particularly well). I've found I often let my tendency to want to overdraw a panel to adversely effect the overall shot well giving myself hours of unnecessary work, as is evidence here. This critique coming at the time it has literally saved me from making a similar mistake and spending hours trying to fit too much into and subsequently ruining a panel on the page that is currently on my drawing board, so again THANK YOU!

    EddieChingLives, thank you for the kind words I really appreciate it! I find that the more work I go through the more the bugs kinda get figured out, some people seem to want to go back and do every page over and over until it's perfect, but that seems to stiffen stuff up more and I'd rather push through more work, cringe at the stuff that could be better and not make so many mistakes the next time (laughs) I hope. And yes having Paul Smith take time with my work to break down some of things that aren't landing is fantastic (hell criticism aside it didn't even seem like that bad of a critique to me, but I've gotten plenty of fairly scathing ones) I've found that in this day and age there aren't as many good opportunities for mentorship for cartoonists as there once where so having someone who really knows how it's done to spend some time and point me in the right direction is so helpful and a great complement in and of its self.

    Fossilmorph, Thank you it means a lot what I'm doing in that department works for you, when you are the sort of artist that tends toward a lot of linework and such, you're always contending with the 'less is more' crowd that you simply will not pleas doing your thing, so I'm thrilled to hear that you like it.

    Again thanks for the warm welcome all!


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