Either way, here we go with the next page.
I'm a tad concerned that this page is too light, but other than that, I'm pretty happy with it.
I really like the transparency I got on the sneeze sound effect.
The story is going some dangerous places in the next few pages. But I have some basic rules for the Cowgirls: the story must always be at least a bit silly, it must have a fair amount of action, and it must always be a romance at its core.
I try not to use too many sound effects. I agree with Alan Moore- you can't see sound. Look how effective the jailbreak scene is Watchmen is - no words or sound effects visible in the panel, yet it's a very loud image.
I've been thinking a lot about the way I work lately. My friend Tyler Page plots out and thumbnails an entire issue of his delightful book Nothing Better, then methodically begins rendering each page.
By contrast (and this is difficult to describe accurately), when I plot a comic story, I see myself holding the finished book of my work. As I read it, I "see" each page. Sometimes the page changes because there were necessary changes to the previous page (or pages), but mostly I just try to write and draw the book as I see it in my mind.
I might have something to gain from applying a bit more structure a la Tyler, but I don't want to lose the spontaneity, especially in the Cowgirls material.
Hrm, as Rorschach might say.
Food for thought. I've studied, interpreted and taught storytelling techniques enough that I've internalized many of the basics, and although it's a bit of a conceit, I'd like to think I apply those basics as I go about working in my less conventional manner. But there's never harm in questioning your own methods, so long as you keep working!
Next, a new page of A Private Myth.
Note that we are six installments away from Original Art Sundays No. 100! I have a little something planned for that week, which, if I keep to the schedule, should fall right before I start teaching Comic History again this fall!
