Showing posts with label perspective. Show all posts
Showing posts with label perspective. Show all posts

Sunday, June 19, 2022

Original Art Sundays No. 297: Curt, p. 35

 Once more into the breach, dear friends.

When we left our heroine (me), the half-assed suicide attempt was truncated by a neighbor's phone ringing. Before I could clean up, Curt came home. How will he react to the woman he claims to love attempting such a thing?

Well, there you have it. As was noted by one of my Beta readers, knives are intended for cutting meat, so his asinine wrath was also factually inaccurate. This is what happened, but I condensed events slightly for narrative flow. But even with the danger implicit in living in this situation, it starts to seem absurd at some point. Abusers often pride themselves on reason, but are often irrational in their micromanagement and rage. The challenge is to navigate their anger and feed into their egos.

Again, no overt trans content on this page, other than it being a trans woman's story.

Technical notes: The layout is pretty direct and flows well. I particularly like the tight shots of Curt's eyes framing his gaze down the cut arm to the bloody knife. At one point, I had divided that long panel in thirds, but it seemed more of a distraction than a dramatic effect. I hand-rendered the text, but reworked it in Photoshop. Lower energy, but it reads better. A sense of place is crucial to this page. Perspective is key on the first panel. I seldom do such detailed work on environments, but this is a time where it's necessary to ground the space. Looking at it now, the page still needs a couple minor corrections, but it's 95% there.

The gray values on the ceiling in Panel 1 are a simple gradient.

Instead of scanning, I tried a photo with my iPhone 12. I'm not 100% happy with this method. Too much work in post to get the levels right. If my other option, using the document capture in Notes, yields similar results, I'll just go back to scanning. 

I used my favorite scumbling brush with masking tape on panel 3 (the arm). Don't you love simple production tricks? I got this fascinating sort of dry brush smear by accident on my drawing board, and it's inspired me for a page down the line. A pen nib and a brush marker died creating this page. We will now observe a moment of silence.

Tools:

  • Canson Bristol Board
  • Pencils: Ticonderoga 2B, Paster Classics 6B, 4B graphite stick
  • Erasers: Staedtler Mars Plastic, kneadable eraser, erasing guide
  • Brushes: Blick #2 synthetic Masterstroke, Blick #6 Synthetic round
  • Pen nib and holder
  • Microns: .005, .02, .05, .08, 1.0 and brush
  • Photoshop

Next: survival strategies.



Sunday, May 6, 2012

Original Art Sundays No. 121: A Private Myth, p. 24

Finally.
I've been wrestling with this page for a month now.
Here's why. Take a look at the page rough.
Working up the rough, I was never happy with the first panel. I wanted the page to move through a lot of action very quickly, beginning with the moment to which this has been building.
I tried the slap from several angles and was happy with none. It just didn't work!
Her reaction was never quite powerful enough, there was no indication of the emotions of the aggressor. It was all too static.
But I didn't realize that.
I got hung up on getting the physical dynamics of the slap right.
I like looking to other artists and comic creators for suggestion and inspiration. It's an excuse to use my collection as a swipe file.
But there are very few slaps in comics, much to my surprise.
I looked at some 40s crime stuff, my copy of Romance Without Tears, and some superhero stuff. Lots of slugfests, even some planets being tossed about, but not slaps.
In frustration, I started re-reading Strangers in Paradise to take my mind off the problem.
And there it was.
But I still couldn't make it quite work.
That's when I  realized, as my Dad used to say, I was putting the ac-CENT on the wrong syl-LA-ble.
The crucial thing wasn't the technical accuracy of the slap, but the slap itself.
It's a big moment, and I had it crammed into a corner.
So worrying less about detail, I turned the Bristol over and drew the final.
Better. Not perfect, but better.
The energy comes through, and the poses and expressions are, if not spot on, plausible. As David Chelsea observed in his book on perspective in comic art, it gives a sense of where things are, physically and emotionally.
This was an emotionally difficult page, but since it's been almost two decades since I endured something similar, it was a tad easier this time than it was as a story element in an earlier Tranny Towers strip.
This is also the first full splash page I've used in this story. Since it's such a key moment, I think that's apropos.
My classes end Tuesday night, my final grades are due at the Records office next Monday. I have  a bit more time to work on my storytelling, though the deadline for the next volume of the Comic Encyclopedia looms large.
Long and short, new art next week.
And as I tell my students, thank you for your time and indulgence.