Made for gifs, really.
Made for gifs, really.
This was one of my top new year’s resolutions: “In 2014, I will draw jellyfish-pigs.” My career has reached a new level. I don’t think you can consider yourself a complete artist if you haven’t draw jellyfish-pigs at least once.
You might take a moment to bow before these majestic creatures.
I have quite a precise idea of who these cats are and a few scripts about their silly story… for when I will be able to draw them better, maybe. *sigh*
I feel so lucky because Angelophanie has sent to me the gorgeous Candelabres fanart she made in 2012, plus another unpublished one in black and white, and a new year card she draw herself! I’m blown away and so happy, thank you so much!! ;3;
A study in panel borders:
Inspired by this awesome post about making comics quickly, I took a look at some comics I own to get some sense of different kinds of panel design choices.
I came away feeling like I’d learned a little less than I’d hoped, but here are some takeaways:
* You can get away with smaller panels than you think
* Extremely weird comic panels CAN work, but when it fails it looks painful and forced.
* Simple is not bad.
* There are actually a LOT of possible combinations.
Scott McCloud uses a 4x3 sliceup of the page, and it’s four VERTICAL slices and three HORIZONTAL ones, which is weird because it makes the panels, on average, LESS square. This works with the particular comic really WELL though, because he draws himself in closeup, talking, a LOT.
DAR and Narbonic both are webcomics mashed into book format, but both worked surprisingly well as page layout in the end.
Blacksad is REALLY variable and the page layouts are hand-crafted on a per-page basis. No speed gains here, but perhaps a message that full custom has its place.
The Resonator is fairly formal but never *too* rigid with panel choices. Lots of narrow or tall panels, which works as a way to alternate between big establishing shots and dense dialog. Very tall panels for single speaker, long ones for two-person dialog or to combine a lot of text and visuals. In general, Resonator is print-native and has TINY text…
Ultimate X-Men is a fun read but the panel design is a disaster. Almost none of the choices of graphic design work at all. Occasionally an establishing shot hits home, but in general the layout is trying WAY too hard.
Watchmen. Formalism raised to the ultimate. It’s precise, it’s a 3x3 grid, it’s piss-on-a-plate-with-no-spills precise and that’s fine, for two reasons: one, everything is about time, and two, it gets the panels the hell out of the way of the story.
Augustus is an example of what Ultimate X-Men was trying to do, except it succeeds. Lots of variation, but on average very orderly. Kind of strikes me as the sort of thing you “have to be GOOD” to pull off well.
Paneling to me is the most iconic element that is wholly unique to comics. The art of it endlessly fascinates me. Cool to see this stuff.
Swans are for serenity and hope. Snakes are for strength and healing.
Des cygnes pour la sérénité et l’espoir, des serpents pour la résistance et la guérison.
Bigger version on my deviantart: http://fav.me/d70bcte